Intro:
The FA7 is the first in-ear offered by FiiO utilising only BA drivers (four per side).
Let’s make this one [review] rather short but straight to the point.
Packaging, included Accessories & some other Stuff related to the FA7:
The tip selection is good but what I somewhat dislike is that it is a bit difficult to get the tips out of the foam block without any tools or sticking the nozzles directly into them.
The large storage case is nice but what I dislike about it is that its lid is made of transparent plastic and therefore lacks any rubber cushioning in contrast to the lower half that is nicely cushioned.
The cable is only about upper half of average. It doesn’t look too bad but doesn’t have the same amount of flexibility as the cables used on FiiO’s other, lower priced in-ears (it looks better though). While it isn’t rubbery or sticky and while I really like the 3.5 mm plug’s design and quality, what I dislike about the cable is that it contains of twisted conductors that were however clear-coated which might add a bit more protection but makes the cable a bit stiffer than industry-standard twisted cables. What I’m trying to say is that it’s not a bad cable but I would have expected a superior one.
Build quality, design, finish and comfort are very high. It’s nice to be able to see the crossover on the PCB, although I think it would’ve been even nicer if the larger components were on the other side and better visible.
Sound:
Used ear tips: only largest included “Balanced” silicone ear tips.
Used driving gear: only low impedance DAPs, DACs and Amps.
Tonality:
In notes/key points and with a few selected comparisons, that’s the FiiO FA7:
•punchy bass that extends deep without rolling off (ca. 10 dB elevation compared to an in-ear that is tuned for a diffuse field-flat bass such as the Etymotic ER-4S/ER4SR; therefore slightly bassier than my Campfire Audio Andromeda or the NocturnaL Audio Atlantis or the first-gen Brainwavz B200 (not to be confused with the inferior and differently tuned 2nd generation with removable cables));
•some root/deep lower midrange warmth (comparable to NocturnaL Audio Atlantis, Campfire Audio Andromeda or Brainwavz B200 (the first generation with permanently attached cables, not the inferior and differently tuned 2nd generation with removable cables); maybe even a tad more);
•quite inoffensive upper mids (even a bit more so than the Andromeda and B200 (the original, not the inferior 2nd generation), but less so than the Fischer Amps FA-4E XB) that are heading into the somewhat darker direction;
•rather neutral upper lower and central treble (just a little relaxed by diffuse field-standards), quite neutral to probably just a little bit emphasised upper treble (more quantity than the darker first-gen B200, less than my Andromeda that tends to more sharpness and splash);
•good super treble extension.
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There are different included ear tips labelled “Balanced”, “Vocal”, “Bass”, “Memory foam” and “Bi-flange”. As it could be expected, they mainly affect central and upper treble response to some degree (the mids are also slightly altered).
The “Vocal” tips place the mids the closest in the mix, although just in relation, because ultimately they still leave the upper mids that heading into the darker direction and quite inoffensive.
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With an emphasis of around 10 dB in the bass, the FA7 is definitely on the more powerful, bolder side for BA standards. Warmth is there but doesn’t overshadow the mids.
Extension into the sub-bass is great and the very lows don’t roll off but are audible and powerful.
Upper mids take a step back wherefore voices are on the darker side in contrast to many Asian in-ears where they are powerfully lifted and bright. As a result the mids are never offensive or exhausting, in fact they are even lacking a bit of glare/presence in the upper midrange – this, around 2 kHz, is the only area where the FA7 could be re-tuned for a bit less upper midrange relaxation. But as it is the timbre is still good (the mids are on the darker side but not to a degree where they become too unnatural) and what I would definitely choose over an overdone upper midrange/presence range lift.
Going up, between 3 and 4 kHz, the upper section of the lower treble is back around rather neutral level again, maybe a bit less, but certainly not lacking but also clearly not emphasised.
Except for another (although not narrow) dip around 5 kHz (mainly audible using sine sweeps), what follows is about neutral treble quantity from 7.5 kHz on, maybe just a little more than that in this area. Super treble extension past 10 kHz is good.
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The result of the interaction between the upper midrange and treble is a treble response that appears inoffensive and rather relaxed, however not lacking or veiled dark (I’m referring to the highs since the mids are definitely on the darker side) – easy listening without lacking clarity or brightness in the treble, that’s it, and that’s a good thing.
My only gripe with the tuning is that voices are a little too dark/inoffensive in the upper region (for my taste). With more quantity between 1 and 3 kHz, the tonal balance and timbre would have been nearing perfection. But that’s maybe just nitpicking. And I definitely favour this midrange tuning (with a little too little upper midrange quantity) over a typically over-lifted upper midrange.
And it’s a sound signature that is quite ideal for worry-free, relaxed, easy listening. Frankly I also like it quite a bit for relaxed, non-reference listening – I just pop it in my ears and I’m ready to go for hours of music without any fatigue or exhaustion while doing other things or while only listening to the music.
Resolution:
Resolution is good and the separation is precise over the entire frequency range.
The bass has got the typical BA control, speed and tightness and is nimble. It’s ultimately just slightly on the softer side (compared to the tightest in-ears) which was quite expected due to the lift, utilised driver and general tuning, although it’s among the tighter implementations for this driver. So the balance between a little more body/decay and still high control is done really well and the bass doesn’t feel sterile but is also far from being sluggish. Friends of usually softer dynamic drivers will very likely still find it slightly sterile though. However, I’m definitely a Balanced Armature woofer loving guy.
The texture doesn’t soften towards the sub-bass but remains clean and precise.
The midrange can appear a bit veiled at times due to the tuning with the recessed level around 2 kHz. It’s really just the tuning though; “actual” midrange resolution is just held back by it and vocals could benefit from a bit more upper midrange quantity (I’m talking about neutral or slightly-less-than-neutral levels here, not the commonly found “Asian” bright upper midrange lift) to give vocals the perceived resolution they deserve, because as the tuning is, separation in busy midrange-heavy tracks is very good on the FA7 and nothing is foggy in the mids – they just have a bit too little glare.
Treble separation etc. is just as clean and precise as the rest.
Soundstage:
Large, precise and clean.
Definitely wider than deep. Reaches to my shoulders, actually even a bit wider than that.
A bit of depth layering, but mainly width.
Good portrayal of emptiness and clean borders between elements/musicians.
Conclusion:
There are just a few changes about the accessories that I would personally make (cushioned storage case lid, different cable); comfort, design and build quality are very good.
The tuning is done well and there are no areas that stick out negatively, however some (myself included) might find the upper midrange/presence range around 2 kHz to be a bit too relaxed/dark (that’s the only thing I would change about the FA7 – more neutral, less recessed upper mids around 2 kHz for more correct and closer (less relaxed), less dark upper mids).
Anyway, FiiO’s quad-BA in-ear is an easy listen and has no annoying areas.
In terms of resolution, note separation, precision and soundstage, the FA7 is an in-ear that is clearly convincing. Well done? Definitely.
