Introduction – More Than Just Another Dongle
Dongles used to be underdogs — tiny accessories that helped you cope with missing headphone jacks. But times have changed. Audiophiles no longer just want “convenient” sound. They want real, layered, hi-fi experiences in motion. Enter the Fiio QX13, a device that challenges the idea that performance must sit on a desk, powered by a brick.
With a toggleable desktop mode, desktop-grade components, and real-world output power that rivals some full-sized gear, QX13 doesn’t just ask to be taken seriously — it demands it. It reflects Fiio’s transformation as a company, too. This isn’t the same Fiio from the budget days. This is the Fiio that owns a 15,000 m² R&D center, that employs over 300 people, and that builds audio hardware with intention.
The QX13, known internally as a next-gen dongle, marks their entry into the “portable flagship DAC/amp” space. I put it through weeks of listening with a range of headphones and sources — and what I discovered was far beyond what I expected from a dongle.
Build & Specs – What It’s Made Of
At first glance, the QX13 looks unlike other dongles. The 21-layer carbon fiber body isn’t just aesthetic — it keeps things lightweight yet rugged, helping dissipate heat and resist scratches without adding bulk. This is a dongle you can truly pocket.
It features a 1.99” color screen that shows gain settings, desktop mode status, filter choice, volume level, and lets you access the 10-band parametric EQ — all onboard. This means no separate app, no Wi-Fi sync — just true, hardware-level control. For a portable device, this is unheard of.
Under the hood:
- ESS SABRE PRO ES9027PRO DAC – used in much pricier gear, delivering excellent dynamic range and low distortion
- 4× INA1620 + 2× OPA1692 op-amps – high-current precision amplification
- XMOS XU316 16-core USB chip – for stable, high-resolution playback up to DSD256 and PCM 768kHz
- Desktop Mode – when enabled, engages full rail voltage and clock circuitry for “all-out” performance
- Balanced and SE output – with up to 900mW per channel (balanced)
That power spec isn’t theoretical either — as you’ll read, it actually drives planar and 600Ω headphones properly.
🎧 Letshuoer S12 – Planar, Unleashed
Pairing the QX13 with the Letshuoer S12 was revealing — and more emotional than I expected.
In Standard Mode, the S12 showed off its planar speed and resolution. The sound was clean and coherent, but slightly held back. Astronomy by Metallica sounded fine — spacious even — but lacked that metallic bite and stage “pop” I knew it could deliver. It was like listening through a slightly fogged glass.
Then I enabled Desktop Mode.
The transformation was immediate. The background blackened. The guitars gained weight. Cymbals shimmered into the air instead of dying early. Microdetails I had forgotten returned — vocal inflection, bass trail-off, decay, and width all expanded.
On Whiskey in the Jar, Hetfield’s voice had a body to it. The phrasing became almost tactile. Riffs snapped into place, and the rhythm was locked in. The S12 turned from an “accurate” IEM into a musical storyteller.
Riverside – Self-Aware became the surprise highlight. Applause rang with room tone. Ambient air settled between notes. Even the background keyboard lines had weight and placement. The final bass guitar passage, framed by applause, stood alone in the center of a believable sound field.
This was the kind of performance I expect from desktop chains. But I was getting it from a dongle. That’s not nothing.
🎧 AKG K240 (600Ω) – Classic Headphone, Finally Driven
If you’ve owned the AKG K240, especially the 600Ω version, you know it doesn’t play nice with weak amps. Most dongles can barely push it — if they don’t distort outright, they just roll off and flatten the stage.
So, I started skeptical. With D Mode off, the K240 sounded… okay. Africa by Toto had all the notes, but none of the punch. Details were there, but dull. The mids were pushed forward to compensate for the rolled-off bass, and staging collapsed. It was clean — but uninspiring.
Then I enabled Desktop Mode, and my skepticism turned into a nod of appreciation.
Now, Africa had impact. The synths had texture, the bassline throbbed gently underneath the rhythm, and the vocals weren’t competing for space anymore. Whiskey in the Jar had that classic analog warmth but kept its clarity. Vocals and guitars danced naturally, not just coexisted. And Self-Aware felt, for once, like it deserved to be called a live recording. There was air, flow, and space between the players.
Most importantly: the K240 finally sounded like it wanted to. Like it wasn’t being choked. The QX13, in D mode, proved it can handle 600-ohm loads gracefully — and even musically.
🎧 Hifiman Ananda V2 – Planar, Stage & Sweep
The Ananda V2 is a headphone that rewards control and punishes weakness. If your amp lacks current stability, it’ll sound thin and dynamically flat. With QX13 in standard mode, the Ananda already delivered decent texture and openness — better than I expected. But it wasn’t until I hit Desktop Mode that things got properly engaging.
- Africa became a stage — layered vocals, tight synth swells, with the chorus lifting naturally
- Whiskey had meat. Guitars were textured, vocals grounded, and percussion precise
- Self-Aware turned into a genuine venue experience — each layer in its place, every peak resonating naturally, and background ambience intact
Most surprisingly, the Ananda scaled with the QX13. That’s a rare thing to say for a dongle.
🔌 Cayin N8ii Source + QX13 – Summit-Fi Synergy
This pairing deserves its own section.
I connected the Cayin N8ii in pure USB digital out mode to the QX13, with Ananda V2 again as the transducer. No analog out. No DAP gain. The N8ii acted purely as a high-end digital transport.
And what happened?
Below
Africa opened with an inky black background — a serious darkness underpinning the entire stage. On top of that canvas, delicate synth pulses floated through, accented by natural-sounding, African-influenced instruments whether synthetic or acoustic. Bass resolution was high — you could feel the body, but also trace its outline. Musicality was preserved, yet every layer was distinguishable and accessible.
On Whiskey in the Jar, everything locked in. I even caught the very first word, “As I…”, rendered with full articulation and clarity. The vocal phrasing throughout the track was intelligible word for word. Flow was natural, with musicality and technicality in true harmony. I even noticed two or three subtle details I had never picked up on before — small things, perhaps, but in a track I know inside and out, they were telling.
Self-Aware delivered one of the most balanced, realistic, and open concert-hall impressions I’ve experienced through this chain. Even the applause at the beginning had dimension and weight. The vocalist stood where he should — dynamic, slightly forward, but never forced. When the lyrics faded and the solo began, it was gently set back — placed with intention. The keyboard remained subtly active in the background, while the final bass solo, accompanied by soft claps, stood alone in the center of the stage like a spotlight moment. I wasn’t just hearing this track — I was living it. I could go on, but let me say this:
This was the best result I’ve had from the QX13, and I’m convinced it came from the synergy with a flagship-level source — the Cayin N8ii — feeding it a clean, stable digital signal with zero compromise.
💡 Worth noting: The N8ii wasn’t doing any amplification here. The volume was set at 18/60 on the QX13 itself, with Desktop Mode ON. All the power, all the dynamics — entirely from the DX13.
🔋 Power & Practical Use
Desktop Mode pulls current — there’s no way around that. It’s not subtle, especially with full-size headphones. But this isn’t a flaw. It’s a trade-off you control. Use D Mode when you’re on a DAP or plugged into a power bank. Disable it when you need to conserve battery. It’s that simple.
For those using it with phones: a Fiio Estick power bank is the ideal companion. It magnetically locks to the QX13 and provides exactly the kind of mobility this device deserves.
🎧 Tonality & Tuning Summary
- Tone: Balanced-neutral with excellent layering. No artificial warmth, no dry clinical edge.
- Treble: Slightly crisp in SE, smoother balanced. No sibilance.
- Mids: Articulate, honest, spacious — vocals and instruments both shine.
- Bass: Not boosted, but well-textured and clean. Tightens significantly in D Mode.
- Stage: Desktop-like width and height in D Mode — truly impressive for a dongle
- Imaging: Dead-center when needed, holographic when the mix allows — very natural
✅ Pros
- Genuine desktop-class sound in pocket form
- Clean, natural, dynamic tuning
- Drives planars and 600Ω with confidence
- PEQ, screen, and UI actually add value
- Pairs brilliantly with high-end transports
- Refined sound — not overly colored or sterile
❌ Cons
– D Mode drains battery quickly
– UI isn’t slow, but not flagship-tier either
– Requires host power — no internal battery
– Case/accessories could be more premium
🧠 Final Thoughts – Serious Sound, Finally Portable
Fiio’s QX13 isn’t trying to be a do-it-all toy. It’s trying to sound right. And it does. It turns your favorite IEMs into full-scale performers. It makes hard-to-drive headphones actually sing. It rewards quality sources and exposes lazy ones. It scales with your gear and lets you choose when to go full-throttle.
This is not a convenience piece. It’s a performance tool. And one that happens to fit in your pocket.
Fiio didn’t build a dongle. They built a statement.
