The Oriveti OD200 is an in-ear monitor that comes from a lineage known for quality audio products. It features a 9.8mm dynamic driver with a beryllium coating, aimed at providing clear and detailed sound. With an impedance of 16 Ohms and a frequency response spanning from 20 to 20000 Hz, the OD200 seeks to balance performance across the audio spectrum. This review will critically assess the OD200’s sound characteristics, design, and overall value in the context of the current IEM market, offering insights into its strengths and potential areas for improvement.
The Oriveti OD200 is equipped with a unique 9.8mm dynamic driver that features a beryllium coating. It has an impedance of 16 Ohms and offers a frequency range from 20 to 20,000 Hz. The sensitivity is rated at 108±3dB/mW at a frequency of 1000 Hz, with a distortion rate of 0.08%. For connectivity, it includes gold-plated plugs in three sizes: 3.5mm stereo, 2.5mm balanced, and 4.4mm balanced.
Oriveti OD200 and Cable
The packaging of the Oriveti OD200 is seriously elegant, adopting the jewelry box approach popular in recent times.
The OD200 itself has a masculine design, cast in metal, and fits comfortably in my ear, reminiscent of the Reecho SG03 in this aspect. The design’s airiness can be felt, enhanced by their proprietary technology that allows free air circulation inside. The nozzles and meshes can be easily replaced.
The cable is robust, consisting of multiple strands in black and silver-gray, complementing the OD200 better than the 6N Pure Copper cable discussed later. It uses the now-standard mini XLR for termination. All plugs come in a genuine leather case with the corresponding logo, adding a touch of elegance.
Oriveti OD200 Sound
The level of detail and the expansiveness of the soundstage delivered by the OD200 deeply impressed me. Its dynamic driver produces deep, rich bass, emphasizing the rhythm and energy of the music while maintaining clear and balanced midrange performance. The trebles are detailed and bright, capturing the finer details in the higher frequencies of music, enriching the overall listening experience.
Bass
It’s important to remember that the OD200 includes a 9.8mm DD with BE coating, which is not Softears Twilight. The bass is there primarily to balance, with hardly any extra bass heard over the song. The driver’s speed, aided by the BE coating, allows for head-bobbing bass in studio recordings. In Riverside’s music, it strikes a balance between fun and seriousness, with its high tonality adding enjoyment in identifying the bass source, especially in tracks like “Big Tech Brother” which feature multiple bass sources. It can also convey a sense of grandeur with wide drums if the song requires it.
Midrange
I usually get a wide and reasonably deep stage from studio recordings. The midrange, maintaining a balanced presentation across the frequency spectrum, guards the dynamism. In Haggard, I can find myself in a festive village atmosphere, ready to charge in a revolt, or humbly listening to hymns in a church. The inclusion of trumpets adds to the atmosphere. Brutal vocals aren’t drowned out, while operatic vocals play a complementary role within the general timbre allowed by the OD200. Live recordings reach an immersive level, managing crowd control effectively. I didn’t experience any muddiness, regardless of the live performance, as everything was presented fluidly and clearly. After changing the nozzle, I got a vocal and acoustic guitar performance close to the quality I only got from the NM2. In Polyphia and the math rock genius Ichikoro’s duo in “Death Note,” I experienced a heavenly quality of playback where everything is distinct yet cohesive.
Treble
In live recordings, the treble quantity is sufficient. With H gain, Nightwish live recordings have unique trebles, allowing me to discern individual cymbal hits. In the aggressively recorded “Limehouse Blues,” the BA-coated driver showcases its capabilities, performing slightly dark but with impressive 3D imaging and extensions. For the first time in a long while, I felt as if the recording microphone was in the middle of the band, facing the audience.
Nozzle Rolling
Changing the nozzle , I noticed a slight increase in clarity and a brighter timbre. However, for bands like Tenacious D with humorous vocals, even the black nozzle created shy mids, and the slam feature was also compromised. The outcome is a balanced but airy, detailed, and neutral-to-dark sounding IEM, ideal for relaxed listening.
Eartip Rolling
Switching to the stock tips with a narrower nozzle brought the expected change. Rhythms gained emphasis, vocals moved forward, and the overall good technicality led to more enjoyable moments. Following the bass guitar in Queen’s music was impressive. However, I wish for a more open, bright, and front-and-center Mercury experience with Queen.
DAP Rolling
After initially using the ibasso dx320, I tried the HiBy RS60 and was amazed by the performance in “Autumn Mist” by Alboran Trio. The tension in the bass guitar strings and the keyboard harmonics were discernible. “Friend or Foe?” became a favorite, sounding uber with a 4.4 BAL connection on the OD200. Everything is balanced, with a slight emphasis on the bass and well-placed synths.
Cable Rolling
I switched to the ddHiFi BC130A (Air Nyx) cable. Even though using a cable twice the price of the IEM might seem illogical, the opportunity shouldn’t be missed as it’s a recent addition to the family. The bass became heavier and smoother, with increased clarity and resolution, benefiting the mids. For example, it highlighted the flute beneath the entire mix in drum and bass. It brought rock music vocals closer, delivering them with higher tonality. The Oriveti OD200became even more enjoyable, especially when “Lose Yourself To Dance” by Daft Punk played, enhancing the bass and effects, clearly separating all rhythms, with vocals gaining about 10% sibilance. This vocal proximity was also true for Daft Punk, similar to Toto’s “Africa,” where vocals were closer, more textured, and slightly smoothed, with synths living their metallic and fine highs more freely.
Switching to the 6N Pure Copper cable with an SE connection, I noticed a less bodied but clearer presentation than the first cable, although less resolving in bass impacts. It didn’t bring the festive atmosphere in drum and bass, nor did it bring rock music vocals as close as the previous cable. However, it neatly trimmed the upper trebles, making some genres more listenable. In Daft Punk, it refined everything without creating technical smiles like the ddhifi cable. There was no sibilance or near-sibilance, and Toto’s “Africa” showed a real improvement over the stock cable, with everything finer and even miniature.
Returning to the stock cable, I noticed improvements in many parameters and confirmed my belief that cables are often overlooked in sub-$200 headphones. Toto already showed it, drum and bass confirmed it; strikes became sharper, depth increased, and the background flute became more transparent. In rock music, vocals approached the first cable’s performance, opening up the upper frequencies and integrating the performance. Upper trebles in ska rock by The Offspring, independent of high frequencies, completed the music intelligently without discomfort. With the stock cable, even in SE, Daft Punk regained its lost life. I realized that for this price range, touching the cable should only be done with one that costs about half as much as the IEM. A single-core 6N Pure Copper cable isn’t suitable.
Comparisons
vs Simgot EA1000
While the resolution in the Simgot EA1000 is better than average, the first thing that strikes me is the bass guitar’s tendency to recede into the mix. However, in terms of speed, it doesn’t fall short of the Oriveti OD200. Its ability to maintain rapid high-frequency hits also adds a bonus for dynamic playback. But it doesn’t match the OD200 in instrument separation and especially portrays strings as volumetrically weaker. The airiness is another aspect where it lags. The OD200’s design principle, which facilitates air circulation within the housing, creates a meaningful difference compared to competitors, and I personally adore the Simgot EA1000 as well.
vs Kiwi Ears Cadenza
This is solely for the sake of their BE-coated drivers.
Despite the BE-coated diaphragm in the Oriveti OD200, which emphasizes the bass in some recordings, and maintains a high flow rate thanks to the BE, solid instrument separation, lively 3D imaging, realistic vocal tonality, high treble resolution, a layering score of 8/10, and the ability to reach delicate trebles; the Kiwi Ears Cadenza, also possessing a BE-coated diaphragm, initially offers a less voluminous playback compared to the OD200, with notably thinner and recessed yet realistic trebles. Instrument separation naturally falls behind.
In terms of bass impacts, metallic percussions accompanying the drums are more pronounced rather than the drum hits themselves. Despite the contribution of the BE to the flow rate, it is positioned far from the OD200. Keeping the vocals recessed compared to the OD reduces the overall enjoyment. Finally, the emphasis on bass guitars is less, and I can imagine my entire experience with the Kiwi Ears Cadenza as a timid French marigold, whereas the Oriveti OD200 is like an East Asian panda.
Pros and Cons
Pros:
– The Oriveti OD200 features an exclusive Be-Coated 9.8mm Dynamic Driver that provides a detailed and nuanced sound signature, enhancing the listening experience with clarity and depth.
– It offers a wide frequency response range of 20 – 20000Hz, catering to a broad spectrum of sounds and ensuring that both low bass and high treble notes are well-represented.
– The sensitivity of 108±3dB/mW at 1000Hz makes it efficient and versatile, compatible with a variety of playback devices, from portable music players to high-end amplifiers.
– The low distortion rate of 0.08% ensures that the audio output is clean and free from unwanted artifacts, preserving the integrity of the music.
– It includes gold-plated plugs in three different sizes (3.5mm stereo, 2.5mm balanced, and 4.4mm balanced), offering flexibility in connectivity and the potential for balanced audio output, which can reduce noise and improve sound quality.
Cons:
– An impedance of 16 Ohm may limit the OD200’s performance with certain high-powered audio equipment, possibly necessitating an amplifier to drive them effectively.
– Thefrequency response ceiling at 20000Hz may not capture some of the ultra-high-frequency details that can be present in high-resolution audio files, potentially limiting the experience for audiophiles seeking extended high-frequency reproduction.
– With a sensitivity level of 108±3dB/mW, there is a risk of hearing damage if the earphones are used at excessively high volumes for prolonged periods, necessitating careful volume management.
– Depending on the source device, the specific impedance and sensitivity of the OD200 might require additional amplification to achieve the best possible sound quality, which could mean extra investment in a suitable headphone amplifier.
Oriveti OD200 Review Conclusions
The dual nozzle option of the OD200 allows the user to tailor the sound signature to their preference. This customization option provides a unique listening experience for different music genres, enhancing the versatility of the earphones. During my musical journey with the OD200, I had the opportunity to listen to a wide range of music genres, from jazz to electronic, classical to rock, and in every genre, I felt that the sound profile of the OD200 revitalized the music, conveying every note and beat with precision. This earphone is an ideal choice for those seeking detailed and balanced sound and enjoy exploring different music genres. The BE legend that began with the Kiwi Ears Cadenza has matured here, and the benefit of the 4.4mm connection is evident. Moreover, unless very particular about cables, it’s best to stick with the stock cable.
