Hi guys and gals. Have you ever wanted to try a semi-open-back in-ear monitor? Today we review the BGVP DMS, an earphone with 7 drivers per side (1 dynamic + 6 balanced armature) and a 4-way crossover. The DMS appears to be an evolution of the BGVP DMG and sports similar 3D-printed metal shells and detachable MMCX cable. Okay, let’s check it out.
This sample was provided for the purpose of an honest review. All observations and opinions here are my own based on my experience with the product.
Good accessory bundle included
Detachable MMCX cable
Stock cable has some microphonics
Bass could use more definition
Package and Accessories
The box comes in a black cardboard sleeve with a white outline of the earphones on the front. Over on the back is a list of specifications and a frequency response graph. The actual box is an unbleached brown colour with a black BGVP logo on the front.
Inside the box the earphones are secured in a black foam insert, along with a bunch of eartips. There’s a smaller box here too which contains the cable plus another 2 pairs of silicone eartips and a shirt clip. Below is a list of what you get in total.
BGVP DMS earphones
Detachable MMCX cable
Velcro cable tie
1 pair of foam eartips
3 pairs of white silicone eartips
3 pairs of grey silicone eartips
3 pairs of black silicone eartips
Build Quality and Design
Just like the DMG, the BGVP DMS has 3D-printed magnesium alloy shells with a smooth matte finish. It’s available in 3 colours, black, blue and silver. The housings feel sturdy but they are surprisingly lightweight.
On the faceplates are 3 vents in the shape of the BGVP logo. After checking I was able to determine they are in fact real vents and not there for appearance only. There is one other small vent near the base of the nozzle feeding air to the dynamic driver within.
The nozzle is fixed this time around; unlike the DMG there are no interchangeable filters. Although they’re short in length, the nozzles do have a prominent ridge on them. Some third-party eartips didn’t fit securely but all the ones included in the box work fine.
The insides of the MMCX sockets are colour coded; this is a nice little touch! So, the overall build quality feels great. The DMS structure is basically the DMG with a different faceplate. Since I love the DMG that doesn’t bother me one bit.
Comfort and Noise Isolation
The housings of the BGVP DMS are smoothly contoured with a nice, rounded body and no sharp edges. For my ears, they feel very natural and fall right into place. I can wear these all day long or for hours on end no problem at all.
Noise isolation is good, despite the vented faceplates so the DMS is great for bus or train rides or other noisy environments. There is a more than average amount of noise leak due to those outside vents so it might be something you need to consider, especially if you like to listen at high volume.
It’s a very utilitarian black cable that goes for dual strands rather than the typical braided style that has been so popular lately. It has aluminium colour-coded MMCX connectors and pre-formed ear guides.
There is a small rubber chin slider above the rubber Y-split. The cable terminates in a right-angled rubberized 3.5 mm plug. The cable has a quality feel to it and drapes nicely but there is a moderate amount of microphonics or cable noise when moving about. There is a shirt clip included in the accessories so the cable noise can be attenuated if it bothers you.
Gear used for testing includes the FiiO M6 and iBasso DX120 as portable sources. On the desktop, I plugged the DMS into my Arcam irDAC-II. The DMS is easy to drive but you will see some tightening of the bass with a more powerful source.
The BGVP DMS has a full-bodied and fairly balanced tonality. It has a meaty bass response, rich mids with a focus on the upper midrange and a clear, laid back treble.
DMS’ bass is fairly linear from the sub to mid-bass. Rest assured, this baby can rumble (in a good way). The midbass is thick and has a solid impact due to a slow attack and moderate decay speed but at times it feels as though someone is beating a pillow with a stick as notes lack a clean edge.
Notes are rounded and authoritative yet the bass still shows some agility. In Katatonia’s “The Night Subscriber” the DMS keeps pace quite well during the frantic assault of rapid-fire kick drums. Notes have density and do not show any boominess or bloat.
The mids are smooth and imbued with a touch of warmth. Transparency is good and the DMS is able to resolve well, its multiple drivers and 4-way crossovers working cohesively. Vocals are silky and emotive, with female vocals, in particular, shining through. The lower midrange is full-bodied and male vocals are slightly pulled back. Upper midrange notes are emphasized giving energy to instruments and vocals and adding some clarity.
DMS’ treble has a safe tuning that’s not too bright or strident in any way. The treble extension is very good and notes have good density. Sitting just behind the upper midrange, the treble has a slightly laid back character but maintains a good tonal balance with the bass and midrange. It doesn’t have the sparkle of the DMG’s treble and makes the overall sound a little darker in comparison.
The DMS has a reasonably large stage with rounded dimensions. Despite its treble being slightly subdued, the open-backed shells do add some extra reach to the stage. Stereo separation is good and imaging is moderate, partway between the precision of a closed-back system and the openness of an open-backed phone. Vocals have good density and feel tangible while being neither too distant or intimate.
The DMG has a more unstable stage where the dimensions contract more when the bass kicks in. When there’s less bass in the music the DMG’s more forward treble does open things up. The DMS’ stage has better stability and naturally feels more expansive due to the semi-open nature of the housings.
DMG’s sub-bass rolls off more while the DMS is more linear, giving it a more authoritative rumble. The DMG’s boosted mid-bass adds more congestion and bloat while the DMS mid-bass has more definition and density.
In the upper midrange, the DMG can sound a bit hollow and lacks presence. Female vocals aren’t as vibrant or energetic as they are on the DMS. I still love the DMG’s treble which is a bit more lively and airier than the DMS. While the DMS doesn’t sparkle so much in the treble it does fill out the upper midrange and bring vocals more forward.
I feel both of these IEMs are excellent and the DMG is still valid. Which one is better will depend more on personal preference. The DMG favours mid-bass over sub-bass where the DMS does the opposite. The DMG has more recessed mids but a sweeter, airier treble. The DMS, on the other hand, has better vocals, a more subdued treble plus the natural openness the vented body provides.
One should also keep in mind that the sound of the DMG can be lightly modified with its interchangeable filters, although its core character will remain unchanged.
The EN700 Pro has an extremely linear and even bass. Its sub-bass can match that of the DMS but its level of mid-bass is more conservative and snappier. It has leaner male vocals and a thinner lower midrange in general but is given some extra body from its excellent bass extension while the DMS lower mids have more colour and fullness.
The EN700 Pro has added clarity from its more pronounced 5-8kHz region but the DMS’ copious amount of drivers are able to deliver more resolution and layering. The Simgot also gets a hint of extra sparkle in the treble compared to the denser DMS treble.
In terms of build quality, both IEMs have metal housings and a high-quality finish. Likewise, when it comes to comfort both of them score very well here too. The EN700 Pro has a nice carrying case which is something the BGVP earphones generally do not include in their bundles.
The P4 Pro has a brighter overall tonality. Its stage isn’t as wide as the DMS but it shares a similar amount of depth. Sub-bass on the P4 Pro falls off pretty hard and has a light rumble. Its mid-bass is a lot faster with thinner and snappier notes.
The lower midrange is pushed forward giving the P4 Pro more fullness, especially in male vocals. In the upper midrange, it feels thinner, in part due to lesser sub-bass and also partly due to having more upper treble energy.
The P4 Pro’s treble is sweeter and airier, more like the DMG’s compared to the flatter DMS treble. The DMS has better instrument separation and layering while the P4 Pro has more clarity.
There were two things I was hoping to see improved in comparison to the DMG. One was the thick, heavy bass and the other was the recessed midrange. The DMS does improve on the midrange significantly but to my ears, the bass still has room for improvement. In addition, the DMS’ treble lacks the sparkle and airiness that the DMG has. So it’s somewhat bittersweet and feels more like a sidegrade to the DMG rather than a direct upgrade.
That’s not to say the DMS isn’t a good IEM. The 7 drivers with their 4-way crossovers create a very cohesive sound and it still has the same impressive resolution and separation that the DMG has. It is very nicely built and is comfortable too. While it might not be what I was hoping it to be, I cannot deny it’s still a very good IEM and can confidently go head to head with anything else in its price range.