มีบริการ Delivery รับสินค้าพร้อมชำระเงินปลายทาง(ไม่ต้องโอนก่อน)
และบริการ (พกง.)พัสดุเก็บเงินปลายทาง สำหรับลูกค้า ต่างจังหวัด
สนใจติดต่อ O81-4540570 หรือ แอดไลน์ไอดี FiiO คุณBOY
ขาย FiiO E12A
Portable Headphone Amplifier (IEM Special Edition)
FiiO E12 รุ่นพิเศษ ออกแบบสำหรับหูฟังขนาดเล็กโดยเฉพาะ
*FiiO E12A เหมาะสำหรับ Earbud , In Ear , CIEM นะครับ
ราคา 5,690 บาท
รับประกัน 1ปีเต็ม โดยตัวแทนจำหน่ายในไทย
FiiO E12 และ E12A แตกต่างกันอย่างไร ?
FiiO E12 ก็ยังคงเหมาะกับหูฟังทั่วไป และโดยเฉพาะ Headphone ขนาดใหญ่เช่นเดิม
เพียงแต่ FiiO E12A นั้นจะเป็นรุ่นพิเศษ ที่ออกแบบสำหรับหูฟังขนาดเล็กประเภท โดยเฉพาะ
นอกจากนั้นยังมีการเปลี่ยนชิป OPAMPแบบใหม่ ไฮเอนด์ และ ผสมผสานกันดีกว่าเดิมนั่นเอง
เพราะฉนัั้นก็อย่างชื่อรุ่นว่า E12A IEM Special Edition รุ่นนี้ออกแบบพิเศษสำหรับหูเล็กจริงๆ
*พูดแบบภาษาบ้านๆ E12 ก็เหมาะกับหูฟังทั่วไป และ หูฟัง Headphone
แต่ E12A ออกแบบสำหรับ หูฟังขนาดเล็กโดยเฉพาะ ไม่ว่าจะเป็น Earbud , Inear , CIEM (คัสต้อม) นั่นเอง
ผสมผสานชิป OPAMP คู่ใหม่ได้อย่างลงตัว
MUSES02 + LME49600
FiiO E12A นั้นได้พัฒนาการจับคู่ของ OPAMP ใหม่เพื่อให้ได้คุณภาพเสียงที่ดีกว่าเดิม
หนนี้ FiiO ได้เลือกจับคู่ระหว่าง MUSES02 จากค่าย MUSES
ของบริษัท New Japan Co,ltd ชื่อดังจากญี่ปุ่น
ด้วยการจับคู่กับ LME49600 อัตราการผิดเพี้ยนของเสียง(Noise) ต่ำกว่า0.0003%
และเพิ่ม S/N Ratio ได้ถึง 115dB
เนื่องจาก E12A ถูกออกแบบสำหรับหูฟังขนาดเล็กเพียงโดยเฉพาะ
E12A จึงถูกตั้งค่าให้มีค่า Output ที่เหมาะสมสำหรับหูฟังขนาดเล็กโดยเฉพาะ
ซึ่งจะทำให้ได้คุณภาพเสียงที่ดีที่สุด และ พื้นหลังที่เงียบสงัดที่สุดโดยไม่มีคลื่นรบกวน
การออกแบบปุ่มต่างๆของ E12A ถูกออกแบบให้สะดวกใช้งานมากกว่าเดิม
และยังมีปุ่ม BASS BOOST เพื่อปรับเบสให้เหมาะกับทุกแนวเพลงที่ฟัง
และสถานะไฟของ E12A ก็แสดงถึงสถานะการชาร์จไฟ
*หากไฟกระพริบเร็ว หมายถึงการ์ชาร์จแบบด่วน (Quick Charge :2.1A)
**หากไฟกระพริบช้า หมายถึงการชาร์จปรกติ (Normal Charge :1A)
ตัวเครื่องทำจากอลูมิเนียมอัลลอย ทั้งตัว !!
เพื่อความทนทานสวยงาม แข็งแกร่ง และหรูหรา
และพิเศษ E12A นั้นจะมีบอดี้สี Titanium แบบใหม่
FiiO E12 Specification
Review FiiO E12A
โดยคุณMacusd Soundbard จากเว็บ Headphonic
FiiO have been very busy in 2014 revising and modernizing their lineup of amps and DAC’s on top of rolling out their new DAPs. They have always struck me as keen to listen to feedback from their customer base and have been tapping into various comments specifically from the recent E12DIY user experience. The E12DIY was a special limited run of the standard E12 portable power amp with swappable Opamps and a range of buffers to allow those who like to roll and tweak. Something similar to what Ibasso did before with the PB2 only on a much more budget conscious level.
Well out of that rather interesting little phase and on the back of sustained commentary from customers FiiO decided to fiddle also with the E12 opamp and buffer mix and match also. Taking the high regarded MUSE02 opamp and combining it with the existing LME49600 buffer from the E12DIY they came up with brand new version of the E12 called the E12a. The E12a is FiiO’s answer to the feedback that the E12 was not cutting it for IEM users and that basically things were too noisy and didn’t offer too much finesse and control for low sensitivity cans and IEM’s. As such after a few weeks testing I am inclined to actually think the E12a has been quite successful in addressing that feedback but be warned, this is not radically different amp tonally.
Physical Differences & Similarities
Out of the box the FiiO e12a has more in common with the E12DIY edition’s looks than the older E12. It is still the same overall form factor and physical dimension as the E12 measuring in at 124×65.5×14.5(mm) however the features and some of the layout configuration of the E12a straddle in-between both iterations of the E12. Starting off the E12a color is a mix of the pure black shell of the E12 stock and the brighter silver finish of the E12DIY, more of a gunmetal type finish which I really dig given the long, very long, line of black FiiO products I have received over the years. Cayin came out with the gorgeous retro Champagne finish so something that is not black from FiiO? Thank you very much! The E12DIY’s casing, though similar in looks, was setup more for the DIY enthusiast in mind. Instead of the stock unibody encasing of the stock E12, the E12DIY has a removable rear plate to allow the shell to slide back to get access to those yummy opamps and buffers. The E12a on the other hand is a return to the unibody E12 shell given the opamps and are fixed along with the buffer this time this is entirely logical.
Moving the LED Lights
Another set of changes to the E12a from the E12 stock is the switch to the E12DIY positioning for the charging and blue power led light configuration. On the stock E12 the lights where positioned in-between the headphone jack and the volume pot. On the E12a, much like the DIY version they sit on the top left of the E12a case out of the way a bit to allow for the gain control (high/low – left/right) to sit between the headphone jack and volume pot. On the E12 the gain switch is horribly recessed on the right hand side whereas now it’s much more accessible and slightly raised for slightly easier access.
Crossfeed, Bass & Power
Gone also on the E12a is the crossfeed switch from the stock E12 which was right beside the gain switch and also needlessly recessed. I know some who love crossfeed and will be sad to see this go but honestly its not a top priority for something like an E12a. Unlike the E12DIY the E12a retains the bass boost switch of the original E12 also on the left side beside the power socket. The power socket is still the same micro adaptor fitting which allow it to charge from any 5v USB or plug socket with USB fitting. Both back plates of the E12 and E12a are flush with no sockets.
The Volume Pot
On the front as mentioned the E12a has that gain switch now straddling the headphone jack and the volume pot instead of the LED lights of the E12 but apart from that no other visual changes to note. One major physical change though that is not apparent from looks alone is significant difference in resistance levels when turning the E12a volume pot over the older stiffer E12 volume pot. I understand the E12 volume pot stiffness was due to the fear of accidentally throwing up the volume when on the go and blowing out your ears. Fair enough but it was simply too heavy handed and often required concerted pressure to get it to the level you want. In short it wasn’t a terribly pleasurable experience. The E12a pot is all together much more pliant and easier to manage now but with just enough resistance to prevent any unfortunate accidents.
Under the Hood – the Noise floors
Inside the E12a is where the fundamental changes have been made. When the E12 stock first came out it was billed as FiiO’s ‘budget portable amp’ answer to the planar power game which was being played by almost every amp maker into headphones in 2013. Up until that point FiiO’s amps were good but didn’t really cut it for use with the likes of an Audeze or Hifiman Planar. Packing a combination of an OPA1611 and the LME49600 buffer the E12 boasted just shy of 1W and 22v in portable power and presented a nice warm to neutral sounding weighted tonality that was easy enough on the ear without ever threatening the top tier portable amps in terms of resolution and clarity.
However the E12 was not the best sounding amp with more sensitive earphones and headphones exhibiting a high noise floor or background hiss, as well as a lack of control over general volume levels given its levels of power. Learning from the DIY community with the E12DIY kit FiiO has changed the internals now to a MUSE02 opamp and the existing LME49600 buffer lowering the output power by around 50% to make it more accessible to IEM users in terms of control and noise. The resulting mix of opamps and buffers has produced a remarkably more refined sounding amp for IEM’s – more so for BA setups than dynamic drivers but the difference in all IEM’s I tried was very noticeable. The noise floor dropped considerably with the Westone W4 and the Heir Audio 8.0 probably benefitting most from the lower noise levels with dynamic units such as the T10i having ever so slightly less noticeable noise level differences.
The E12a’s much lower output (power) levels as well as a loosened volume pot is a joy to use for IEM’s also. The E12 is kind of ok with volume control but you hit the roof of what your ear can take much quicker with the stock unit whilst the E12a has far superior channel balance control at lower levels and far better ‘micro-control’ of the volume all the way up to around 1-2pm on low gain before things get a bit too loud whereas the E12 topped out at 11am. With both being analog amps you can adjust and vary the control on both amps via your line out or headphone jack out on the DAP of your choice to get the volume balance of your choice relatively easily. On the DX90 set at around 190-200 I could set the E12 at 11am on the pot and 1pm on the E12a to get exactly the same levels of volume (to my ears).
The difference in tonality between the E12 and the E12a is not night and day. In short if you are buying the E12a hoping to get away from the tonal presentation of the E12 then you might be disappointed. That is not to say there are not differences because there is but it’s not a radically different amp in that respect. Both the E12 and the E12a still exhibit a warm to neutral tonality without any peaky spikes and still with a slight bias to the lower mids and bass response only far less so in the E12a. The difference though between the both is in where the emphasis actually is in the frequency response combined with the lower noise levels of the E12a.
The E12a’a MUSE02 still favors a slightly weighted low end but compared to the E12 the E12a low end is much more discreet and less in your face. The bass response on the E12a is toned down considerably without losing any sense of depth or slam whereas compared to the E12 using IEM’s the bass response is perhaps a little too dominant coloring the presentation and squeezing out the mids in favor of mid-bass slam and low end power. With the E12a the bass response feels tighter, a little bit less present and less boomy. It still extends impressively but doesn’t have the same mid-bass elevation as the E12a producing what I feel to be a more coherent low end presentation suitable for a wider range of genres and of course IEM’s.
The E12a better tonal balance makes it a much more versatile amp than the E12 for midrange performance. That more focused but tamed down bass tuning of the E12a really allows the mid section of the E12a to come to the fore especially for vocals. The E12a’s mids are slightly more forward with far better presence and a sense of needed space for vocal performance to take center stage whereas the E12 which came off as being a bit flat or recessed due to the elevated bass response at times overpowering the mids.
The E12a also has a slightly more forward treble range over the stock E12 with a bit more extension and articulation without ever being peaky or bright. It not overly colored or rolled off but it’s still not as transparent or as articulate as say a JDS Labs 02. Overall it’s a pleasing improvement over the E12 more muted top end performance and brings a better sense of finesse and control as well as increased dynamics when used with various IEMs.
IEM Matching And Testing
Of course the proof is in the pudding so we hooked up some test systems and put a range of IEM’s in with the DX90, the E12 and E12a using the FiiO HS2 for some quick comparison on the fly. Initially the results made me feel there was not a huge level of differences in both units when the volumes where equalized from the source and the amps. I was initially going to write the review as some slight and welcome changes but nothing radical.
However after giving the E12a amp some time to burn in as well as upgrading the DX90 to the latest official firmware the differences were much more noticeable, especially with BA IEM’s which seem more sensitive to the changes in the E12a from the stock E12. Those changes followed a distinct pattern for all the IEM’s I tested with the relatively tighter and leaner bass response of the E12a being far more agreeable on most IEM’s and a much greater sense of space and presence in the mids and treble performance.
For instance the RHA T10i is a single dynamic IEM with a tilt towards a warm bass bias consumer presentation and a range of filters. Bass response using the stock E12 was at times overpowering even with the treble filter but switching to the E12a the bass became is far more coherent, exhibiting far less mid bass slam than the e12 and a more refined spacious mid section. The T10i also exhibited a more forward lower treble and more presence on the vocals range without ever being too harsh or grainy.
Dita The Answer
Switching to the Dita’s single dynamic driver “The Answer” the most the reduction in noise level was more noticeable with the E12a. This was the main highlight for me when testing the Dita. The tonal differences are slightly less noticeable than with the UE900 and T10i. Megadeth’s “Symphony of destruction” seems to convey the same weight and sense of scale between both units.
The quad BA UE900 has a brighter treble response than the RHA T10i, but both the E12 and E12a sounded tonally more similar with the less efficient UE900 when set at equal listening levels using a DX90 setup. I actually found with EDM the E12′s slightly less dynamic top end suited the UE900 by a hairs whisker on some Madonna “Confessions on a dance floor” tracks. On other tracks such as Major Laser’s “Your no good” the E12a more balanced tuning and spacious midrange suited the ‘rat a tat’ male rap vocal delivery intermixed with the delicate lower treble female vocals interludes. The bass is heavy but the slightly lower mid bass slam of the E12a played out more favorably on the E12a than the slightly weightier E12 bass response. The E12a’s lower noise floor also was far more noticeable using the UE900.
The higher noise floor and background of the E12 was most noticeable using the Westone 4. There was even a slight but audible ringing tone in the right channel during interludes and in-between tracks. With the Westone 4 the bass is noticeably less dominant on the E12a than the E12. Both amps sounded furthest apart tonally using the Westone W4′s. The mids are pushed forward, the bass is pushed back and there is an added sparkle and presence for vocals. The E12a sort of lifts a little veil that the E12 puts on the W4. Tracks such as John Mayer’s “Heartbreak Warfare” from his 2009 Battle Studies album has this lingering bass line that feels so much more prominent on the E12 than the E12a which prefers to focus more on the midrange and John’s vocal’s clearly benefit as a result.
Heir Audio 8.0
It must be a BA thing because with the Heir Audio 8.0 8 driver BA the audible background noise is much more noticeable also with the E12. It too follows the same route as the other IEM’s with greater emphasis on the bass to the detriment of the vocals and midrange. The E12a is starting to show its colors after prolonged listening with again a much leaner more neutral bass and more space and presence for the mids and treble performance.
Minerva Mi-Pro Artist (3 way BA Custom)
Background noise is a less noticeable with the Mi-Pro with the E12 but it still displays a bass dominant signature over the more balanced E12a. Manowar’s “The Lord of Steels” huge bass chugging intro sounds way too overpowering with the E12 and the Mi Pro Artist. The E12a pulls it back nicely as it can tend to get just a little too muddy without that leaner bass and adds a bit more top end dynamics. The Mi-Pro Artist is a much more intimate experience than the Heir Audio 8.0 so excessive coloration, particularly in the bass performance has a tendency to make everything feel a bit congested and muddy despite its stellar mid performance.
There is much to be said about how the E12DIY edition shaped FiiO’s understanding of the needs of IEM’s users and what makes for a more refined and pleasurable sound. The addition of the MUSE02 chip is a very welcome tweak to their lineup of amps, particularly so when there is a ton of fake MUSE02′sonline for sale making the DIY edition such as risky proposition for those looking for the MUSE02 alone. For the casual user, the budget enthusiast and the cheap audiophile the E12a really is a much better choice than the E12 for earphones, IEM’s and generally highly sensitive headphones.
I must caution you though do not expect a totally different sounding amp. The core tonality of the E12 is still there and in some cases you might not initially appreciate the difference on low sensitivity earphones or cans. Do not buy the E12a if you want a different sound, but a different amp if that is your need. Otherwise the tuning down of the bass, the increased sense of space and presence on the mids and vocals as well as the slightly more forward treble performance and extension really suits my listening style and preferences.
Price wise there is small premium over the older E12 but nothing heavy, maybe around $30 at the most and it is a much higher step up than the darker, more closed in sounding E11K. The old adage of you get what you pay for might be a bit of an underestimation of the E12a sense of value compared to higher end amps but in reality the E11k is cheaper for a reason and my money is on the E12a if I had a choice.
|Model Name/Number||Mont Blanc-E12A||Color Available||titanium colour|
|Weight||166 g||Dimensions||124 mm×65.5 mm×14.5 mm|
|Audio Input||3.5 mm stereo jack||Headphone output||3.5 mm stereo jack|
|Volume Control||ALPS Potentiometer||Bass Boost||1 Level|
|Drive ability||16~300 Ω (recommend)||Power input||recommend DC5V 2A|
|Battery Capacity||1500 mAh||Battery Life||＞20 h|
|Output Power||＞420 mW (16 Ω/THD+N＜1%)||Charging Time||＜3 h|
|THD||＜0.003％ (1 kHz)||Output Impedance||＜0.3 Ω|
|Frequency Response||20 Hz~20 kHz||Signal to Noise Ratio||＞115 dB|
3.92 V (GAIN=L)
920 mV (GAIN=H)
|MAX input Level||＞8 Vrms|
|Crosstalk||＞85 dB||Channel imbalance||＜0.5 dB|
-0.63 dB (GAIN=L)
11.9 dB (GAIN=H)
|Bass Boost Range||4 dB (BASS ON)|
|Peak Output Voltage||10.3 Vp-p||MAX output Current||113.3 mA|
Frequency Response diagram of curves. (Gain=H）
Red curve: Left channel( BASS=OFF) , Magenta curve: Right channel(BASS=OFF)
Magenta curve: Left channel(BASS=ON) , Blue-green curve: Right channel(BASS=ON)
Distortion diagram of curves (Gain=H)
Cyan curve: Left channel , Green curve: Right channel
|ธ.ไทยพาณิชย์||3622003220||สาขาLotus Bangphii||ออมทรัพย์||Noppon Rojwattanarit|
|ธ.กรุงศรีอยุธยา||5181227007||สาขาHomepro Bangphii||ออมทรัพย์||Noppon Rojwattanarit|