Low and Clear
- Great low area, very good recreation and amount of power.
- Warm, soft, but clear and well-defined sound, free from darkness and sibilance.
- Excellent quality of construction.
- Ergonomic design and adequate size.
- Good cable and accessories quite right for the price.
- The soundstage is not very immersive.
Link to the Store
Again, I’m going to analyze a product of the well-known brand Magaosi. This time, it’s a new one, its V3 model. Its capsule is in a similar line to other products I have analyzed lately, but with more rounded shapes and superior elegance, thanks to its exquisite design and excellent polishing. The V3 mounts three drivers: a 9.2mm dynamic driver, with beryllium-plated diaphragm and two Balanced Armature composites.
The cable is made of 8 strands of handmade cable, using oxygen-free, silver-plated copper and single-crystal copper cores with mixed braiding. The connection of the capsules is 2pin 0.78mm.
The packaging is very premium, with many different tips and a round metal box, with internal padding to protect the IEMS. We will now go into detail about these and other features.
- Type of Drivers: 2 BA + 1 DD
- Frequency Response: 20 – 20000Hz
- Sensitivity: 105dB SPL/mW @1kHz
- Impedance: 19Ω
- Sound insulation: -26dB
- Cable: 5N OCC+silver-plated OFC 8 core mixed
- Connector plug: 3.5mm Audio
- Capsule Connection Type: 2pin 0.78mm
The Magaosi V3 comes in a wide box, size 210x135x57mm, in marbled grey. On its main side, on the right, there is a transparent window, where you can see the capsules. On the back side are written the specifications in English, as well as a description of the product and the contents. There is also a small photo of the exploded view of the complete set.
Once the cardboard has been removed from the side, the box is shown, which has the same colour and several inscriptions, in gold, of the brand logo. On the back, the logo is repeated in gold in the centre. In addition, there are a couple of adhesive labels, with the specifications in English.
After opening the box, you can see a big white mould, where the capsules are embedded. Once the mold is removed, a foam appears, which protects a storage box, round, black, metallic, with the logo of the brand inside a white oval. There are also a couple of small plastic boxes, which contain several tips.
The total content is as follows:
- The two capsules
- The 8-strand mixed cable.
- 3 pairs of bi-flange tips, white silicone, sizes SxMxL.
- 2 pairs of transparent silicone and black core tips, sizes MxL.
- 2 pairs of white silicone tips, size XSxS.
- 1 pair of black silicone tips, size M.
- 2 pairs of foam tips, size MxL.
- 1 storage box.
- Instruction manual.
The packaging is large, but not disproportionate. The protection is excellent. The content is quite complete. The storage box is very good, very in the current line, it has a perfect interior padding. As for the tips, most are medium and small size, there are only two pairs of large size. Almost all of them are very short. This is a personal criticism, because, due to my morphology, I usually use the biggest sizes.
Construction and Design
The design of the capsules is semi-custom, very ergonomic, medium size. The external face has an amber pattern, inside of which the brand logo is printed in gold letters. The rest of the body is black. The capsules, with the exception of the mouthpieces, which are metallic, are made of photosensitive medical grade resin. The entire surface is extremely polished and the finish is highly smooth and shiny. The metal nozzles are approximately 4mm high, with an upper diameter of 5.3mm and a lower diameter of 4.6mm. Inside there is a grid, also metallic. In the upper lateral part of each capsule, there is a hole protected by a metal passing tube. The 2-pin connections are completely embedded in the body of the capsules.
The cable consists of 8 mixed strands, four of which are silver and the other four black. The black strands are made of single-crystal copper and the silver strands are made of silver-plated copper. All the strands are oxygen-free. The two-pin connector has a cylindrical sheath with a rounded head. The base of the right-hand connector is made of red plastic, while the left-hand connector is transparent. The cable, in this area, has a semi-rigid protection, in transparent plastic, which gives it a shape for use over the ear. The pass-through part is a hard transparent plastic ball. The splitter piece is a medium sized metal cylinder with a black pattern in the center. The plug cover is straight, formed by another metal cylinder, this time of a larger size, which has the same black pattern, in one of its divisions. The plug is 3.5mm audio, gold-plated. The cable strands are very flexible, the cable is docile and manageable and its weight is not very big, it does not penalize the general discomfort of the set.
The overall construction of the set is excellent, with a totally premium finish. The overall weight is quite adequate and does not cause fatigue in the ears, even in long listenings.
Adjustment and Ergonomics
The ergonomic design plays a good role and, together with the medium size, the fit is quite good, being its insertion superficial, or even a little deeper. The weight is not very important and it feels good on the ear, although not entirely light. Due to its narrow shape and ergonomic protrusions, the socket is quite fixed and its movement, once well fitted, is minimal. The body is not excessively thick, so it does not protrude too much, nor does it have a tendency to fall.
In general, the fit is very simple and firm and the ergonomics are very high.
The profile of the Magaosi V3 is warm, with a good enhancement of the lower zone, its midrange is quite linear and the highs have sparkle, softness, good detail and extension.
The bass has a sweet emphasis, more focused on its midrange, than on the deepest part. This emphasizes the warmth of the whole, without implying a tendency towards darkness. The drumming is clearly noticeable, very powerful, but also well contained throughout. In this way, the definition, distinction, resolution and planes, between different LFOs, is quite evident. Even in particularly complex passages, the V3s are capable of reproducing the bass with great precision and detail. Another great virtue of its low zone is its great capacity for timbre recreation: its low notes sound very natural and accurate, with a sweet and intoxicating colour, without reaching the thickness, thanks to the good speed in its execution. There is strength in its texture, but it is well tamed, without reaching total smoothness, but within that slightly rough point, to which pleasure is found. Finally, I can’t finish this section without emphasizing the greatness of the lower zone, within the overall sound of the V3. Those looking for a balanced bass sound can look for another model. Magaosi, in this occasion, has found the right way, with a strong bass zone, of excellent size and good technical characteristics, without falling in the dark, nor ruining the rest of the ranges. A work that will attract and satisfy, the good lovers of the low frequencies, like me.
There are several things to note initially: the central area is not clearly backward. In addition, the profile of the V3, avoids the typical emphasis on the mid-high. In this case, the size of the lower zone contributes to the warmth of this range, but it is also true that it diminishes its prominence. The weight of the drums, bass guitars and other low-frequency instruments, densify the first half of the midrange, providing a rather exuberant body. This can be perceived in the male voices, as they gain in presence and rotundity, but without standing out above the instrumentation, maintaining a good balance. The existing linearity in the mids makes the V3s a sibilance-free IEMS. However, it is also true that they do not have that spark and luminosity, which is acquired when that upper part is emphasized. Despite this, Magaosi manages to keep the V3s from sounding dark: there are no signs of veil, congestion or mud in the range, but rather clarity prevails. And this is his other great virtue, his good level of separation, resolution, detail recreation capacity and air existing in the mids. The final result is a very musical range, relaxed but direct, that allows to be enjoyed to great sips and that invites to be introduced inside the smoothness of the music.
The high range has a good balance, with no undesirable downsides or peaks. The treble is reproduced consistently, without losing the warm profile of the sound, and is never muffled. The V3 exhibits brightness, finesse, definition, resolution and the typical crunch of well-profiled BA drivers. The notes are remarkably thin and the highs sound very precise and sparkling, though with a very balanced weight and gain, bordering on neutrality, but retaining a great deal of detail. The good amount of air, provided by the extension of the area, generates the remarkable sensation of clarity, that the V3 have in the rest of ranges.
In the V3 scene, width predominates; to a lesser extent depth and height. They are not very immersive IEMS, nor do they have an out-of-head recreation, but are based on a more natural and realistic location, although somewhat flatter, but without sounding intimate, much less congested. The good tuning of the drivers takes away any hint of saturation in the sound. The instrumental origin is well adjusted, to be located laterally, hence its good sense of width, but has a certain lack to present many sound planes at different depths. The separation is, however, greater. There is a very good perception of the silence and the spaces between notes, which generates the very distinguishable clarity of its sound, which drives away the possible darkness that the large size of the lower area could bring. What it does not manage to avoid is, a lower level in the recreation of micro details, which, sometimes, are lost among the great presence of low frequencies.
Both the profile and the sound of both IEMS are very similar. The lower zone of the Finschi stands out more in the sub-bass zone, even though its overall size may be larger and with a bit more energy, if possible. However, this may be the result of the lower speed of their hits: the V3s are faster and their response is more controlled and contained. On the Oriolus, the bass is more flooded with sound and lasts longer.
The midsection of the Finschi is sweeter, has a more marked, velvety and perceptible texture. The V3 are smoother and more present, offering more closeness, but transmitting less emotion. It is something that is very easily perceived in the voices, where the Oriolus are able to reconstruct them with greater passion, sensitivity and drama. The V3, however, shine less in this section, sounding smoother and more trivial. Following with the voices, the V3 position them more centered and zenithal, also thinner. The Oriolus choose to present them slightly more diluted, wider and at an intermediate distance. This provides a wider scene and a sweeter sound, loaded with greater nuances, which can be appreciated more closely. The instrumentation in the Magaosi is more direct and sounds more compact, in a more priority and focused way. In addition, it has a more evident definition, with higher resolution. In the Oriolus, the instruments are perceived as more relaxed, more analogical, with a softer, sweeter and somewhat more distant presence.
In the upper zone, the V3’s highs sound sharper, more vivid and realistic, with more sparkle and brilliance, as well as extension. In the Finschi, they are more nuanced, being wider and softer, with even slightly less emphasis. There is more clarity and more detail in the V3, while the Finschi are perceived as more nuanced.
The scene is bigger, wider, deeper and higher on the Oriolus. V3s sound more concise and precise, but more focused and less expansive. The slower, more relaxed sound of the Finschi generates a musical mantle that extends more smoothly, reaching further. It seems that the greater clarity and resolution of the V3, provides a greater separation. But, overall, as the Finschi scene is larger, the separation is evened out in both IEMS.
The sound of the V3 is more explicit, direct, concise, and emphatic, while the sound of the Finschi is more suggestive, relaxed, velvety, but also somewhat more diffuse and less clear.
Both IEMS are well constructed, but the materials used in the V3 seem more resistant. The cable is better on the Magaosi. The ergonomics are also superior on the V3, the fit is freer and deeper and the snap-in is faster. While the Finschi have a fatter shape and shorter nozzles, which offer a more shallow insertion. Also, depending on the tips used, they tend to create a vacuum in the ears and a «Driver Flex» effect. The insertion is not as fast and the perfect sound is more dependent on the position and tips used.
The Magaosi V3 are warm IEMS with remarkable technical capabilities. The cohesion of the drivers is very well achieved, as at no time is there any alteration of the profile. The sound is very coherent in all ranges. The low zone is excellent, both in quality and presence, has remarkable speed, much forcefulness and great control. Its weight is noticed in all the sound, but the clarity is never lost. The mids enjoy a resolution and air that gives them a lot of realism, a natural sound and a fairly direct presence. The maturity of the product is revealed in the trebles, as they possess sparkle, brightness, finesse, definition and extension, all with a very adequate gain, which never loses its balance. To all the praise, it must be added the perfect construction, its high ergonomics and the quality and quantity of accessories. Magaosi has hit the nail on the head with this product, more, at the price it has.
Sources Used During the Analysis
- Burson Audio Playmate
- JWD JWM-115
- Tempotec Sonata iDSD Plus
- F.Audio FA3