BGVP DMS: Jam Packed
Today we’re checking out the new DMS from BGVP.
At this point I might very well give BGVP the “most improved” title given just how much better their recent releases are when compared to past products. Yeah, they’re a lot more expensive so you would expect them to be better. However, it’s when you compare to other brands in the same price range where those improvements really stick out. The DMS is just another notch in their belt of quality releases.
The DMS follows BGVP’s recent trend of cramming more and more drivers into their products. Inside this little slammer are six balanced armatures and one 10mm dynamic driver, held in place via a 3D printed structure. MMCX removable cables are part of the equation too which is always welcome. How they managed to cram everything into this housing is beyond me because it’s really quite compact, just like the DMG before it.
Let’s take a closer look and find out why the DMS is another win for BGVP.
Thanks to Lillian with Linsoul Audio for providing a sample of the DMS for the purposes of review. The thoughts here are my own based on time listening to the DMS. They do not represent BGVP, Linsoul, or any other entity. At the time of writing the DMS retailed for 159.00 USD. You can check it out here on Linsoul’s main site, or their AliExpress store DD Audio:
I listen primarily to various EDM sub-genres (liquid drum and bass, breakbeat, drumstep, etc.), hip hop, and classic rock. My preferences for earphone tuning are quite relaxed and as such their is no one signature I look for. The HiFiMAN RE800, Brainwavz B400, and Massdrop x MeeAudio Planamic are examples of earphones with wildly varied signatures that are enjoyable for different reasons. I generally listen at very low volumes, so keep this in mind when perusing my thoughts on how an earphone sounds.
Mobile: Shanling M0 + Periodic Audio Nickel, ZiShan DSD
@home: ZiShan DSD or Asus FX53V + TEAC HA-501 desktop amp
The DMS is plenty easy to drive and I didn’t find it scaling much with a good amp. I think most users will be perfectly happy with them straight out of their DAP.
- Drivers: 6 balanced armatures + 1 dynamic driver
- Sensitivity: 110 dB SPL/mW
- Impedance: 12 ohms
- Frequency Response: 10Hz-40Hz
- Distortion: <0.5%
- Channel Difference: <1dB
- Rated Power: 9mW
Packaging and Accessories:
The DMS comes packaged in the same wide, flat box as the DM7. The front of the exterior sheath contains a wire-frame style image of the DMS’ earpieces along with some branding and model info, as well as a ‘Hi-Res Audio’ logo. The space on the back is not used wisely with all info being crammed into the lower half., such as the specifications, contact and location info for BGVP, and a tiny frequency response graph that is very hard to read thanks to the size and red graphing line on a black background. BGVP could definitely improve the presentation on the back.
Sliding off the sheath reveals a plain cardboard box with the BGVP logo. Lifting off the lid you are greeted to the DMS ear pieces and a number of ear tips set within a foam insert. Resting below is a separate cardboard box holding the cable and a few remaining accessories. In all you get:
- DMS earphones
- OCC MMCX cable
- Translucent black, small bore, single flange silicone tips (s/m/l)
- Orange core, medium bore, single flange silicone tips (s/m/l)
- Black, wide bore, single flange silicone tips (s/m/l)
- Foam tips (m)
- Velcro cable tie
Overall a nice accessory kit. The highlight is the wide variety of tips, most notably the orange cored set which are similar in function to Spintfits with a flexible core that allows it the follow the natural curvature of your inner ear. A notable absence is any form of carrying case of bag. While you can pick up one separately for less than a dollar, it would still be nice for BGVP to include one in the box.
Build, Comfort, and Isolation:
The DMS uses a slightly modified version of the same shell we first saw on the DMG. That’s a good thing for a number of reasons. The machining quality of the aluminum is flawless with smooth curves and minimal gaps between component parts. I suspect the three vents on the face plate are there just for show, or at least not for tuning purposes. They are shaped like the BGVP triple slash logo, and covering them doesn’t affect the sound quality at all in my experience. Unfortunately, the removable nozzles of the DMG have been removed in favour of a fixed nozzle. On the plus size, the nozzle is slightly longer by about a millimetre and it uses the same quality steel mesh. Since the general nozzle shape and diameter is the same as that of the DMG, I wonder if it is possible to heat up the glue and remove the nozzle, thereby allowing the use of DMG filters on the DMS. Someone more adventurous than I will have to give this a go. In terms of venting, the small vent in front of the MMCX port is gone, while the inner pinhole vent has been enlarged just a touch. Left and right channel indicators are handled by colored plastic rings around the MMCX. Blue for left, red for right.
The cable I suspect is going to be hit and miss among users. I quite like it’s old school twin strand design that has been eschewed in recent years in favour of flashier braided and twisted designs. The sheath is a dense rubber that feels quite durable but also remains quite flexible and very tangle resistant, even if it is a bit bouncy. The preformed ear guides help reduce microphonics which are present, as does the chin cinch.. The y-split simply serves as an area where the twin strands split and head up to the earpieces and as such it’s not going to be much of a weak point. Where the DMS connects to your media player, the 90 degree angled plug is a compact and interesting looking section of rubber. Strain relief is present, but short and a bit stiff, but it works. Up at the MMCX ports, the metal plugs are inset with blue and red bands to denote channel. Overall I really like this cable and enjoyed using it with the DMS.
Like the DMG before it, the DMS has a very ergonomic shape, similar to something like the Stagediver series from InEar or the KZ ZS3. It’s slightly smaller than those, however, with a compact, well-rounded protrusion that nestles into your antihelix and locks them in place. There are no sharp edges anywhere and since the nozzles aren’t overly large, this is something that feels very natural to wear. The DMS is certainly one of the more comfortable and stable earphones I’ve used, requiring little to no re-adjustment during listening sessions.
Isolation is good, but a slight step down from the DMG. Tapping away on my keyboard, clicks and clacks are minimized significantly. As are voices, as evidenced listening to music in the local Tim Hortons. You can further improve isolation with the included foams tips.
Tips: I found the stock small bore tips and foams to boost mid-bass and warm up the DMS. Securing a good seal was a challenge thanks to the stiff silicone. The included medium bore tips were a solid match giving the sub-bass regions a bit more emphasis, and otherwise were not all that different from the stock wide bore set in the treble and mids. Wide bore tips reduced bass and raised the mid-range and treble offering the most balanced sound out of the various tip options. The majority of my testing was complete with wide bore tips in place.
Treble on the DMS is lightly elevated and well extended. Presence and brilliance regions are evenly represented giving the DMS nice spacing between notes. There is plenty of detail and clarity is impressive. This earphone in no way comes across congested or veiled, even if coming from analytic products like the EarNiNE EN2J. These drivers are as quick as would be expected from balanced armatures with a snappy, but not unrealistic decay time on cymbals and other instruments and effects.
The mid-range is quite neutral in presence which means it sits just behind the rest of the signature in terms of presence. I really enjoy the rich timbre and texture of vocals, both male and female of which neither stands out more than the other. Electric guitars are anointed with crunch and plenty of attack while acoustic guitars come across nimble and layered. Texture and detail are realistically portrayed making the DMS’ mid-range probably my favourite aspect of the presentation.
Tackling the low end is a single dynamic driver and it is quite well tuned in my opinion. Mid-bass is fairly reserved. There is just enough of a hump to give the DMS’ presentation some kick without being overpowering. Sub-bass is well extended and provides a solid visceral experience, though nothing particularly noteworthy. It mostly stays out of the way, cropping up when demanded by the track. Texture is satisfying giving grungy notes the rawness expected. This driver is quite nimble handling rapid bass lines with ease. Overall it sounds quite dynamic to my ears. Nothing one-note going on here.
Sound stage is another area of the DMS I was impressed by. Right out of the box it’s stage felt wide and deep with notes swirling neatly from channel to channel, and way off into the distance. Imaging accuracy was better than expected given the number of drivers stuffed into this comparatively small housing, and I had no issues with the DMS on PUBG Mobile. Layering and separation are outstanding, something I often find is the case with these absurdly driver laden offerings.
Overall I am pretty much smitten by the DMS. They lack the out of the box wow factor of other offerings thanks to their reserved and well balanced tuning, which I usually consider a bonus. Those earphone impress for a while until the sheen wears off, while earphones like the DMS just get better and better the more you listen.
BGVP DMG (139.00): The DMG has a warmer, more mid-bassy presentation that is less dense and weighty through the mids and treble. DMS has better treble extension and more forward mids. DMG’s treble is similarly emphasized, though it shifts focus to upper treble giving it a more sparkly sound than the DMS. DMS’ treble better controlled where the DMG flirts with splashiness. Detail and clarity is superior on the DMS through the mids and treble though the DMG’s leaner sound reveals more space between notes. Bass on the DMG has a heavier, more impactful but less nimble presentation. Sound stage on the DMS is wider and deeper but it puts the listener closer to the performance by default. Imaging is improved on the DMS, but both are exceptional in terms of layering and separation. Personally I enjoy both a lot and like the DMG more than the other earphones covered below, but the DMS’ treble control, sound stage, and general balance put it out ahead. I wish it retained the DMG’s tuning system though.
Whizzer Kylin (159.00): The Kylin has a strong v-shaped signature compared to the DMS’ more balanced presentation. Treble on both is very well controlled with neither being particularly bright, though the Kylin’s upper treble focus gives it a sharper, more shimmery and airy sound. The DMS’ mid-range is much more even compared to the Kylin which loses a lot in the lower mids. Male vocals in particular suffer on the Kylin and are much more pronounced on the DMS. Despite this, they go tit for tat in terms of clarity and detail. Bass on the Kylin is quite mid-bassy and somewhat one note thanks to a lack of texture, though it does help give it a slightly more natural tonality in my opinion. Extension is similarly excellent between the two, but the DMS’ better balance allows it’s sub-bass to shine where it is overshadowed in the Kylin. The DMS has a wider, deeper sound stage than the Kylin, though the Kylin sets the listener back further from the performance by default. I certainly enjoyed the Kylin more now than I did when I first reviewed it, but I have a feeling with a more extended listen it’s flaws would dig their claws in. Those flaws don’t exist on the DMS making it a better product all around.
BGVP DM6 (199.00 USD): These two are tonally more similar than I was expecting, though the DM6 is slightly more dry and less organic. The DMS has better treble extension and a more natural upper and lower treble balance. I found it provided a better sense of space, more detail, and improved clarity, all without the occasional harshness heard in the DM6. Midranges are very similarly emphasized with the DM6 sitting back just a hint further. Vocals have more meat through the DM6 but are clearer through the DMS. I also found instruments to have more bite on the DMS. Bass on the DM6 in more mid-bass focused with earlier rolloff in the sub-bass. It is quicker and more punchy, but less visceral and not quite as well textured. DMS has a larger sound stage all around with similarly great imaging, layering, and separation qualities. The DMS comes across to me as a more thoughtfully tuned DM6 with dynamic bass. DMS all the way.
Being released so soon after the DM7 dropped, the DMS didn’t really do much to excite me. I figured they would be a mild update to the DMG and not much beyond that. Thankfully that was not the case.
To my ears, the DMS is second only to the DM7 in terms of sonic performance, and the best product in BGVP’s lineup in terms of build and comfort. The updated DMG housing now has some character thanks to the logo integration into the rear vents of the new face plate. The new cable doesn’t look like much, but it brought back good memories of cables of old and in general performs well in terms of comfort, anti-tangling, and memory properties. I flat out love this cable. If it were available to purchase separately and didn’t cost and arm and a leg, I would pick up a few of them to pair with other earphones. The DMS’ sound is confident in that it doesn’t skew any particular aspect of the signature. There’s no adrenaline hit the first time you listen to them, instead over time revealing themselves as a detailed, extremely competent musical companion.
Fantastic job BGVP. You really nailed it this time and have provided potential customers with a product that delivers on every level. Why is this priced below the DM6? Beats me.
Thanks for reading!
***** ***** ***** ***** *****
Some Test Tunes:
Aesop Rock – The Impossible Kid (Album)
Hail Mary Mallon – Are You Going to Eat That? (Album)
King Crimson – Lark’s Tongues in Aspic (Album)
King Crimson – Starless and Bible Black (Track)
Supertramp – Crime of the Century (Album)
Infected Mushroom – Legend of the Black Shawarma (Album)
Gorillaz – Plastic Beach (Album)
Massive Attack – Mezzanine (Album)
Fleetwood Mac – Rumors (Album)
Run the Jewels – Run the Jewels (Album)
The Prodigy – The Day is My Enemy (Album)
Tobacco – F****d Up Friends (Album)
Felt – Felt 2 (A Tribute to Lisa Bonet) (Album)
Michael Jackson – Thriller (Album)
The Crystal Method – Grace (feat. LeAnn Rimes) (Track)
Jidenna – Long Live the Chief (Track)
Skrillex – Ragga Bomb (Track)
Big Grams – Run for Your Life (Track)
Funkadelic – Maggot Brain (Track)
Aesop Rock – Fishtales (Track)