Review: Samsung Galaxy Buds+

The Samsung Galaxy buds are becoming an affordable true wireless headphone option for those who don’t want to shell out the full price for the Bose and Sennheiser alternatives, but they’re not without their flaws.


The Samsung Galaxy buds are becoming an affordable true wireless headphone option for those who don’t want to shell out the full price for the Bose and Sennheiser alternatives. While these are more accessible to the budget market in comparison to their premium competitors, you do get what you pay for, and there are issues that we’ll talk about. In this review, I’ll give some thoughts about the Galaxy Buds+ as a true wireless option for several uses.

If you’re just here for the TL,DR (too long, didn’t read), skip on down to the Conclusion section.

Build Quality

The Samsung Galaxy Buds+ and included wireless charging case are constructed entirely of plastic, but that doesn’t mean they feel cheap. The charging case is much weightier than I expected, but not heavy enough to be a burden. It feels nice in the hand. The buds themselves are also plastic, but feel sleek and well-built; they definitely don’t feel cheap at all. While I wouldn’t go as far as to say that they feel “premium,” they do feel quality enough that I don’t immediately have concerns about it, and don’t regret the purchase.

The wingtips for the earpieces and the silicone plugs are pretty much what you would expect. The only note here is that I will be interested to see how the wingtips hold up if swapped regularly, as they are silicone/rubber and must be stretched to remove or install on the buds. While this might not be normal usage since most folks will pick the combination which works best for them and leave it at that, I am still concerned to see how they hold up. Other wireless earbud solutions I have used previously have had the silicon/rubber portions of the construction be the weak point and those fell apart long before the device stopped working (looking at you, Bose SoundSports–review coming soon).

Sound Performance

The most important part of my review–of course–will be sound performance. After all, isn’t the point of purchasing audio gear having your music sound good? Before I dive into some analysis here, please do note that the Galaxy Buds+ do have a built-in software EQ via the Samsung Wear (wearables) app on Samsung smartphones, which offers various EQ presets, however, I will be performing my analysis with a direct bluetooth connection to my PC without any EQ, that way the analysis will apply to those of you who might use these on non-Samsung devices. I am also listening without the ambient noise pass-through enabled, and with the default wingtips and small eartips installed. I’ve selected twelve (12) songs from my usual list of analysis tracks to analyze to get a good baseline of how these little buds from Samsung perform. I’ll list a few likes/dislikes for each song. If you’d like to hear further thoughts on any particular aspect of the buds’ sound performance on a particular song, let me know in the comments below. Also, for your convenience, I’ve included the Spotify links below, though I recommend the FLACs or another source if you have it available. Now let’s get to it!

“Bad Guy” – Billie Eilish

  • Dislike: Bass is muddled, muted, and sort of sloppy, which is unfortunate as this song has some seriously fun bass.
  • Dislike: Snare/snaps are not crisp at all and feel like the higher end of the treble falls off.
  • Like: Adequate separation to be able to discern timing differences in various snaps and overlapped vocal parts.

“Water Night” – Eric Whitacre, performed by the BYU Singers

  • Like: Harmonies are still smooth in the beginning, despite the overlap of the many, many different parts.
  • Dislike: Lower parts don’t hum and fill the space as nicely as they do when listening on other gear.
  • Dislike: at 1:17, the Galaxy Buds+ do not perform well with the intricate and swelling treble harmonies. While other gear allows you to hear the ringing of each part without blowing out the earbuds, the Galaxy Buds+ got crackly during the swell and really ruined that part of the song. I do admit this is a tough part of a tough song for many headphones and earbuds, but I am still disappointed with the poor performance from the Buds+ here.
  • Dislike: You can faintly hear a hissing during soft/quiet parts of the song. I have verified this is not room/recording noise from the song.

“Sir Duke” – Stevie Wonder

  • Like: As with Bad Guy earlier, there is pretty good separation of the different parts here. Earbuds are notorious for having poor sound stage and spatial imaging, and that’s fine–they’re not exactly for critical listening. While you won’t get that level of detail and space with the Buds+, they do a decent enough job at letting you hear all the different parts of the music.
  • Dislike: Again, I’m hearing not as punchy of bass as I would like, and not as crisp treble. It all feels very softened. And this is a punchy song.

“Formed by Glaciers” – Kubbi

  • Like: The mutedness of the Buds+ kind of works here. The song starts out quiet, but rich and reflective. At 1:20, the type of muted bass the song incorporates works really well with the lack of punchy bass that the Buds+ provide. If you listen to a lot of music with bass like this, then my comments about the limited and muddled bass may be negligible to you.
  • Like: Immersion was much better on this track, whereas previous tracks it really felt more like I was sitting with earbuds in, listening to the song, rather than experiencing the song.
  • Dislike: Beginning around 1:45, the cello, bass, and other deep stringed instruments come in. The bow pulling across the strings of these instruments produces a lot of beautiful texture when recorded–however the Buds+ didn’t reflect that at all.

“La Luna – Binaural” – Ottmar Liebert + Luna Negra

  • Like: The different claps at the beginning of the song do actually sound various and differentiated.
  • Dislike: At 1:14 when the guitars come in, I felt like I was listening to the song live, but from behind a thin sheet of plexiglass. Again, overall very muted.

“Radioactive” – Our Last Night (Originally performed by Imagine Dragons)

  • Like: These earbuds definitely perform quite a bit better for rock, punk, metal, and heavier/grittier music. Separation was pretty good and things felt more crisp. Part of that is inherently due to the type of music, but the performance really started to shine a little more instead of being dull.
  • Like: The texture of screams and heavier vocals was present and defined, and surprisingly not muddled like I’d experienced otherwise prior.
  • Dislike: There is a particular cymbal that is repeatedly hit in this song. The Buds+ do not like the frequency at which the sound is produced. You can hear a little bit of textured hiss as the drivers get fuzzy.

“Iscariot” – Fundamentally Sound

  • Like: Finally, some a capella portion felt like it filled the space a bit better. This is partly due to the song, but something with the key and tonality of the vocalists combined with some really neat resonance really pops here.
  • Like: Starting 0:35, the texture of the vocalists’ voices (particularly the /n/ sounds being held) are much better and are actually interesting.
  • Dislike: There are definitely details being lost. This recording has some mouth and minor breathing noises that I can usually hear on other gear, but don’t hear here.
  • Dislike: At 3:45, the bass and percussive voice that comes in sounded like I was listening to it from the room next door, while the rest of the sounds were present in a you’re-in-the-room sense.

“Xanny” – Billie Eilish

  • Dislike: I know I sound like a broken record, but the bass performance is less-than-desirable. While this bass line is fairly muted, there is a lot of texture that the Buds+ simply didn’t deliver.
  • Like: The sweeping/panning at 1:02 is pretty smooth and makes its way from ear to ear without any gaps or interruptions.
  • Dislike: At the same spot, 1:02, there is an odd ring part-way through one of the sweeps that I’ve not heard on other gear before, including my critical listening gear. I wonder if this is issues with the drivers/build.

“Africa” – Toto

  • Like: Harmonic separation is good enough and the different parts of the chorus (the most iconic part of the song) are easy to hear and blend smoothly.
  • Like: At 3:03, the marimba/vibraphone/whatever-it-actually-is has some great little pings and pops as the mallets strike the bars.
  • Dislike: As with the previous tracks, not clear enough bass.

“The Ground” – Ola Gjeilo, Tenebrae + The Chamber Orchestra of London

  • Dislike: It is difficult to discern the different stringed instruments and their strings being played. There is a lot of texture here that is lost, despite it being a smooth harmony.
  • Dislike: While there is quite a bit of bass here in this song, the texture and tone of the basses’ voices is completely lost.
  • Dislike: There are quite a few places where the drivers peak, as they did in Eric Whitacre’s “Water Night,” ruining swells and treble parts.
  • Like: Piano part and keyfalls come through roughly as expected and the quiet piano parts are well-heard.
  • Like: You can discern some of the quiet noises of the conductor moving, which I like.

“You’re a Mean One, Mr. Grinch” – Small Town Titans

  • Like: Here again we find that the Buds+ perform much better for harder styles of music. These earbuds do this song some justice compared to the prior tracks.
  • Like: There is a lot of texture in the vocalist’s voice at the beginning of this song, and it shows through clear and cleanly when listening with the Buds+. This was shocking given the performance of the earbuds on other tracks.
  • Like: When the vocalist plays around with his tone and different “characters” in the verse around 1:30, the tone is really quite good considering the previous performances and the fact that these are earbuds. You can really hear and enjoy the difference between his placed and proper intonation and when he pulls it forward to the front of his mouth or gets wider with it.

“Blank Space” – Taylor Swift

  • Important Note: I decided to add this song after I had written the Call Quality section of this post. After having used the microphones on the Buds+ to do a recording test, the sound performance when listening completely changed. I checked my Windows audio settings, and everything was still the same as when I had previously done my analysis. This is wildly inconsistent, and alarming.
  • Treble is now suddenly very crisp — too much so. Snares hurt your ears and most sounds above the mid range seem to be crackling. Actually, there’s lots of crackling in general, and it sounds hardware-related.
  • Bass is still very lost and muddled.
  • Sound is now overall very shrill.
  • Harmonies are present, but less defined.

Call Quality

Just…no. During my test of call quality, the audio was constantly popping, and the people on the other end of the call were also hearing the popping. There was also an annoying buzzing sound the entire call. Volume on my side was okay, but the other people I was calling commented that beyond the cutting out and popping, I was very quiet as well. Below is a recording using the built-in microphone.

A test audio recording using the built-in microphones of the Samsung Galaxy Buds+

Battery Life

With wireless headphones or earbuds, the big question–next to sound performance–is obviously going to be how long the battery lasts. My prior wireless earbuds were the Bose SoundSports. To me, the seven (7) hour battery life was acceptable, and the norm. Especially with other offerings on the market such as Razer’s true wireless solution only having four (4) hours of listen time. Imagine my pleasant surprise when my first day with the Buds+ was not interrupted at all by lack of battery. I was able to make it through a full day of music listening, many phone calls and video conferences, and tinkering with my new earbuds without having to charge. When I got to the late evening, I did have to top off while I finished my tinkering for the first day, but just 10 minutes of fast charge got me another several hours of listening.

Price Point

With an MSRP of $149.99 and the fact that Amazon typically has these earbuds on sale for $99.80, they are certainly an option for those who do not wish to pay the full retail price of other options such as Bose’s QuietComfort, TrueWireless, or Sennheiser’s Momentum True Wireless offerings. Or of course Apple’s AirPods Pro, for the iPhone crowd.


So. I would say that for the $99.80 plus tax that I paid, the earbuds and included charging case are pretty decent for listening to rock, punk, metal, or heavier genres, as long as you don’t want to listen too loudly, and you’re not looking to do any critical listening.

If you’re an audiophile, these are not the earbuds for you. If you’re someone just looking for some portable earbuds that are truly wireless, effortlessly pair with your devices, and come with a charging case, this could be an option for you.

If you’re looking for something to listen to music and make/take any kind of call or communication with, these are not it.

Overall I would say that these have their place, but the MSRP of $149.99 is too high, and the earbuds deliver disappointing performance overall. This is particularly frustrating since the Buds+ are the second and “improved” iteration of Samsungs true-wireless audio offering.

Do you have the Samsung Galaxy Buds+? What are your thoughts on them? Do you have other true wireless earbuds you love, and why? As always, I’d love to hear from you in the comments below.

Additional Reading

Samsung Galaxy Buds+ on Amazon

Listening | “Fjäril” from Meadows

At the time of this blog post I am listening to ”Fjäril” from Meadows’ The Emergency Album.

Meadows bio from Spotify:

Born and raised in the small town Söderköping on the east coast of Sweden, the finger style guitarist and songwriter Christoffer Wadensten have traveled the world the last couple of years. Playing clubs, festivals, living rooms and theaters around Scandinavia, Europe, UK and USA. In autumn 2016 Meadows released his home made debut EP ”The Only Boy Awake.” In April 2017 the title track of the EP was featured in the Netflix series ”13 Reasons Why,” which brought him into millions of living rooms.

Oldenburn Internetzeitung in Germany described Meadows as ”In the jungle of the many songwriters, he is an exceptional artist. He just knows how to captivate his audience,” and Nerikes Allehanda in Sweden said, ”The humble but confident presence creates a connection to the audience that is…let’s say: amazing.” Based on listening to just Fjäril alone, I cannot disagree.

Fjäril translates to ”butterfly” in the English language. I did not look this up until after I had listened to the song many times, and learning the translation of the track name, it made such sense.

Meadows’ finger style of guitaristry is perfect for this, and he wrote this song so much for his style, by my reckoning. As you listen to this 1m 45s journey you’ll hear his fingers flutter across the strings.

The song starts out with a beautiful flourish of notes that changes tone back and forth, ending with some harmonics. Taking a slow, somber, and reflective turn, he slows down. The mid section of the song is lower in pitch, more deliberate, and contemplative. Around the one minute mark, the tempo increases and the flourish of notes returns. The flutters. The buildup to the end of the song has such forward movement, and delivers you directly to the completion of the song, which slows down and ends on a resolved note.

From an audio standpoint, the track is quite literally just guitar. No percussion, no samples, no vocals, and no other instruments. And it doesn’t feel the least bit lacking. Meadows manages to fill the track so fully with just his guitar. The detail and texture in the recording are nice as well, with the listener able to discern the movements of his fingers across strings and carefully pinging harmonics, but without any scratching or other unwanted artifacts. It is simply beautiful, moving, smooth and skillful guitar.

If you’re looking for a peaceful afternoon listen, look for further than ”Fjäril” from Meadows. You won’t be disappointed.

Happy listening,

~ Griff



Review: Schiit Modi 2 Uber DAC (Digital-to-Analog Converter)

I feel the Modi 2 Uber is a great little device that dramatically improved the quality of my listening for a smaller stack of cash. If you aren’t using a DAC currently, need multiple inputs, and can find one used, don’t miss out on picking it up!

We’re back for another Schiit review and this time we are looking at the Modi 2 Uber, one of the US-based company’s entry DACs (digital-to-audio converters).  I picked up the M2U for about $90 around the same time I picked up the Magni 3, which I also recently reviewed here.

As with the Magni review and to keep things as consistent as possible, note the following:

  • Source: Desktop PC using both Spotify and some FLACs
  • Amp: Schiit Magni 3
  • Headphones: Hifiman HE-400i

‘ Schiit Modi 2 Uber front view. Pardon the dust.

The M2U takes up the exact same footprint as the Magni 3 at 5 x 4 x 1.8 inches
making them a wonderful pair to put side-by-side or made into a little Schiit-stack. While the measurements in the specifications are about 0.4 inches different, in reality they stack directly atop one another with no variance in size whatsoever.

The Modi 2 Uber makes a great companion to the Magni 3 for many reasons, its matching form factor and size being one of those.

The front of the device, in Schiit fashion, features the manufacturer logo and model name. From a functional standpoint, the front also features the button to change inputs and three white LED indicator lights to display which input the user has selected. The chassis of the device–like the Magni– is made of metal with smooth curves in the front and has a lightweight but nice feel to it. Unfortunately, Schiit went with a plastic button, not dissimilar to the plastic knob they used on the Magni. The cheap input selector really takes away from what would otherwise feel like a faily premium device. Additionally, the plastic input selector button gets quite loose quickly when it shouldn’t, from a design standpoint.

Modi 2 Uber (rear view)

Moving to the rear of the device, we find the RCA output connection, a coaxial input, optical input, and the USB input for your computer as well as the power toggle switch and 16V barrel power jack. I am using the M2U with the USB input connected to my custom desktop computer and the optical input connected to a Sony PlayStation 4.

One of my favorite things about the Modi 2 Uber–apart from the improvement to the sound it provides, which we will get to shortly–is the fact that it supports multiple inputs. While not a breakthrough in technology, this is easily a requirement in DAC choice for me, as I often wish to change inputs. Besides, once I tied my PS4 to my DAC and better headphones, it’s hard to go back to lesser headsets. Despite a flimsy input selector button, the M2U handles input switching nicely with very little delay or lag and it is as simple as the tap of the front button. But let’s be honest. What’s really important here is the sound. After using the Modi 2 Uber for about 8 or 9 months, here’s what I think.

I’m always wary of treble, as it tends to hurt and tire my ears if not well-delivered. Because of this, I chose three different tracks to test treble in this review.

  • Listening to the famous ”Rosanna” from TOTO, trebles were balanced and analytical but without being too harsh. Around two minutes into the song when there are some higher harmonies, both parts come through clearly. The various horn lines and parts throughout the song are a bit higher in range and are energetic to listen to without fatiguing your ears, which was great for me. I’m I sucker for good brass and woodwind action in music.
  • Additionally, I of course listened to ”Water Night” by Eric Whitacre, as I always use this song to examine treble performance as it contains at least 4 soprano and alto parts and complex, swelling harmonies–much due to it being composed by Eric Whitacre. From the 2:00 to 3:00, and especially at 2:40, the soaring soprano melodies complement each other and build beautifully without feeling ”crunched” into the upper-end and maintaining their airiness.
  • Finally, also from Eric Whitacre, I had to use ”Lux Arumque” for its incredible, soaring solosist and other soprano delights. With this track, I often find through lesser hardware that some of the highest parts of the song–such as at 0:48–that, while beautifully written, are typically delivered in a cringe-y and harsh ringing fashion. This was not the case when listening via the Modi 2 Uber. Treble sections were well-placed and detailed without any ringing or harshness.

Moving on to the mid-section, which is often a rather busy part of music that can get flat and jumbled.

  • ”La Luna – binaural” from Ottmar Liebert and Luna Negra is a special favorite of mine, and it’s always the first song I listen to when testing any hardware. This trade sounds very, very wide and I enjoy that tremendously. The main guitar line falls largely in the mid-section and was clear, detailed, and stood out from the accompanying rhythm guitar.
  • Stick with me here, because this isn’t my usual listening. ”Shake It Off” from Taylor Switch–and much of her album 1989–is well-mastered and has plenty going on to analyze. I had no trouble identifying the various parts that are usually jumbled over each other. The various horn lines were fun to listen to in the background. Little did I know that there is a sort of synth-y organ part for most the song. I had no idea. I knew the pitches were there, kind of, but had never really realized the part. Additionally, vocals were clear and percussive parts were easy to identify and keep track of, including small snaps and claps far in the background.

Lastly, but definitely not least, the bass.

  • You know what I’m playing. ”Bad Guy” from Billie Eilish has a bold, groovy, and textured bass line from the get-go and remains one of my favorite songs to listen to in terms of modern popular music. With each note the bass hits, you can really hear the texture and detail of the string actually vibrating, versus the level note you generally hear through lesser hardware. Additionally, the bump of the drum line is just…energetic and punchy. But not a glance to the face, punchy like when listening through your car stereo or included mobile phone earbuds. More like a thin layer of memory foam hitting an immovable surface that is infinitely hollow underneath with a resounding thud. It’s great, and the M2U makes it sound better than I’ve previously heard it.
  • The iconic ”Money” from Pink Floyd is another favorite of mine. It’s always been good, but I’ve particularly liked it since it was featured in the movie The Italian Job. It’s another one of those songs that just has a great bassline rooting the song the whole way through. While less punchy than other songs, but texture in the bass line is still enjoyable and percusive bass is very full and natural. The details that the M2U delivered in this region while keeping things smooth was impressive to me, especially having come from no DAC whatsoever.

Over all I have been very happy with the Schiit Modi 2 Uber and it has its place on my desk and will continue to get regular use. My only complaints are that the input switcher button is loose and cheap-feeling, the device gets quite warm during medium to long listening sessions, and that it uses a wall-wart style power plug that takes up a ton of space. This is a weak point for all of Schiit’s entry gear, so be advised of that. Beyond those three complaints, I still feel the Modi 2 Uber is a great little device that dramatically improved the quality of my listening for a smaller stack of cash. If you aren’t using a DAC currently, need multiple inputs, and can find one used, don’t miss out on picking it up!

Schiit Audio founded by audiophiles Jason Stoddard and Mike Moffat and–despite the German-sounding name–is a US-based company producing fully balanced differential power amplifiers, fully discrete I/V conversion stages, audiophile D/A converters, relay-switched stepped attenuator volume controls in preamps, the first DTS home theater surround processor on the market, and much more. More information on Schiit Audio can be found on their website,

Review: Schiit Magni 3 Headphone Amplifier

Overall, the Magni 3 is clean-cut, smooth, and easy listening for a relatively small price tag.

While the availability of the Magni 3 has dropped a bit since I purchased the amplifier, and its successors the Magni 3+ and Heresey have become popular, the Magni 3 remains a solid choice for driving many headphones in a simple, straightforward fashion that you’ll never tire of. I can gladly recommend it without hesitation.

Looking for a relatively affordable headphone amplifier that isn’t a piece of Schiit? Well, the Magni 3 doesn’t fit that bill due to its manufacturer’s comical name, but don’t be fooled by the terrible pun–this headphone amplifer is a great entry amp for the budding head-fi enthusiast.

I picked up the Magni 3 on Amazon for about $119 at the time (this was probably about 8 or 9 months ago). This would be my third headphone amplifier as I experimented with some of the different lower-budget products available on the market. For the purposes of this review, do note the following:

  • Source: Desktop PC using both Spotify and some FLACs
  • DAC: Schiit Modi 2 Uber
  • Headphones: Hifiman HE-400i
The Schiit Magni 3 (front view). Pardon the dust and scratches; this is a real-life look at it in use, not a product photo meant to advertise or market the product.

The front of the device features the Schiit logo and the Magni name, a cylindrical gain adjustment knob, a white power status indicator LED, and a 1/4” female audio jack to connect your headphones. The construction of the device is nice and lightweight, but premium-feeling with the smooth metal body, rounded edges, and drilled cooling vent on top. My only complaint here is with the gain adjustment knob. While the body is made of metal, the knob is a plastic material that is textured/brushed to look like stainless steel. It also has some play in it and causes other issues–but more on that further down.

The rear of the device features RCA input from your DAC or source, a gain switch (hi or lo), and an RCA output option. The power switch and power adapter jack are also located on the rear. Footprint wise, the device is stunningly smaller than product photos would have you imagine, checking in at only 4.5 x 5 x 1.4 inches. Luckily, this small device packs a bit of a punch–especially if you’re not used to using a headphone amplifer, and it does so without generating much heat.

I’ve spent the better part of the past year listening via the Magni 3 and have yet to come up with too many complaints. I listen to just about everything with the exception of country and heavier metals. The rest of the spectrum is game, including various genres of rock, pop, jazz, indie, alternative, anything and everything electronic, big band, and choral/choir/orchestra.

The most noticable difference to me was how smooth everything sounded. When I first got a headphone amplifier, I thought of making things louder, and with that, I envisioned harsh treble, rattling bass, and just a general loudness where the details get lost. Not to worry, though, because that couldn’t be further from accurate with the Magni 3.

Over the course of the past 9 months I can conclude that bass and lows are beautifully smooth with no unwanted noise or grain–just clean, strong bass. Listening to Billie Eilish’s ”Bad Guy” without the amplifier provides some dull knocks on-beat and some slurred bass line that gets lost toward the lower end. Through the Magni 3, the lower end is cleaned up tremendously. The bass line has a heavy groove to it with specified and unique pitches, varitions, and direction. The beat offers an actual thud that you can feel.

Trebles feel placed and smooth; no troubles with fatigue were had in longer listening sessions. Listening to ”Water Night” by Eric Whitacre offered soaring and swelling soprano notes that were not at all garish or fatiguing. Various phrases which are difficult to listen to direct from the source, are not at all jarring with the Magni 3. The phrases swell beautifully, as directed by Mr. Whitacre, and have tremendous placement and energy.

The mids and vocals surprisingly did not get muddled or lost at all with the overall amplification. ”Sir Duke,” from legend Stevie Wonder is incredibly forward and crisp, and the vocals are not at all muddled or lost amid the numerous instruments and rhythms accompanying him. Each instrument is heard clearly and the vocals are completely…unable to be ignored.

Everything seemed to have its place, including silence, especially during pianissimo phrases in choral music or in the ethereal ”Formed by Glaciers” from Kubbi–which was actually silent. With the exception of one scenario: when adjusting the gain knob. I noticed after a month or two that when turning the gain adjustment knob, some noise, grain, and scratchiness could be heard. The knob did eventually start to feel cheap and flimsy compared to the metal body, which is an oversight, in my opinion. But I digress.

The other notable thing for me was that the Magni added a slight; warmth to the sound, when listening without an EQ. While some prefer this, others won’t, and that’s okay. Luckily that can be adjusted in software equalization should you so desire.

Overall, the Magni 3 is clean-cut, smooth, and easy listening for a relatively small price tag.

While the availability of the Magni 3 has dropped a bit since I purchased the amplifier, and its successors the Magni 3+ and Heresey have become popular, the Magni 3 remains a solid choice for driving many headphones in a simple, straightforward fashion that you’ll never tire of. I can gladly recommend it without hesitation.

Schiit Audio founded by audiophiles Jason Stoddard and Mike Moffat and–despite the German-sounding name–is a US-based company producing fully balanced differential power amplifiers, fully discrete I/V conversion stages, audiophile D/A converters, relay-switched stepped attenuator volume controls in preamps, the first DTS home theater surround processor on the market, and much more. More information on Schiit Audio can be found on their website,

Listening | “The Girl (Color Source Remix)[feat. Cozi Zuehlsdorff]” from Hellberg

I recently did a screen recording to show some friends my desktop customizations I did using Rainmeter and Wallpaper Engine (perhaps I will create a post about that on this blog later). The background music that was playing in the video was Color Source’s remix of The Girl (featuring Cozi Zuehlsdorff) by Hellberg. A friend sent me a text message asking what the song was because it was so good–I agree!

Color Source takes a decent song and makes it absolutely fantastic. The Girl starts off with slow, calm ocean waves crawling up and down the shore. Soft synth and clean vocals enter about twenty seconds in, with a simple rhythm following shortly after. Over the course of the next minute, the song builds elements by layering percussion and additional sound samples until the verse transitions to the drop–which is…hard to describe, but great.

The song slows back down for another verse round before building again. All 4:09 of this song is great and it remains among one of my favorites in my library.

Color Source is the stage name of Daniel Kim–dance, electronic, and future bass remix master–who is signed to Monstercat and Simplify and is most well-known for this track and his Terms and Conditions track featuring Ashely Apollodor.

If you’re looking for an electronic track to groove to featuring a great vocalism, nice rhythm, and a pretty good drop, this might just be the track for you. Give the snippet a listen above or find it on Spotify.

Happy listening,