HIBY R8 II: Innovative DAP At It's Finest

“It's easy to play any musical instrument: all you have to do is touch the right key at the right time and the instrument will play itself.”

~~Johann Sebastian Bach, German composer and musician in the Baroque Period.

In this new era of digital revolution, where mobile multimedia devices are ubiquitous, portable audio technology is also evolving to meet people's needs to experience high-fidelity sound from a compact mobile device they can roam around with.  With the advancing elimination of the headphone jack from smartphones (they weren't much good anyway, say most audiophiles), dedicated portable DAPs (digital audio players) are growing out from being a niche product to become mainstream offerings, offering with their vast dedicated audio circuitry sound quality that one would never have found on smartphones anyway, jack or no jack.

This is actually my third review of a HIBY DAP as I did some reviews from their entry-level up to the midrange models and I find them all excellent in terms of pricing and performance. And now, I want to present their latest TOTL, flagship DAP, The HIBY R8 II.

The HIBY R8 II is the flagship-level android-based premium DAP in their R series, and this is indeed a step-up from their R6 PRO II. The R series introduces some new design language for the modern look of their devices. While this is not the most expensive DAP from HIBY as the HIBY RS8 still takes the crown on that category, R8 II is also a device that should be noted as premium yet less pricey that it has some new features that makes this device more fresh.

The overall construction of the HIBY R8 II is quite robust and solid as it is made of high quality stainless steel with an exquisite synthetic fabric which are usually implemented on interiors of some luxury or sports cars and premium furniture pieces, the Alcantara. The stainless steel chassis applied is surgical-grade, known to have a high tensile strength and better corrosion resistance compared to standard steel while the Alcantara fabric offers a premium-feel with its softness, fussiness and napped-finish texture at the back with an embossed print of “Designed by Hiby). The colour of this device that I have is the Preussisch blau (Prussian blue) variant one which is actually my favourite colour blue out there due to its association with the Prussian military colour which I am also an avid reader of European history.

At the left side panel, the volume keys were situated there while at the opposite side panel, there's the micro-SD slot along with a power button with LED indicator and another set of key buttons for pause/play and previous/forward. Meanwhile on its screen part, It has a HD LCD screen of 2160 x1080p in 2:1 aspect with oleophobic coating which makes the screen have a more punchy and vivid colour to make it more visually appealing.

At the bottom part of this device, there we can find the output interfaces and USB-C port. Regarding its output interfaces, there are two sets of 3.5mm and 4.4mm balanced audio jacks and each of these jacks were placed vertically along with the 3.2 rated USB-C port is placed at the centre and it serves as an outlet for charging and sync with quick charge and PD support up to 20W and a 10Gbps transfer speed. The reason of why there are four audio jacks on this device because each of them are linked into different kind of audio output transmission, the PO (Power Output) at the left part which have a low impedance output enough to drive IEMs, earbuds, headphones and loudspeakers, and the LO (Line Out) at the right part which have high impedance output and constantly emitting a high level of voltage signal which are more suitable for devices with high input of resistance like amplifiers. It should be noted that all ports are gold-plated for better conductivity and resistance to corrosion.

As for its internal part and components, the HIBY R8 II has a discrete 16-way PWM (Pulse Width Modulation) - constructed Delta Sigma DAC with a DARWIN MPA (Multiphase Array) DSP architecture. This type of technology seems to further improve the performance of frequencies to be more consistent and precise compared to standard Delta-sigma based DACs which are known to have inconsistent levels of modulation that needs some other parts precision for a proper performance on its digital filters and analogue circuitry. These drastic improvements will somehow give a more accurate and natural music playback with its innovative DARWIN digital filter that oversamples on PCM data at 128x with its high speed MPA DAC while maintaining a superb power efficiency. And also, it is capable of higher quality anti-aliasing while oversampling than the other DARWIN units from HIBY thus far (RS6, RS8 for example), with a fully configurable first-stage 2x oversampled AA filter (just like the other Darwin DAPs), but of 1024 taps filter length compared to the 256 taps for the previous models.

For more technical information, check out Zeppelin and Co.'s more in-depth detail on this technology here.

The performance of this DAC in terms of encoding audio data formats, it supports PCM's maximum bitrate and sampling rate up to 32-bit/1536kHz while on DSD format, it is capable to decode up to  DSD1024 which are quite mind blowing visually. I almost forgot to mention that this device still supports MQA-format and it can unfold some data up to 16x.

Aside from DAC, it also has some high quality audio capacitors along with high capacity tantalum capacitors for a detailed sound quality while retaining its analogue-ish characteristics. It also has a pair of high frequency precision crystal oscillators for better timing accuracy on its digital audio samplings at atomic clock level.

On its amplification, this device has a class-A amplification were driven by Analog Devices’ dual-drivered ADA4624-2 op amps which are known to have an optimal performance on providing high voltage, high gain and low noise application for zero crossover distortion and faster transient responses in which was also supported with 16 custom transistors. On the other type of amplification, its class-AB amplification was handled by three Texas Instrument OPA1612 op amps which have lower amplification enough for low impedance, high sensitivity devices which yields better conserving power output for longer battery life and better thermal control.

All internal circuitry that this device has, from DA to postamp circuits, each of them are independently electrified by either DC/DC transformers, inductors or regulators, which makes this one even more stable on its operation.

The HIBY R8 II is powered by an 8-core midrange chipset, the Qualcomm's Snapdragon 665 which has a maximum processing speed up to 2 Ghz which is quite enough on this device for multitasking and a fairly snappy software performance. This device also has internal memory storage of 256 GB which can be extended via micro-SD and an 8 GB of RAM for software tasks and operation.

Its bluetooth version is 5.0 and it can support more advanced bluetooth audio codec like LDAC, APTX, APTX-HD and HIBY's proprietary UAT codec. This device also has a dual band Wi-Fi, a 2.4 GHz and 5GHz for fast, consistent and stable internet connectivity for music streaming and it should be noted that it also supports DLNA/Airplay/ WiFi music download and upload.

As for battery capacity, this device has a whopping 12000mAh/3.8V which is shielded with pure copper plating for heat dissipation and we can used it for almost half a day in a normal usage depending on some factors like amplification output and gain mode, volume listening levels, screen brightness and streaming music online and it should be noted that activating the Turbo Mode will even take a hit for more battery consumption.

On the software side, The R8 II has an Android 12 operating system which was heavily modified to tailor HIBY's specifics for audio improvements and customisations and also to control some of its internal components via executing some simple software command. It also has a system-wide bit perfect audio from a stock app up to the third-party apps.

As for its visual interface, on its status and notification bar, it still has a look of an Android UI in which retains some of its features like Brightness control, Internet, Bluetooth and Auto-rotate but it add some features the HIBY specifically tailored for their devices like Audio Settings, Darwin Controller, Gain mode settings and Amplifier-Type. And also, HIBY has its own file management system with more advanced features.

Under the Audio setting section, there is the Amplifier Operation, Turbo mode, Gain, Plugins, MSEB, PEQ, DSD gain compensation, Channel balanced, MQA decoder, Spdif digital volume lock and USB digital volume lock.

On DARWIN controller, there you can find its advance settings on its low-pass digital settings, Here are the following settings:

Darwin Default - Offers high frequency bandwidth and exemplary SAF* rejection for exemplary performance according to regular definitions of audio performance. Also does not have any pre-ringing of ultrasonic cutoff frequencies.**

Linear Phase Sharp Rolloff - Similar to Darwin Default, but with zero phase shift across all frequencies, in exchange for pre-ringing of ultrasonic cutoff frequencies, which may be more audible than post-ringing, owing to uneven auditory masking for humans before and after an impulse. (Ringing is equal in amount to Darwin default but distributed equally between pre- and post- ringing).**

Linear Phase Sharp Late Rolloff - Offers further high frequency extension with slightly less SAF rejection which is fine for earphones with exemplary high frequency fidelity. Also has zero phase shift across all frequencies, in exchange for pre-ringing of ultrasonic cutoff frequencies, which may be more audible than post-ringing, owing to uneven auditory masking for humans before and after an impulse.

Linear Phase Short Ring - Offers shorter pre- and post-ringing of ultrasonic cutoff frequencies for better-defined transients in exchange for lower high frequency bandwidth. The treble is more mellow and "analogue". Also has zero phase shift across all frequencies, in exchange for pre-ringing of ultrasonic cutoff frequencies, which may be more audible than post-ringing, owing to uneven auditory masking for humans before and after an impulse. (Ringing is less than Darwin default but distributed equally between pre- and post- ringing).**

Linear Phase Short Ring Late Rolloff - Offers shorter pre- and post-ringing of ultrasonic cutoff frequencies for better-defined transients and does not lose high frequency bandwidth. Has lower SAF rejection instead. The treble is more pin-point accurate if played from earphones with exemplary high-frequency fidelity. Also has zero phase shift across all frequencies, in exchange for pre-ringing of ultrasonic cutoff frequencies, which may be more audible than post-ringing, owing to uneven auditory masking for humans before and after an impulse. (Ringing is less than Darwin default but distributed equally between pre- and post- ringing).**

Minimum Phase Sharp Rolloff - Compared to Darwin Default, offers shorter post-ringing of ultrasonic cutoff frequencies for better-defined transients and does not lose high frequency bandwidth. Has lower SAF rejection instead. The treble is more pin-point accurate if played from earphones with exemplary high-frequency fidelity. Does not have any pre-ringing of ultrasonic cutoff frequencies, and post-ringing is less than the fast-roll off filters.**

Minimum Phase Sharp Late Rolloff - Compared to Darwin Default, offers further high frequency extension with slightly less SAF rejection which is fine for earphones with exemplary high-frequency fidelity. Also does not have any pre-ringing of ultrasonic cutoff frequencies.**

Minimum Phase Short Ring - Compared to Darwin Default, offers shorter post-ringing of ultrasonic cutoff frequencies for better-defined transients and does not lose high frequency bandwidth. Has lower SAF rejection instead. The treble is more pin-point accurate if played from earphones with exemplary high-frequency fidelity. Does not have any pre-ringing of ultrasonic cutoff frequencies, and post-ringing is less than the fast-roll off filters.**

Minimum Phase Short Ring Late Rolloff - Compared to Darwin Default, offers shorter post-ringing of ultrasonic cutoff frequencies for better-defined transients in exchange for lower high frequency bandwidth. The treble is more mellow and "analogue". Does not have any pre-ringing of ultrasonic cutoff frequencies, and post-ringing is less than the fast-roll off filters.**

0th Order Hold NOS - one of 3 possible implementations of an "NOS" result, other than the actual NOS switch. Applies 0th-order hold of original signal to upsampled output resulting in the classic "stair step" waveform response of most "NOS" systems (including also the actual NOS switch also available). No pre- or post- ringing. Has slow and widely rolled off highs, owing to the physics of 0th-order hold, which also offers some (very little) SAF rejection. Sound is more mellow, "analog" than all filters (except no. 11), if not distorted by SAF-IMD.**

Darwin Ultra - based on long experience with R2R, NOS vs D-S, OS, we crafted the ideal oversampling filter for analog sound lovers. It has the same audible characteristics as the smoothest NOS filter (1st-order interpolation), while taking full advantage of the fidelity-increasing SAF rejection capabilities offered by oversampling. Even the phase response is a new secret sauce that is superior to both minimum phase and linear phase.**

Note: **- the information on each filter was provided by Mr. Joseph Yeung, a representative of HIBY, credits to this effort on this in-depth explanation.

On gain mode level, this device offers three (3) gain mode options, low gain, medium gain and high gain modes, each gain mode corresponds with signal and noise level based on the sensitivity tolerance of each set that the higher gain mode on driving a sensitive set, we might encounter some audible hiss.

In regards to MSEB, this feature was HIBY's proprietary advanced software algorithm feature that combines parametric equalisation and sound field adjustments. This feature is quite beneficial for audio enthusiasts who have their own sound target preference to customise it  in a more convenient and ease of operating its functionality. This feature is also fully integrated into their HIBY MUSIC app.

The Turbo mode appears to give more sharper definition on note attacks on instruments and a bit tighter and even more incisive bass response.

About its stock player, HIBY installed a professional version of their proprietary music app, The HIBY Music app, which was considered as one of the best music players in mobile app space due its advanced features like theme, advanced parametric equalisers and an online streaming support.

The product packaging of HIBY R8 II is a large rectangular-shaped packaging box and it is quite pretty well-presented and the contents are well-organised in a manner that a premium DAP could only offer.

Here are the following contents inside of HIBY's packaging box:

• The HIBY R8 II DAP
• A premium  opaque TPU case with Alcantra fabric on each side panel.
• USB Type-C to Type-C cable.
• Extra screen protector
• Some paperwork

In terms of tonal qualities, The HIBY R8 II has a warmish-neutral sound that makes them sound more natural, well-balanced on representing each frequency tone while maintaining a surprising transparency and more accurate tonal colour. But given it DARWIN digital filters, it somehow affects some marginal changes of its high frequency response

In my testing settings, I turn on the turbo mode, a stock DARWIN Default filter, low gain mode and a class AB mode as I believe that  it is more doable based on my preferred set-up and usage.

I'm using some of the IEMs that were considered as neutral-sounding ones or just slightly coloured sounding a bit. Here are the following sets:

• HIBY Crystal 6 Mk.II
• LETSHUOER CADENZA 12
• LETSHUOER EJ07M
• LETSHUOER EJ09
• AFUL PERFORMER 8
• AFUL MAGICONE
• BQEYZ WINTER
• BQEYZ WIND
• KINERA IDUN GOLDEN
• TINHIFI T2 Mk.II

As for its sound profile, same as my initial impression, the HIBY R8 II has that warmish-neutral  sound profile that both analogue and digital music lovers have a common ground to like its overall tuning. It will deliver the closest and a quite faithful reproduction on both vocals and instruments in an exceptional natural tone on them while maintaining a smoothness and well-texture for more engaging and musical experience.

LOWS/BASS:

This device is very capable of delivering a sufficient punchiness, deepness and tactility in its bass response. It retains a clean, precise and accuracy that this device is able to project without adding unnecessary colouration.

The sub-bass presence is fairly perceived if some instruments like low tone bass guitars, octabasses, synthesisers and drum machines that I usually experience it from genres like old school hip-hop, classic rock and synthpops. On the mid-bass presentation, it has an ample texture just to give a well-balanced note density on instruments like bass guitars, bass trumpets, viola, cello, bass kick drums and bass clarinets, and on male vocals like bass up to  bass-baritone.

MIDRANGE:

While having a neutral and linear midrange, it has a hint of warmth with a good texture to add a tad of lushness and richness on vocals and instruments while having a transparent and resolving sound quality. It has this analogue-ish characteristic that somehow defines its organic sound.

Male vocals are properly textured with good depth and volume as it gives a gruff, deep and well-modulated sound on baritones, tenors and countertenors.  On female vocals,  contraltos have rich and smoky voices while mezzo-sopranos have sweet and soothing vocals, and then sopranos have these ethereal and hypnotic voices as they sound silvery and silky.

On instruments, all instruments sounds natural and realistic as the brass instruments like trumpets, trombones and horns sound stately, full and warm subsequently while on woodwinds instruments, piccolos sounds graceful, concert flutes have rich and ethereal sound, clarinets have expressive sound and saxophones have sonorous and velvety sound. Strings like guitars, violins and harps, there's a well-balanced sound with a good presence of overtones on acoustic guitars while violins have a lively and clear sound, and then, harps have crystalline and resonant sound on them. As for percussive instruments, snares have precise and clear sound, tom-toms have warm and resonant sound, field drums have venerable and full sound and kettledrums have rumbly and velvety sound on them. Pianos seem to have an even, well-balanced with just the right amount of warmth on their sound.

HIGHS/TREBLE:

The treble response that this set is able to deliver is quite energetic, pretty lucid with a good amount of airy extension. Despite some noticeable evenness and smoothness on its character overall,  it can execute a well-defined vocal projection and well-rendered attack of rhythmic and percussive instruments.

Treble-focus instruments like cymbals, hi-hats, glockenspiels and celestas have a precise, delineated and accurate timbre on them as they sound almost life-like.

SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:

With a moniker of “Portable Concert Hall”, this DAP truly delivers on how it projects a spacious, well-layered and atmospheric sound/speaker stage dimension that when pairing it  to some sets with superb technical capabilities will be even more improved in terms of openness and probably will reach a pinnacle of technical excellence that you rarely encountered on a portable audio set-up.

This device gives a clean, pitch black background  on its sonic canvas where I was able to pinpoint the exact location of instruments and vocals in a perceived soundscape that makes this one truly at the top of the line level. It has an excellent resolution as it has solid and well-textured macro-dynamics while it has well-defined and decently sharp on micro-detail retrieval as it is capable to project a plenty amount of subtleties and nuances like vocal ends, perceived spatial cues reverberations and notation attacks of instruments like strumming of string guitars, reverberating effect on hitting the drum head, bow gripping of note strings on violins, cellos etc.

PEER COMPARISONS:

SONY WM1Z (DEMO)

• This was probably the first TOTL DAP that I've ever encountered as I've started delving seriously towards more audio enthusiasm around 2018 as I wondered why this device was so expensive at that time. Compared to the R8 II, it has a smaller screen-size, appears to use a heavily Linux distro, a more intuitive and logical placement of buttons and is somehow lighter. It only has a single 4.4mm balanced and 3.5mm single ended which were placed on each side with lesser power output.
• As for its tonal profile, this is probably the most liked Sony DAP in my opinion as it has a balanced-warmish tuning in which make this one is quite a refinement among the Sony DAPs  even to the modern models although it still follows the in-house sound of Sony in which as I have some qualms on it as it sound too coloured in my liking. It has a more warmer and lusher due to its more textured note weight on both bass and midrange frequencies, therefore, it sounds more coloured compared to R8II.
• Technicalities-wise, I don't see this device as a very technical sounding one to be honest as it focuses more on its distinctive in-house sound rather than having competent technical capabilities. It doesn't have a wide lateral width span on its sound field but it has a good depth. Separation and layering of this DAP is on above-average that doesn't have a standout feature.

ASTELL & KERN SP1000 (DEMO)

• One of the first TOTL DAPs from A&K that I've tested. Like all A&K DAPs, this device has an irregular chassis design but it appears durable and looks sophisticated due its carbon-fibre cover in its rear part. It is made of stainless steel with a volume control wheel that I really preferred. It has a smaller screen size and for balanced output, it only has a 2.5mm balanced port as A&K usually implemented at that time. Like the R8II, it has a heavily modified Android OS and a large capacity of internal memory storage of 256 GB. It uses an AKM DAC with a good amount of power output but not on par with R8 II which has more power output.
• Regarding its tonality, I can definitely attesting that this DAP has a neutral-ish-bright sound signature as I've tested it many times every time I've visited the hi-fi store that I'm hanging out with, and in my thoughts it sounds like a typical ESS DAC rather than lush and velvety characteristics of most AKM DACs that some of my dongles and smartphone have. Compared to the R8 II, it has a tighter bass response, crisper and brighter midrange and a more energetic treble response that makes it more sparkling.
• As for technical performance, SP1000 appears to be more analytical in nature on how it projects a quite well-defined layering and excellent separation of elements in a fairly spacious sound/speaker stage. It has a sharper micro-detail retrieval but its macro-dynamics appears to be on a leaner side.

LOTOO PAW GOLD TOUCH

• This is actually my favourite reference TOTL DAP as it impresses me up to now. It has a more compact chassis design on which its material is made of aluminium alloy and it uses an AKM flagship DAC but in terms of decoding capability, the PCM decoding of this is quite limited as it is only capable up to 768kHz on paper. It has a 4.4mm balanced and 3.5mm single-ended that can be switched on either PO or LO configuration which both have good power output in my opinion. And also, it has a volume roller which is quite smooth and snappy on operating it at the top part which makes it more accessible to adjust desired volume level. On software, it uses a modified linux OS for better customisation and more coherent UI to use.
• In regards to its tonal aspect, as I mentioned before, this device is my reference sound profile. It has balanced-neutral sound that makes it almost uncoloured sounding while maintaining an excellent resolution while having a well-delineated definition of its overall sound quality. Bass response is well-rendered for its punchiness while making it well-segregated to have a sense of tidiness on it, then a linear yet transparent.with sufficiently textured and well-detailed midrange presentation and a neutral and yet quite airy treble response.
• Technical performance appears to be LOTOO PAW GOLD TOUCH's one of its strongest asset as it has a quite a bit larger sound/speaker stage compared to R8II but the rest of its technical aspects appears to be on par or slightly better on both DAPs if I compared it side by side.

As I conclude my assessment of this device, HIBY R8 II truly delivers a performance befitting for a top of the line, flagship device that we have seen recently. The way of the execution on how this device was constructed with such refined craftsmanship along with the implementation of some of the innovative features to deliver the best possible sound quality with superior technical capabilities that a digital audio player could have.

A breakthrough of its proprietary delta-sigma DAC that HIBY painstakingly and meticulously developed shows the level of dedication on its research and development on how it was able to overcome the physical hurdles of a typical delta-sigma DACs in terms of complex processing, harmonic errors, signal output and modulation.

With its moniker “Portable Concert Hall'', it isn't just a mere marketing stunt but rather a reality that this device is capable of. And to think that in the realm of TOTL flagship DAPs, HIBY R8 II pricing should be considered and with its feature-rich qualities that this device has, its asking price is justified enough on it.

HIBY R8 II is now available at HIBY’s official store, I'll provide an unaffiliated link below.

★★ HIBY R8 II - OFFICIAL STORE ★★

For more reviews of HIBY products, check out my previous reviewers on their products before.

■ HIBY CRYSTAL 6 Mk.II

■ HIBY R6 PRO II

■ HIBY R3 II

■ HIBY YVAIN

PROS:

● Its overall construction is quite robust as it is made of surgical-grade stainless steel on its chassis.

● That Alcantara fabric gives a luxurious-feel and adds some sophistication and elegance to its already masterfully-crafted physical appearance.

● Well-placed button control keys and it is quite snappy to press them.

● Probably the most “affordable” DAP among the flagship devices in the audio market.

● Crisp and vividly coloured HD LCD screen

● Separate output modes for LO and PO.

● The power output on different gain modes have a sufficient voltage output to drive most of the stubborn, power demanding IEMs out there. Might be able to drive some cans with higher impedance requirements.

● Innovative proprietary PWM-based delta-sigma DACs which have better decoding performance while conserving some power on its advanced circuitry.

● Enormous battery capacity.

● 256GB internal memory storage, it even supports micro-SD cards for more memory storage capacity.

● Android 12 OS for versatility and customisation on operating this device.

● A versatile sound profile that might be likeable for both musical and critical-analytical type of audio enthusiasts

● Its DARWIN architecture offers a lot of customisation from low-pass antialiasing filter setting and Harmonic Control.

● A warmish-neutral that sounds so well-balanced and clear sound quality.

● Natural and almost life-like sounding vocals and instruments.

● Its sound/speaker stage projection is quite cavernous with its atmospheric-feel that we are in a concert hall.

● Well-defined layering and excellent separation

● Excellent resolution capabilities for a warmish-neutral sounding DAP.

CONS:

● Well, Alcantara fabrics were quite a dust and pollen magnet.

● This is indeed a bulky device and has some substantial weight on it.

● It takes some time on charging just to replenish its battery power.

● Turbo mode will definitely draw more battery power and it's getting warm for longer usage.

● Ideally, a hard-bound leather case with Alcantara lining would be better on this device.

● I wish that this device had a volume wheel on instead of a button key system.

Some Tracks Tested: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)

Alison Krauss -When You Say Nothing At All *

Jade Wiedlin - Blue Kiss**

Led Zeppelin - When The Levee Breaks **

Mountain - Mississippi Queen *

Queen - Killer Queen **

Guns N' Roses - Patience *'*

Eric Clapton - Tears in Heaven '*'

Sergio Mendes- Never Gonna Let You Go '*'

Pearl Jam - Daughter **

Roselia - Hidamari Rhodonite *

Assassin - Fight (To Stop The Tyranny)*

Celtic Frost- Visual Aggression *

New Order - Blue Monday *

The Corrs- What Can I do (unplugged version) *

Jimi Hendrix Experience - Voodoo Child *

The Madness- Buggy Trousers *

Metallica - Motorbreath **

Mariah Carey- Always Be My Baby *

Destiny's Child - Say My Name *

Malice Mizer- Au Revoir *

Mozart - Lacrimosa *

New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *

Eva Cassidy - Fields of Gold (Sting cover)*

Michael Jackson - Give In To Me *

Exciter - Violence and Force *

Diana Krall - Stop This World **

Debbie Gibson - Foolish Beat *'*

The Sisters of Mercy – Lucretia My Reflection**

Suzanne Vega – Luka **

Lauren Christy – Steep *

Ottoman Mehter - Hucum Marsi *

Diana Damrau - Mozart: Die Zauberflöte*

Type O Negative - Black No.1 *

Felix Ayo - Vivaldi: Presto **

Three Tenors - Nessum Dorma *

Mercyful Fate - Witches' Dance *

P.S.

I am not affiliated to HIBY MUSIC nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.

Once again, I would like to send my gratitude to JOSEPH  YEUNG of HIBY MUSIC for providing this review unit. I truly appreciate his generosity and trust towards me and other reviewers.