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Special thanks to William from HiBy for sending samples of these two DAPs along for review. Your continued support is greatly appreciated.
I have a very soft spot for HiBy’s R6 Pro. The original R6 Pro, released many moons ago, was my first ‘high-end’ DAP, and I remember the plaudits it used to get when stacked up against the ‘established’ brands at the time for innovative features and outstanding software integration.
Interestingly, the original R6, which preceded the R6 Pro, wasn’t too shy on features either, and represented excellent value in an all-round package for what was then a very affordable price.
Fast forward to 2025 and the R6 family is still very much together, having evolved into two new DAPs that I could easily see dominating their price brackets this year. Granted, competition is far fiercer today in the sub-$500 and sub-$1,000 brackets respectively, and cost-conscious buyers expect far more bang for their buck. DAP makers like HiBy are thankfully listening.
The R6 Evolution
I won’t spend too much time tracing the lineage of the new R6 Pro Max and R6 III, only to say that they are both evolutions of their previous iterations (R6 Pro II, reviewed here, and the original R6 III, reviewed here).
There’s nothing radically different to them, but at the same time, incremental upgrades like a much larger battery in the R6 Pro Max and flagship CS DACs in the new R6 III address some of ther shortcomings of their predecessors and bring both DAPs not only closer to each other in performance, but closer to the multi-kilobuck tier too.
At a glance, and without even reading this review, I can already tell you that if you were in the market for the older versions of either DAP, the new versions are a no-brainer buy. In fact, if you already own the older versions, I’d be strongly tempted to upgrade to the newer versions. Put another way, the resale hit will be far smaller than the upgrade benefits.
I’ll cover each of these DAPs in far more detail in the following pages, giving them their fair due, but for those who just want to know the highlights at this point, I’ve listed them here:
R6 Pro Max
- New dual ESS Sabre ES9039MS Pro flagship DACs (replacing the AK4191EQ and dual AK4499EX from the R6 Pro II)
- New 4-way independent power supply system with an upgraded 8200mAh battery for extended runtime and 40W PD 3.0-compatible fast charging
- New 8-way IV amplification and ‘flagship-grade’ analogue audio components (albeit without the choice between Class A and AB amplification)
- New 6GB RAM and 128GB ROM storage (up from 4GB and 64GB in the R6 Pro II)
R6 III (2025)
- New quad Cirrus Logic CS43198 flaghsip DACs (replacing the dual Sabre ES9038Q2M DACs in the original R6 III)
- New switchable Class A/AB amplification with battery performance improvements (up to three hours more runtime in Class A balanced mode compared to the original R6 III)
As you can see, the changes to R6 Pro Max are more significant than those to the R6 III, but I’d put both in the evolution rather than revolution basket. If you want a revolution in sound performance, you’ll still need to upgrade to HiBy’s flagship delta-sigma DAP, the R8 II, which I’ll be comparing to both of these DAPs in this review.
R6 Pro Max
As a fan of instant gratification, I believe we should always start with the best, and of the two new R6 DAPs on show, R6 Pro Max is undoubtedly the better performer. That’s not to say it will necessarily appeal to more people, because diminishing returns hit hard by the time you’ve spent more than twice the price of the new R6 III, not to mention the portability advantages of the smaller DAP.
But I digress. Presented in a well-designed, compact box, you’ll immediately know you’re buying a Pro II successor with its distinctive wave pattern and classy embossing. The DAP itself is securely housed inside a protective foam insert, beneath which you’ll find all the standard accessories you’d expect in a premium DAP package.
These include a sturdy PD 3.0-compatible cable, a wall charger (which is unusual and most welcome), and a pleather cover that fits much better on the Pro Max than I recall with the Pro II. It’s also made with higher-quality material, which I appreciate, and has a lovely, tactile feel in hand. All the ports remain accessible with the case on, bar the mSD slot which for some reason doesn’t make the cut.
I’ve always thought the R6 Pro design was a bit too much of a departure from HiBy’s norm, but having used both the R6 Pro and now R6 Pro Max for quite a while, I’m becoming fond of it. Despite being much heavier and thicker than the Pro II, the new Pro Max fits nicely in my hand, and gives me the same sort of feel I get with the bulky R8 II and RS8 flagships.
If you’re after something small, light and pocketable, this definitely is not it, but if you appreciate the large screen real estate, vivid and punchy colours, and easy-on-the-eye navigation of a modern smart device, R6 Pro Max is probably the pick of the current HiBy DAPs.
One of the main complaints with the R6 Pro II was its finicky buttons, especially when placed inside the case. R6 Pro Max’s button layout and tactility is much improved, and the decision to leave the buttons exposed from the case is a good one. Even though the buttons are likely made from plastic, they have the same finish and feel as the aluminium shell, and I’ve had no issues with sensitivity, sticky keys or any other usability issues in my time with this DAP to date.
Under the hood, R6 Pro Max packs several new components that elevate what was already a competitive mid-range DAP far closer to what I’d consider premium, even in today’s market. Dual ES9039MS Pro DACs are the headline here, and while I normally avoid Sabre DACs for their traditionally cool, clinical sound, the new 9039 series has impressed me in every device I’ve heard it in so far.
The (much) bigger battery is likely the main reason for the added bulk and weight (425g and 22mm thick vs the 285g and 15mm of the R6 Pro II). That and the ‘audiophile’ components like the four independent OPA1612 SoundPlus OpAmps, two OPA1612 LPF op-amps, and two more TI OPA1622 SoundPlus OpAmps and ELNA electrolytic capacitors. That is a lot of juice under the hood, and explains the doubling of balanced power output compared to R6 Pro II.
Indeed, the two Achille’s heels of the R6 Pro II – poor battery life and lack of amplification power – have both been addressed and resolved with Pro Max, and even though the DAC section is different (and sounds different, as we’ll soon see), to me the changes make Pro Max a flagship DAP competitor at a midrange price point – just like I remember the original R6 Pro to be.
The one thing that hasn’t changed, unfortunately, is the OS and processing power. You get more built-in storage, but that’s of more benefit to the marketers than power users who either stream their content or use large SD cards for their music collections anyway.
That we’re still running an Android 12 and SnapDragon 665 platform in 2025 is getting tired, but I also understand that rewriting the platform for more modern Android and SoC versions is the most expensive and complicated part of the DAP design process. Still, relatively speaking, Pro Max is just as fast as any other modern flagship DAP, and with any luck, HiBy will see fit to offer an OS upgrade if and when we see an advance in the platform later this year or next.
I won’t spend any time in this review belabouring the ins and outs of the customised HiByOS, only to add that there are some new, colourful themes and icon packs available by default, if you’re into that sort of thing.
The “pure audio” mode, which removes everything but HiBy Music from the interface, is useful for those who don’t want to fuss with Android at all, but since this doesn’t really save any resources and forces me to use a music player I don’t generally use (preferring USB Audio Player Pro), it’s not really relevant in my opinion.
What is relevant, and unique to HiBy, are two software features that, depending on how you use and tweak your DAP, could be gamechangers: HiBy Cast and MSEB.
HiBy Cast is a built-in server/client app that lets you seamlessly control the DAP from a smart device – including volume changes. Simply activate the server on the DAP, scan in a QR code from the corresponding smart app on your phone, notebook or tablet, and the full DAP UI is displayed on your device, ready to remote control from afar. I’ve occasionally used this to control Pro Max while lying in bed, or when I keep it in a pouch on walks.
MSEB is another HiBy invention that uses natural language terms to let you EQ different aspects of music playback. Too much sibilance? There’s a slider for that. Want a warmer or cooler sound? Just toggle the slider. More recently, HiBy has also implemented a very sophisticated Parametric EQ feature that gives you far more control than MSEB, yet I still tend to use MSEB for quick tweaks when I don’t feel like playing with graphs and decibels.
Oh, one more feature before I forget: audio plugins. HiBy is the only company I’m aware of that lets you install and use plugins for all manner of audio effect. There’s a Convolution plugin that gets your IEMs sounding like other IEMs, and a Soundfield plugin that expands the stage, among others.
Aside from these extras, HiBy is also one of the few Android DAP makers that gives users almost full control over the open Android platform, which means I can install my own launchers (like Nova Launcher) and completely reconfigure the interface, gesture controls, and application display to my liking.
Some vendors, like Shanling for instance, promote their DAPs as ‘open Android’ but refuse to allow the use of customisations or launchers, HiBy doesn’t handicap users from de-bloating and streamlining the OS, which for me is a fundamental strength of an open OS platform.
If you’re going to hobble Android usability and versatility, may as well go thew whole hog and use a closed system like Astell & Kern, or ditch Android altogether. HiBy, for me, is by far and away the best choice if software stability and flexibility is your goal, which is why companies like Cayin keep coming back to HiBy for their software coding.
This is also why, when it comes to Android DAPs, HiBy remains my choice, especially now that sound quality and technical performance is right up there with the very best Android DAPs on the market.
If you want a more detailed walkthrough of HiBy’s Android platform and my personal app recommendations, feel free to read the relevant sections of my RS8 and R8 II reviews.
Full spec list:
- Dual ES9039MS Pro DACs with DSD 1024/PCM 768kHz/32bit/MQA 16X support
- 8200 mAh Battery with 40W PD 3.0 fast charging (up to 10-hour balanced runtime)
- 4-way independent power supply system
- 8-way independent IV amplification with audiophile capacitors
- Dual 4.4mm balanced line out/phone out plus dual 3.5mm lineout/phone out
- 5.9’’ 2K IPS touchscreen display
- 4-core SnapDragon 665 SoC running open Android 12 (HiByOS modified)
- 6GB RAM/128GB internal storage
- 2.4/5 GHz WiFi plus Hi-Res bidirectional Bluetooth 5.0 support
- Full aluminium construction
- Dimensions: 147.45 x 75.2 x 21.8mm, 425g
R6 Pro Max: sound impressions
While paper measurements rarely tell the whole story of how a DAP should perform in reality, some of the numbers in the Max Pro specs are still mighty impressive.
I’ve already mentioned that it doubles the balanced power output of the R6 Pro II, coming close to R8 II’s 710mW power output. Where it ‘betters’ the R8 II, however, is the lower noise floor (2.5uVrms vs 5.4uVrms), and in all my testing, Pro Max is indeed one of quietest DAPs I’ve heard to date with sensitive IEMs.
Its total harmonic distortion (0.0003%), signal-to-noise ratio (126dBrA), dynamic range (126dB) and channel separation (109dBrA) are all equally impressive, and right up there with some of the very best DAPs ever made.
None of these counts for anything, of course, if playback with your favourite IEMs falls short, and so for the past month I’ve been putting the Pro Max through its paces with my IEM roster, test tracks and new music releases.
My usual disclaimer: DAPs don’t have a ‘sound’, but they can and do influence the sound of your IEMs and headphones, so please take my notes with a pinch of salt, as they’re based on my specific chain and preferences.
If you’re after a digital audio player that delivers a rich, full-bodied sound with a touch of old-school musicality, Pro Max could be your listen. Unlike its predecessor, which leaned more towards a traditional neutral-with-bass-boost tuning, Pro Max takes a different route, sounding smoother, warmer, and more organic, with many of my IEMs.
It’s not the kind of player that lays everything bare for critical analysis, but instead pulls you into the music with an inviting, immersive presentation that’s less digital and more analogue, if that makes sense?
Bass response is generally deep, weighty, and carries plenty of impact if the IEM allows for it, but it’s not overdone. The mid-bass has a satisfying punch, while the sub-bass digs deep with impressive control, adding just the right amount of presence without overshadowing the rest of the spectrum. If you’re into tracks like Massive Attack’s Angel, you’ll appreciate how it delivers that thick, rolling bassline with authority while keeping everything textured and tight.
What’s particularly enjoyable is how it helps to bring out more bass weight and texture while also taking the edge off any treble peaks – the former being a Sabre trait, the latter very much not! This makes it a great match for neutral or brighter-sounding earphones, as it helps smooth out any harshness while maintaining detail.
One of Pro Max’s biggest strengths, for me, is its midrange delivery. There’s a natural, almost organic quality transferred here; vocals and instruments sound rich and textured without any artificial edges. It’s slightly forward but never overwhelming, allowing details to shine through while keeping the overall tonality smooth and fatigue-free.
Take Norah Jones’ Don’t Know Why, for example. The warmth in her vocals comes through beautifully, making it feel like she’s right in front of you. Guitar textures in Fleetwood Mac’s Landslide also benefit from Pro Max’s full-bodied character, adding emotional depth to the performance. The dark background of this player further enhances the midrange clarity, making every note pop with better definition and separation.
Treble is well-balanced, sparkly and airy but never harsh. Some DAPs can make cymbals and high frequencies sound a bit artificial or edgy, but here, the highs remain natural and lifelike. There’s enough sparkle to keep things engaging, but it never strays into overly bright or fatiguing territory.
For example, on classical recordings like Hilary Hahn’s Bach Violin Concertos, the violin retains its brilliance without becoming piercing. Similarly, cymbal crashes on jazz tracks like Dave Brubeck’s Take Five are crisp and well-defined, but they never dominate the mix. This makes the Pro Max a great choice for long listening sessions, with plenty of detail without any harshness.
From a technical perspective, the Pro Max holds its own, though it doesn’t quite reach the heights of flagship players like the R8 II. The imaging is precise, giving a good sense of instrument placement, though the soundstage itself isn’t the widest or most expansive. Instead, it leans towards a more natural presentation. It doesn’t artificially enhance the stage, at any rate.
For me, its standout technical feature is the deep black background, which enhances dynamics and makes details emerge more cleanly.
In summary, this player is ideal for listeners who value musicality over analytical precision. If you prefer a slightly relaxed, organic sound that prioritises smoothness and emotional engagement over hyper-detail, R6 Pro Max is a fantastic choice. It’s well-suited for fans of jazz, acoustic, classic rock, and even electronic music that benefits from a fuller low end. If you’re the type who enjoys getting lost in the music rather than dissecting every little nuance, this DAP has a lot to offer.
R6 III
It’s going to be too confusing to refer to R6 III as R6 III (2025), so please take all my references here to be for the new R6 III, unless otherwise stated.
Compared to Pro Max, R6 III is clearly a pared-down DAP that still manages to pack in all of HiBy’s software functionality in a slightly more modest hardware package. I say slightly because you’re still getting an 8-channel ‘quad DAC’, made up of four independent CS43198 chips. While it may not have the same technical chops as the ESS and AKM flagship DACs, this chip is well-liked for its smooth, musical sound profile.
Despite arriving in a bigger albeit less fancy box than the Pro Max, you still get everything you need with the DAP, including a clear silicone case, pre-applied screen protectors (and a spare), and a charging cable (sans charger). The DAP itself is styled on the blocky, angular shape first used in HiBy’s RS6 (another DAP that’s long due a refresh), with the same disappointingly small volume knob that gets partly obscured when inside the case.
The only real advantage of a small, light DAP is pocketability, so for those who like to carry a music player with them without having to bring a separate bag or pouch, this works. For everyone else, I still recommend a larger DAP, especially when functionality and improved sound quality are essential. The only similar-sized DAPs I’m aware of with better sound quality costs several thousands more, and typically leave out ‘nice-to-haves’ like Android and processing power.
Even the screen fails the modern standards test, for me, with its 720P resolution simply not suited to a full colour Android UI. Icons look slightly pixelated, and the viewing angles aren’t the best either, especially in bright sunlight.
I’d be remiss not to mention the new glass panel on the back of the refreshed R6 III, which does give the body an impressive 3D look. This is truer of the silver than the black version, and I somewhat regret not asking for the former for this review.
Thankfully, if you’re someone who believes that what’s inside the DAP matters more than what’s on the outside, you’re in luck. This pocket rocket packs quite a punch, with selectable Class A/AB amplification, decent battery life, audiophile-grade components, and a nice jump in DAC capability with the new Cirrus array. I may have mentioned in my Pro Max monologue that Sabre DACs are not my cup of tea – at least all those prior to the current flagship – so I’m very glad HiBy replaced the ES9038 DACs from the original.
Software-wise, there’s no reason to repeat anything I already wrote earlier, because the platform is literally identical to what you’ll find in the Pro Max. There’s a bit less RAM (4GB vs 6GB), but the SoC is the same, and while you get less built-in storage, that doesn’t really make a difference to performance.
All the features of HiBy’s open Android 12 HiByOS that grace Pro Max (and R8 II for that matter) are also inside the R6 III, including MSEB, PEQ, plugins, and HiBy Cast, and it’s commendable that there’s no crippling of features from the entry level to the high end.
The only decision you need to make, as a buyer, is whether or not you want a simpler, less power-hungry, more pocketable and more affordable DAP, knowing full well that the software smarts remain the same regardless of which tier of HiBy Android DAP you choose.
Full spec list:
- Quad CS43198 DACs (8-channel) with DSD 512/PCM 768kHz/32bit/MQA 16X support
- 4500 mAh Battery (no fast charging) with up to 11-hour balanced runtime
- Dual 4.4mm balanced line out/phone out plus dual 3.5mm lineout/phone out
- 5’’ 720P touchscreen display
- 4-core SnapDragon 665 SoC running open Android 12 (HiByOS modified)
- 4GB RAM/64GB internal storage
- 2.4/5 GHz WiFi plus Hi-Res bidirectional Bluetooth 5.0 support
- Full aluminium construction
- Dimensions: 129.4 x 73.7 x 15mm, 250g
R6 III: sound impressions
I’ve always wondered what the brief is for a music player that costs far less than a flagship phone.
At the very least, I’d expect significantly improved sound quality, and on this metric at least, R6 III doesn’t disappoint. Anyone who’s serious about sound quality, and buys wired IEMs for that very reason, will benefit from using a dedicated, well-amplified music player instead of a phone. This also applies to phones that retain their headphone ports.
In that sense, R6 III doesn’t disappoint. Despite the ‘small’ refinements to its predecessor’s sonic character with an upgraded DAC section, it subtly elevates technical performance while maintaining the same amplification setup. The result is an audible improvement in dynamics, perceived output power, and overall clarity.
While the official power specifications remain unchanged, the newer model delivers a more assertive low-end impact, lending a sense of greater control and authority to bass-heavy passages.
Tuning takes on a more natural and cohesive balance too. Where the original R6 III exhibited a slightly drier V-shaped tone, the new iteration has more presence and body, especially in the vocal range. This shift makes for a more immersive experience, where vocalists are no longer recessed but instead positioned with clarity and warmth in the mix.
Bass exhibits deep extension into the sub-bass without overwhelming the rest of the frequency range. Listening to James Blake’s Limit to Your Love, the rumbling low-end remains tight and controlled, never bleeding into the midrange. The punch of the bass is precise and well-articulated, ensuring a sense of weight without muddiness. Mid-bass control is another strong point, with drum hits retaining decisive clarity and impressive texture at this level.
Moving up to the midrange, R6 III excels in maintaining an articulate and dynamic vocal presentation. Adele’s Someone Like You, for example, comes across with natural warmth and a slight airiness, striking a fine balance between emotional weight and clarity. Male vocals, exemplified by Leonard Cohen’s You Want It Darker, hold a firm presence with a textured, slightly raw quality that enhances the storytelling aspect of the performance.
Instruments in this range also benefit from the DAP’s ability to separate elements effectively, ensuring that guitars, pianos, and strings remain distinct while still cohesive within the mix.
Treble performance follows suit with a refined, well-resolved character. The upper frequencies extend with ease, contributing to a sense of air and spaciousness without introducing unnecessary brightness. Listening to classical pieces such as Vivaldi’s Four Seasons, violins retain their delicate overtones without becoming piercing, and cymbal crashes in jazz recordings, like those in Miles Davis’ So What, are crisp and well-controlled, avoiding any excessive splashiness.
Spatially, the R6 III soundstage exhibits some improvements over its predecessor. It feels more open, particularly in its width, although depth remains somewhat intimate. When listening to Hans Zimmer’s Time, the placement of instruments is well-defined, with a clear distinction between foreground and background elements.
While the soundstage does not reach the expansiveness of some higher-end DAPs, even Pro Max, it is sufficiently immersive and still manages to render fine details convincingly.
The blacker background provided by the upgraded DACs helps to elevate micro-dynamic contrasts, allowing for a more vivid sense of dimension and nuance in complex tracks.
In summary, the new R6 III delivers a refined, well-balanced listening experience that leans towards neutrality while maintaining musicality. Its bass is authoritative yet controlled, its midrange is clear and expressive, and its treble is detailed without straying into harshness. With improvements in staging, dynamics, and layering, it proves to be a compelling upgrade for those seeking a technically adept yet emotionally engaging digital audio player on a budget.
Comparing the contenders
HiBy has carved out quite a reputation for delivering great sound at varying price points, from the more budget-friendly R6 III to the mid-range R6 Pro Max and the flagship-level R8 II.
Each of these DAPs has its own distinct character, but where do they stand when compared side by side? Let’s break it down.
Tonal differences
R6 Pro Max stands out for its warm, full-bodied signature that leans slightly toward an analogue, organic feel. It’s got a satisfying weight to the bass, a rich, textured midrange, and a treble response that keeps things engaging without veering into sharpness.
The result? A smooth, inviting sound that’s easy to get lost in for hours. It pairs beautifully with brighter IEMs, as it subtly rounds off any sharp edges while enhancing depth and musicality.
R6 III, by comparison, leans towards a more neutral and balanced presentation. It’s neither overly warm nor particularly bright, but instead sits in a well-controlled middle ground that delivers a natural, cohesive tonality. Bass is well-extended but remains tight, the midrange is clear and expressive, and the treble is detailed without unnecessary emphasis. This makes it a great all-rounder for those who enjoy a bit of everything without any exaggerated coloration.
Then there’s the R8 II, which refines things further with its neutral-yet-musical signature. It has more transparency than the R6 Pro Max while avoiding the drier sound that some ultra-technical DAPs can produce. Compared to the R6 duo, it brings out more micro-detail and presents an airier, more spacious treble that allows recordings to breathe. Vocals, whether male or female, sound exceptionally pure, and its balance across the frequency spectrum makes it the most versatile of the three.
Technical performance
In terms of technical ability, R6 III performs well for its price point, offering a commendable sense of staging and imaging. It’s an improvement over its predecessor, with a slightly wider soundstage and more nuanced separation, but it doesn’t quite reach the next level in terms of depth or layering.
Pro Max steps things up with a darker background that enhances dynamics and clarity. Imaging is well-defined, and while the soundstage isn’t the widest, it feels natural rather than artificially expansive. The Pro Max’s strength is in its ability to maintain smoothness while still delivering enough technical prowess to keep things engaging.
The R8 II, however, takes technical performance to another level. It has a vast soundstage with pinpoint imaging and layering that allows each instrument to occupy its own distinct space. Tracks like Yosi Horikawa’s Bubbles or Ottmar Liebert’s La Luna showcase the R8 II’s ability to create a truly immersive listening experience, where each element is placed with precision. Its resolving power is outstanding, making it the most revealing of the three players.
Driving power
R6 III is well-equipped to drive most IEMs and some moderately demanding headphones, but it doesn’t have the brute force to handle more power-hungry full-sized cans. It performs well with sensitive IEMs, providing a clean and detailed output without introducing unwanted hiss or distortion.
Pro Max improves on this with more power and authority, allowing it to drive slightly more demanding headphones with confidence. It maintains control over the bass and dynamics even when pushed, making it a more versatile option for those who want a bit more headroom.
R8 II, as expected from a flagship, is in a slightly different league. It has the power to drive full-sized planar headphones (using its Turbo voltage gain mode), delivering a sense of effortless control even with more challenging loads. Whether you’re using efficient IEMs or high-impedance over-ears, the R8 II ensures optimal performance. You’re not getting desktop-grade power, of course, but it’s not far off.
Value
As the most budget-friendly option of the group, R6 III offers fantastic value for those looking for a step up from a phone or entry-level DAP. It delivers a natural, enjoyable sound with solid technical performance, making it a great choice for everyday listening.
Pro Max sits squarely in the middle of the lineup and justifies its price with a more refined sound and better power output. It’s an ideal choice for those who want something smoother and more engaging than the R6 III, with added versatility for different IEMs and headphones.
The R8 II, as expected, commands the highest price but backs it up with flagship-level performance. If you’re after the ultimate HiBy experience and want a DAP that brings out the best in any IEM or headphone you pair with it, the R8 II is worth the investment.
Closing thoughts
Both the HiBy R6 Pro Max and the new R6 III continue to solidify HiBy’s reputation for offering high-performance digital audio players at competitive price points. Each device caters to a slightly different segment of the market while maintaining the core strengths that make HiBy DAPs such an attractive option for audiophiles.
Pro Max stands out as the more premium offering, delivering significant improvements over its predecessor. With dual Sabre DACs, a much larger battery, and an upgraded power supply system, it is clear that HiBy has focused on elevating the Pro Max into near-flagship level without blowing out the price to do so.
Refined amplification, increased storage, and meticulous attention to build quality reinforce its position as a compelling choice for serious listeners who prioritise sound quality and power. Despite its bulkier form factor, it remains a highly portable and versatile option, making it an excellent choice for those looking for a DAP that bridges the gap between midrange and high-end players.
The new R6 III likewise represents an evolution rather than a radical departure from its predecessor. While it lacks the extravagant upgrades of the Pro Max, the addition of quad Cirrus Logic DACs and an improved Class A/AB amplification system ensures that it continues to offer excellent sound quality in a more compact and affordable package.
Its switchable amplification mode extends battery life, making it a highly efficient option for those who need portability without sacrificing performance. R6 III remains an excellent entry point into the HiBy ecosystem, appealing to cost-conscious buyers who still demand a premium listening experience.
Both devices benefit from HiBy’s superior software ecosystem, including HiByOS, HiBy Cast, and MSEB tweaking, which provide users with an unparalleled level of customisation and ease of use. While neither device features the latest Android version or cutting-edge processing power, their fluid performance and open Android platform still put them ahead of many competitors in terms of flexibility and user experience.
Choosing between the HiBy R6 III, R6 Pro Max, or dropping an extra grand on the flagship R8 II comes down to what you value most in a DAP. R6 III is a fantastic starting point with its balanced and natural sound, R6 Pro Max offers a richer and more engaging musical experience, and R8 II elevates everything with its flagship-level detail, power, and technical prowess.
Ultimately, the R6 Pro Max and new R6 III continue HiBy’s tradition of offering outstanding value within their respective price brackets. Whether you seek a high-powered, reference-quality DAP in the Pro Max or a more compact, budget-friendly alternative in the R6 III, both models showcase HiBy’s commitment to evolving their product lineup without compromising on sound quality, usability, or affordability.
In a crowded market, these two DAPs stand out as some of the most compelling options for audiophiles seeking a balance between performance and price.
R6 Pro Max is available to buy direct from HiBy here
R6 III is available to buy direct from HiBy here
