I was introduced to Burson Audio a few years back when I started to get into decent headphones in additions to my full speaker/amp rig. I went to a specialist shop and ended up listening to quite a bunch of amps headphones etc… one brand stood out to me right away, it was Burson. I was in love at first sight, looks, sound. I ended up buying a soloist 3XR GT in 2022 with full Vivid v6’s. I use it daily.

A few days back Burson asked me if I wanted to test and review a set of Vivid V7 Pro’s in the Soloist 3XR GT. The Vivid v7 is without a doubt a better version of the Vivid v6, I was very interested how much better, and if the stories I read were true.

Before I started testing, I let the Vivid V7’s run in for a full of 48 hours.
Test equipment:
– Hifiman Arya Stealth V3
– Burson Soloist 3XR GT + Supercharger
– Eversolo A8 + upgraded LHY LPS
– Chord TT2 + Mscaler, both upgraded LPS (is amazing, but The Burson makes it perfect)

All comparisons will be made with the Vivid V6

The first noticable distinction of the V7 compared to the V6 was its tighter, more agile sound with a sharper (don’t read treble hot) and drier bass response, offering greater precision and control. what you hear is a more enhanced separation and cleaner, more distinct notes, which is especially evident in the improved midrange, openness, and transparency. Vocals gain a refined fuller tone, while the treble is more articulate and crisp. Both the lower and upper frequencies have a cleaner extension, it gives you a very well 3D soundstage and a more precise presentation.

Compared to the already good Vivid v6, it is like they removed a thin curtain that was still between you and the artist, or removing the foam grill of speakers, impressive, very impressive

I will let some songs pass by, trying to describe what I mean by all of this.

One song I use many times is: The album If from Myriam Alter with the track ‘Children Play’

Myriam Alter is known for her compositions that subtly convey emotions and human experiences, this track has slow, fast paces and only real instruments are used. On the wrong equipment this song and album can quickly become treble hot, on the right equipment it is heaven.

With the V6’s it was just still in the safe zone regarding that, but I did like a pair of V6 classic in the volume stage because the Vivid V6’s had just a tad of sharpness at times with specific music.

What you immediately notice with the Vivid V7 Pro’s that issue is just not existent.

More often than not, with increased detail, there’s a risk of harshness or sharp treble, but that’s absolutely not the case here. The Vivid V7 really lifts the track up a huge level, and I mean huge. With the Vivid V7, you can hear the buttons of Dino Saluzzi’s harmonica as if you could touch them directly.

The v7 is the winner easily, crisp, detailed, more stage and depth, never harsh, and even with that much detail it never looses smoothness.

The album:
El Ultimo Trago – Buika, the track Somos. It is a duet with legendary pianist Chucho Valdes.

The first thing I noticed, with the Vivid v6, the piano was just a tad thinner sounding, the moment the Vivid V7 pro’s came into place, it felt like the piano strokes, sounded more creamy, more piano like (if that makes sense) with a little bit of warmness, and we are talking about the v7 Vivid’s here. Don’t confuse that creamy with overly warmness/smoothness, definitely not. The music stays airy, with a deep stage, tight bass. The background just seemed dark, everything in the piece of music was just easier to distinguish.

The next track I listened to was: Jane Monheit album Home the track There’s a small Hotel.

With the Vivid V7, her voice became fuller. This track contain’s a Trumpet part from Joe Magnarelli, compared to the V6, the separation was better, more micro details in the trumpet, it just sounded already amazing with the V6, but with the V7, this track was so much better, the track just sounded more effortless. The V7, made me like this track even more.

I also listened to: Melody Gardot the Album The essential contains a live track Ain’t no Sunshine.

Here the improvement was big, there was much more stage and depth, background was very dark in a positive way, air around Melody Gardot and the band, like you paid for better seats at the concert and everyone sat extra quietly listening to her music. I heared specific smal micro details, I missed with the v6 (still keep in mind, the v6 vivid are amazing! in there own right and place, this just says, how much better the v7 vivid is)

The next album I used was: Buena vista’s 25th anniversary Edition

I always use to see how a amp copes with a busy track like this, it might not seem complex, but make no mistake, I have heared the best dacs and amps having difficulty with this album in separation, stage and depth. In this case I use the track ‘El Cuarto de Tula’

What you notice directly is the separation and layering of everything goes up with V7, and this was not bad to begin with the V6! But the v7’s really showed their power, the same as with Melody Gardot’s track, Buena vista sounded top notch, depth was okay, instrument seperation was perfect, bass tight and very controlled, and besides that immense control, never becoming analytical, everything was musical as hell, I could not resist tapping my toes listening to the track with a big big smile on my face.

The last album I listened to, is one of my favourites.

Tony Bennett – Playin with My Friends, a duet with Stevie Wonder ‘Everyday (I have the Blues).

I Think I never heared Stevie Wonder playing the harmonica so detailed and tight ever before on a headphone amp, it reminded me of hearing that song one’s on the Accuphase E-800, I was so impressed it stayed with me, this is the second time.