For this review I mostly used DAPs instead of desktop gear. This IEM is made for travel and commuting, so it’s much more accurate to focus on DAPs and portable DACs rather than home gear.
I chose three players : The FiiO M6 / Astell&Kern’s SR15 / Cowon Plenue D2 and paired them to the DM7 in random order. Most files used were FLAC 16bit/44kHz streamed from Qobuz or from the internal storage.
I expected good things from the BGVP DM7. Fortunately, the IEM did deliver what I expected: a DM6+
At first, the differences do not shine bright between these two IEMs. The DM7 seemed a tad better in the upper range but not by a big margin. Yet, after a few days of listening, it was pretty obvious the DM7 took the upper hand on the DM6.
The sound is more precise, bass offers more definition, more depth and the upgrade from five to six drivers raises the overall spaciousness in every way. The new crossover is impressive, from low to high you do not hear any gap or caveat and thanks to that, the BGVP DM7 is very sensitive to the equalizer.
If not tighter, the bass gets lower and that’s also thanks to the lower-mids which warm up the whole presentation. The DM7 fits right between the DM6 and the Fearless S6, the latter offering a much more bass-oriented signature.
Layering is very good and you should not have any issue to spot every instrument or singer. Pan effects feel more realistic and with tracks that use and abuse those kinds of effects – like Money from Pink Floyd – the final render is as good as it can get. To be honest, it’s on par with in-ears costing twice the price, easily.
Dynamics are astounding, really. I was impressed by the DM6, but the BGVP DM7 really takes it to the higher ground. When connected with a good source such as the Cowon Plenue D2, it mixes authority and finesse in such a manner that I would not be surprised if those were dynamic drivers and not balanced armatures.
Last but not least, the DM7 kept the same transients and preciseness on small details that we heard on the DM6. Female vocals are soft and never itch, male vocals sound lush and the little bump we heard in the high-mids is gone, so no more hard-hitting cymbals.
Simply said : the BGVP DM7 is better than the DM6. It’s not a DM6+, it’s a DM6++.
Highs : shine right like a diamond. It was my only complaint with the DM6, highs were a bit too pronounced for my taste. BGVP fixed this with the DM7 and you get fast transients, micro-details and exceptional resolution without the possible harshness I could hear before. It’s good… no, it’s great.
Good test-track: I fold you – Elder Island
Mediums : such a thrill. Mids are well-balanced and voices sound clear in any configuration. Be it jazz, pop or even heavy metal, the BGVP DM7 never failed and always strikes on point. I didn’t expect to hear a big difference between the DM6 and DM7 but on a top-tier DAP, it’s there.
Good test-track : San-Francisco Street – Sun Rai
Lows : all about that bass. The low section is linear to say the least. From 20Hz to 120Hz, you get the same amount of bass with no distortion at all. It’s still not a bass-head earphone by any means, but it’s much more fun than the DM6. Try it with some electro tracks, you will be surprised.
Good test-track : Hyrdogen – M.O.O.N
Sensitivity / Hiss
The BGVP DM7 is a little harder to drive than the DM6, but not too much. Hiss is still a thing, so beware. Plugged in my iPad, I was immediately welcomed by a discrete “humm”. The provided cable is much prone to hiss than the previous one but that’s not a bad trade if you take account the enhanced sound quality.
The review continues on Page Five, after the click HERE or by using the jump below.