DISCLAIMER

I would like to thank the Angeldac Audio store for providing this review unit.

The Pandamon 2 can be gotten here: https://www.aliexpress.com/item/1005006655763085.html (no affiliate links).




SPECIFICATIONS

• Driver configuration: Full-range 10 mm square planar driver
• Frequency response: 20 Hz - 20 kHz
• Impedance: 9 Ω
• Sensitivity: 108 dB
• Cable: 2-pin, 0.78 mm; 4-core silver-plated oxygen free copper cable
• Tested at: $59 USD

ACCESSORIES



Other than the IEM, these are included:

- 3 pairs of Celest 221 "Vocal" silicone eartips (S/M/L/)
- 3 pairs of Celest 608 "Balanced" silicone eartips (S/M/L)
- Cable
- Carrying case

While no foam tips are provided, the accessories are nevertheless quite decent for a budget set.




2 variants of silicone tips are included - we have the Celest 221 "Vocal" black tips, which are wide-bore. These boost treble and air, and widen soundstage. Conversely, we have the red Celest 608 "Balanced" tips, which are narrow-bore; these increase bass with some compression in staging.




We have a 2-pin 4-core silver-plated oxygen free copper cable, which is well-braided and tangle-free. Microphonics are negligible, with a chin cinch. It is certainly a very serviceable stock cable.




Lastly, we have a semi-rigid clam-shell zipper case, which should withstand compressive forces. Internally, it has webbing and a soft lining to cushion the contents.

The rest of this review was done with the stock cable and stock Celest 221 "Vocal" wide-bore silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.


BUILD/COMFORT



The housings are fashioned from HeyGears 3D-printed resin. They are painted individually via a hand-drawn brush technique, culminating in a black or blue-hued alluring motif, depending on which colour is ordered. The shells are indeed very beautiful and I daresay this IEM would actually make a suitable gift.

Ergonomics are excellent, with superb fit and comfort. The shells are light, with no awkward protrusions along the inner aspects to poke the ears. The Panadamon 2.0 can thus be used for long listening sessions, no worries.



Isolation is bang average. I did not find any driver flex on my pair, which is a sign of good acoustic design.


INTERNALS

The Pandamon 2.0 utilizes a full-range 10 mm square planar driver, which is a pretty unconventional driver setup.



DRIVABILITY

I tested the Pandamon 2.0 with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is easily driven, and amplification is not truly required.

However, due to its mind-bogglingly low 9 Ω impedance, the Pandamon 2.0 is fussy with source pairing due to the rule of eights. Source with > 1.125 Ω output impedance may skew the frequency response and make it very bassy, so ideally, the Pandamon 2.0 is best paired with something < 1 Ω in output impedance.


SOUND & TECHNICALITIES


Graph of the Celest Pandamon 2.0 via IEC711 coupler. 8 kHz is a coupler peak.

Tonally, the Pandamon 2.0 sports a warm U-shaped profile, if juiced from a low output impedance source. This is a pleasant and safe tuning choice, which should suit most consumers, other than diehard trebleheads and bassheads.

This set has a predilection for sub-bass focus, though lower-end extension isn't the deepest, so I wouldn't consider it as basshead in quantity. In terms of bass quality, texturing is average, and the Pandamon 2.0 may struggle to keep up with complex bass riffs, in terms of speed. There is some mid-bass bleed, but this adds warmth to the overall soundscape.

The lower mids are thick and lush due to the aforementioned bass bleed, furnishing tons of euphony to the sonics. The upper mids are safe with a 6 dB ear gain, so vocals are not shouty at all, which should please the anti pinna gain gang.

This IEM borders on dark, and the treble rolls-off early. We hear not an ounce of sibilance as such, and treble-sensitive peeps will be very at home. Resolution does take a hit though, so there are pros and cons, and trebleheads may need to look elsewhere for their kicks.

The Pandamon 2.0 has a slight metallic tinge to the timbre. Acoustic instruments sound a bit hollow, but it is not the worst offender in this department.

This IEM is not a tour de force in technicalities, favouring a "musical" signature over something outright analytical. Soundstage is above average but not class-leading. Imaging and instrument separation is fuzzy, though layering is okay. As alluded to, the darkish treble does veil micro-details and clarity.


COMPARISONS

The Pandamon 2.0 is quite unique in having a single SPD configuration, and there aren't many similar budget sets in this price range that are powered by the same setup. This technology is somewhere in between a single DD and pure planar, so FWIW, I've added some budget single DD types to compare.


EPZ Q5

The Q5 has a bright V-shaped profile, with way more treble extension. However, it can be more fatiguing in the treble region, with sibilance noted.

The Q5 has a thinner note weight - sounding more sterile and metallic - but it has improved soundstage, micro-details, imaging and clarity.


Simgot EA500

The EA500 has 2 tuning nozzles, but both still confer a brightish Harman tone. The EA500 is leaner in note weight - not sounding as exuberant - though it has a more pronounced upper midrange and treble. There is a bit of shoutiness noted in vocals as such, and this may be more fatiguing than the laid back Pandamon 2.0.

The EA500 has superior technicalities, and is a league ahead in imaging, micro-detailing and instrument separation. Soundstage is slightly wider on the EA500 too.


CONCLUSIONS



The Pandamon 2.0 beings a chill and pleasant soundscape to the budget CHIFI buffet table. It is a very musical set - with a hefty and euphonic note weight - and it eschews outright technical prowess for something affable and fatigue-free. There is not an ounce of sibilance or shoutiness in the upper frequencies, so it should be a match made in heaven for the treble-sensitive.

In terms of non-sonic aspects, the aesthetics are alluring, coupled with easy drivability, decent accessories and top-notch ergonomics. It would even make a good gift due to the elegant shells!

Admittedly, the Pandamon 2.0 is not the sharpest tool in the shed in terms of technical chops, and the bass could be flabby at times - but this does add colouration and mass to the tonal weight, and is part of the Pandamon 2.0's sedate appeal. Trebleheads will also need to consider alternatives due to the darkish treble, and this IEM's low impedance may make source pairing with high output impedance gear a tricky proposition.

If one throws a stone nowadays, it is very easy to hit a budget IEM that pursues technicalities and analytical tunings, sometimes to the detriment of fatigue or tonal balance. Once in a while, we yearn for laid-back gear like the Pandamon 2.0, to allow us to appreciate music for what it is, and to take us back to our roots of soaking in a warm enveloping sea of tonal bliss.

DISCLAIMER

I would like to thank Linsoul for providing this unit.

The Kiwi Ears Allegro can be gotten here: https://www.linsoul.com/products/kiwiears-allegro (no affiliate links).




SPECIFICATIONS/COMPATIBILITY



This is a plug-and-play DAC/AMP, with no requirement for additional drivers on Windows 10 and above. I had no issues pairing the Allegro with my various Windows and Android devices, but as I am not an Apple user, I can't vouch for its compatibility with this subset of products.

The Allegro has no app or UAC 1.0 mode for gaming.


ACCESSORIES



Other than the dongle, the packaging comes with:
- USB-C to USB-C cable



Admittedly, the accessory line-up isn't the best. There are no USB-A adapters or even Lightning adapters, so one will need to source for these items if you intend to use the Allegro with a laptop or Apple device, for example.

The provided USB-C cable is thankfully quite well-built, with a double braided cable that is sheathed with PVC.


DESIGN/FUNCTION



The Allegro sports a nostalgic retro gaming controller chassis reminiscent of gaming devices of the past decade. The dongle itself is built like a tank - furnished from metal - but is very light and portable.

While the aesthetics are truly old-school and cool, unfortunately the D-pad and A/B buttons are just for show, and these cannot be pressed.

The only "pressable" buttons are the volume buttons found on the lateral side of the fuselage. I'm glad to report that this dongle has independent volume controls, with finely-tuned steps.




Sadly, the Allegro has no LED screen, nor any settings menu to toggle to. Neither has it any gain or DAC filter options.

On one end, with have the 3.5 mm (single-ended) and 4.4 mm (balanced) ports, with the latter rimmed and reinforced by gold-plating.




The opposite end has a USB-C port for data/power.




INTERNALS

This DAC/AMP's engine is an ES9028Q2M DAC chip. It can allow playback of PCM up to 32bit/384kHz and DSD up to DSD256.


SOUND/PERFORMANCE

I tested the Allegro with only Android phones and Windows laptops and PCs. Once again, I'm not an Apple user, so I can't confirm its performance with Apple ecosystem sources.

On phones, I used the HiBy Music Player, with USB bit perfect OTG activated.


Tonally, the Allegro is neutral, with note weight on the thinner side. This furnishes a somewhat sterile soundscape, but the sonics are rather transparent, with minimal colouring. No doubt folks who want something more lush or euphonic might need to consider alternatives, but this dongle lets the connected transducer do the flavouring.

The keyword to describe the Allegro would be "clean".

Technicalities are above average for a $50ish dongle. Soundstage is propagated quite well in all 3 dimensions, with music heard just beyond the ears. There is also decent micro-detailing and layering. Imaging, while not exactly pinpoint, is still acceptable. Bass quality is surprisingly textured and fast.

Unfortunately, the Allegro's output specs are middling and are nothing to write home about. It pumps out 70 mW for the 3.5 mm and 155 mW for the 4.4 mm ports respectively (this is at THD+N of 0.0015% at 32 Ohms). While it would actually have been impressive just a year or two ago, we are now in an age where rival dongles at the same price segment or even cheaper - eg Fiio KA11 - handily beat the Allegro in terms of power specs.

Additionally, the Allegro has no gain options, so users are stuck with just one gain setting, even for harder to drive transducers.

As per all source testing, I put the Allegro through my acid tests of hardest to drive gear:
1) Final Audio E5000 (low sensitivity at 93dB/mW)
2) Sennheiser HD650 (high impedance at 300ohm)
3) Yinman 600 ohm (600 ohm impedance and 87db/mW sensitivity)

The E5000 was decently driven, in terms of soundstage and dynamics, though it could do with better bass texturing and control. The HD650 lacked somewhat in dynamics and sounded a bit anemic, though there was sufficient headroom. The final boss, the Yinman 600 ohm - with an ultra low sensitivity and high impedance - was understandably not properly juiced, with muffled dynamics and a one-noted bass heard.

It is not a matter of volume - but more of control - that the Allegro lacks with these tough behemoths.

While we have no output impedance (OI) specifications provided by Kiwi Ears, the OI should be sufficiently low as low impedance gear paired with it didn't sound skewed in the frequency response.

The Allegro has no hiss even with highly sensitive IEMs. There is no "pop" sound on disconnecting gear, though it gets slightly warm during usage (but not hot).


COMPARISONS



Simgot DEW4X

The DEW4X sports dual C43198 cirrus chips, and has a warm-neutral tonality.

Both the DEW4X and Allegro have independent volume controls with finely tuned steps, but the former also has gain functions, with a UAC 1.0 gaming mode for our gaming friends.

On high gain, with the 4.4 mm port, the DEW4X is rated for 150 mW, which is similar to the power output of the Allegro (ie they both can't drive demanding gear that well). In terms of technical chops, the Allegro is slightly superior in soundstage, micro-detailing and imaging.


Fiio KA13

The KA13 is a neutral bright dongle that utilizes dual CS43131 chips.

The KA13 is better accessorized (it even has an Apple adapter included), with a Fiio control app for additional goodies to play with. The KA13 also has well implemented independent volume controls.

The KA13's selling point, is its gargantuan 550 mW output on desktop mode (THD+N balanced＜0.0005% (32 Ω)), which as of the time of writing, is one of the most powerful dongles. Indeed, the KA13 is only a hair less powerful than the more expensive Fiio KA17 (650 mW output). Thus, the KA13 easily trumps the Allegro in this aspect, and the former can drive a myriad of tougher customers easily, and with aplomb. Admittedly we can't game physics, and the KA13 gets warmer during usage, and has a greater battery drain.

In technicalities, these 2 are quite close, with the KA13 having better imaging and micro-detailing, but the Allegro boasting of a more expansive soundstage.




CONCLUSIONS

While it doesn't reinvent the wheel, the Allegro is a decent entrant to the $50ish dongle market. It brings a neutral and transparent soundscape to the table, with above average technical chops on offer.

In terms of externals and aesthetics, it provides an old-school retro gaming controller doppelganger design, to stir up pangs of childhood nostalgia. Sadly though, the D-pad and A/B buttons are not functional, and it would have been cool if these had actually worked! Thankfully, the Allegro is also small and portable, with robust build, coupled with finely-tuned independent volume controls.

Sound-wise, the Allegro is neutral, and lets the connected transducer do the colouring. It doesn't get hot during usage (just warm), and has no hiss with fussy high sensitivity gear.

It has to be said, that the accessories and power output specs are somewhat disappointing, with competitor dongles besting it in sheer power numbers - this is more apparent when trying to drive low sensitivity/high impedance transducers. The functional aspects of the Allegro are also not the best, with no gain options, DAC filters, LED screen or app compatibility.

Being average (or even above average) nowadays is arguably not enough, with CHIFI competitors releasing new products on a weekly basis. I don't think the Allegro is a bad product by any means - it actually does more right than wrong - but I'm not sure if the attention of audiophiles will be captured by a shinier and newer product next week, that's how cut-throat this industry is! Nevertheless, this dongle is an option to consider for neutral-heads and purists that want something achromatic, clean and transparent.

DISCLAIMER

I would like to thank Letshuoer for providing this review unit.

The Cadenza 4 can be gotten here: https://letshuoer.net/products/letshuoer-cadenza4-wired-iem-hifi-earphones-in-ear-monitor (no affiliate links).




SPECIFICATIONS

• Driver configuration: 10 mm beryllium-coated dynamic driver + 3 balanced armature drivers (1 Sonion and 2 Knowles BAs)
• Frequency response: 20 Hz - 40 kHz
• Impedance: 15 Ω
• Sensitivity: 102 dB
• Cable: 2-pin, 0.78 mm; silver-plated monocrystalline copper cable; modular plugs for 2.5 mm, 3.5 mm and 4.4 mm termination
• Tested at: $249 USD

ACCESSORIES



Other than the IEM, these are included:
- 3 pairs of wide-bore "vocal" silicone eartips (S/M/L/)
- 3 pairs of narrow-bore "balanced" silicone eartips (S/M/L)
- Cable
- 3 Modular plugs (2.5 mm, 3.5 mm, 4.4 mm)
- Hard carrying case

The accessories are quite generous for a midFI set, perhaps only lacking in foam tips.

We have 2 variations of silicone tips included. The wide-bore "vocal" ones boost the upper frequencies as per their name sake, adding air and soundstage; the narrow-bore "balanced" ones increase bass but compress staging slightly.




The stock cable is a 2-pin silver-plated monocrystalline copper one, and is one of the better cables I've encountered. It is well-braided, with minimal tangling, and comes with a chin cinch. Microphonics are minor, and the best part is that it comes with 3 modular plugs - 2.5 mm, 3.5 mm and 4.4 mm - thus ensuring that the Cadenza 4 can be paired with a myriad of balanced and single-ended sources.




Last but not least, we have a round hard screw-on carrying case. It is lined internally with a soft material, while the outside is as tough as a rock. Certainly a very useful case to protect the held contents.

The rest of this review was done with the stock cable and stock narrow-bore silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.


BUILD/COMFORT



Letshuoer has utilized Heygear 3D-printed resin for the shells of the Cadenza 4, and it is built solidly. The housings come in a white matte finish, with a CNC anodized aluminum alloy faceplate.

The Cadenza 4 is one of the best fitting IEMs, with smooth internal aspects and a concha protrusion for stability. It is quite light too, so this IEM can be used for marathon listening sessions without discomfort.



Despite being vented, isolation is solid, and this IEM can be used surely in noisy places. I didn't find any driver flex on my pair.


INTERNALS

The Cadenza is a 4 driver hybrid comprised of a 10 mm beryllium-coated dynamic driver + 3 balanced armature drivers (1 Sonion and 2 Knowles BAs).

These prized drivers are linked via 3 acoustic tubes with a 4-way crossover. Incidentally, these acoustic tubes are meticulously manufactured via 3D-printing, to a 50 um specification.


DRIVABILITY

I tested the Cadenza 4 with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is relatively easily driven, but will scale a bit with juice.


SOUND & TECHNICALITIES


Graph of the Letshuoer Cadenza 4 via IEC711 coupler.

Tonally, the Cadenza 4 sports a refined neutral tuning with an element of sub-bass boost. It is uncoloured and "reference-like", and is a kindred spirit for purists who do not want something too V-shaped or flavoured in signature.

This is a sub-bass focused IEM, with quite deep sub-bass extension. Quantity is just a bit above neutral, so bassheads may need to look elsewhere. What the Cadenza 4 cedes in quantity, it makes up in quality, with a very textured and nimble bassline heard, with no mid-bass bleed.

The lower midrange is neutral, with excellent clarity and transparency, in view of no bass encroachment. This allows instruments to be easily layered on a dark background. This is a double-edged sword, as there is a bit of thinness in the lower mids, so those that want a more lush and dense note weight might need to consider alternatives. The upper mids are forwards but not overly shouty.

The Cadenza 4 has a resolving treble, without veering to sibilance or harshness. High-hats and cymbals are not splashy, although upper treble does have a roll-off.

There is minimal BA timbre, though as stated above, note weight is a bit thin. For folk who yearn for a tinge more bass/body to notes, do select the narrow-bore eartips rather than the wide-bore "vocal" ones.

In terms of technicalities, the Cadenza is quite a beast. Soundstage is expansive in width and height, with imaging and layering a strong suit. Micro-details are captured well, for something not overly steroid boosted in the treble. Transients are fast and crisp.


COMPARISONS

Comparisons were made against other midFI hybrids. Planars, single DD and BA types are omitted, as the different transducers have their own pros and cons.




AFUL Performer 5

The Performer 5 is a U-shaped set with more bass. However, the Performer 5's bass bleeds a lot, with a one-noted bassline heard, lacking all texture.

The Performer 5 has more marked BA timbre (though it has a thicker note weight). The Performer 5 is a league behind in technicalities, losing to the Cadenza 4 in soundstage, micro-details and imaging.


QOA Aviation

The Aviation is another U-shaped set with more bass quantity. However, the bass isn't as fast and clean as that on the Cadenza 4.

The Aviation has a thicker note weight and a more natural timbre. However, when it comes to technical chops, the Aviation is weaker in soundstage, micro-detailing and imaging.


Penon Fan 2

The Fan 2 is a warm neutral hybrid. It has a much lusher and thicker midrange than the Cadenza 4, with the Fan 2 furnishing a more euphonic soundscape as such. Timbre is a bit more natural on the Fan 2.

The Fan 2 is inferior in technicalities, with a less expansive soundstage and poorer layering/imaging.

The Fan 2 Achilles' heel is its very long nozzles, which may cause discomfort for users. The Cadenza 4 is much better fitting by miles.


CONCLUSIONS



The Cadenza 4 is a neutral-head's delight, presenting a rather uncoloured and "reference" soundscape. It has excellent technical chops - imaging and soundstage are aced in particular - and coupled with the transparent tone, comfortable fit and top-notch isolation, the Cadenza 4 would be a solid option for audio work, mixing and stage monitoring. The treble is not overly steroid-boosted, yet with resolution still decently retained. Bass is fast and clean, with a clear midrange.

In terms of externals and aesthetics, there isn't much to fault, with the Cadenza 4 being generously accessorized - with a hard case and modular cable - and this is combined with easy drivability and the aforementioned stellar comfort and isolation.

No doubt, some consumers might find the Cadenza 4's tonality overly bland, especially bassheads or those wanting a transducer for head-banging fun. Admittedly, the Cadenza 4's note weight is a bit willowy, but utilizing the provided narrow-bore tips or pairing with a warmer source may beef up its body to some extent.

In a sea of hackneyed Harmanish fare, the Cadenza 4 is a refreshing breath of change, and would certainly be a recommendation for purists, neutral-heads and folk looking for an audio tool for studio or stage work.

DISCLAIMER

I would like to thank NiceHCK for providing this review unit.

The DB2 can be gotten here: https://www.aliexpress.com/item/1005006457118526.html (no affiliate links).




SPECIFICATIONS

• Driver configuration: 10 mm titanium-plated graphene dynamic driver + 1 balanced armature driver
• Frequency response: 20 Hz - 20 kHz
• Impedance: 16 Ω
• Sensitivity: 107 dB/mW
• Cable: 2-pin, 0.78 mm; OFC cable; 3.5 mm termination
• Tested at: $23 USD

ACCESSORIES



Other than the IEM, these are included:
- 5 pairs of wide-bore silicone eartips (XS/S/M/L/XL)
- 3 pairs of narrow-bore silicone eartips (S/M/L)
- Cable
- Carrying pouch
- Waifu post card

The accessories are great for a sub-$30 USD set. Can't be expecting the moon at this pricing, but happily, most bases are covered, perhaps other than the lack of foam tips.




We have 2 variants of foam tips. The black narrow-bore ones boost bass with some compression in soundstage, whereas the coloured wide-bore ones increase treble and staging.




We have a 2-pin OFC cable included. This is quite supple, but it lies on the thinner side. Microphonics are surprisingly minimal, though there is no chin cinch and it tangles easily. During ordering, one can select a mic cable or a non-mic version.




There's a leatherette clasp pouch to store the IEM. It may prevent scratches on the IEM, though it is soft and might not survive a drop or compressive force.

Last but certainly not least, we have a Waifu post card, which may be the most important accessory for our Otaku brethren. The Waifu even has a name: Tian Hui!

The rest of this review was done with the stock cable and stock narrow-bore silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.


BUILD/COMFORT



The DB2's housings are fashioned from a polycarbonate cavity with an aluminum alloy-line bezel, plus a resin faceplate. The insides are transparent to allow users to visualize the internal drivers. There are 3 options for the faceplate - purple, black or blue. They are quite a looker, with the marbled motif.




Ergonomics are very good, with its teardrop shaped design fitting snugly in the ears. There are no awkward protrusions on the inner aspects, and the shells are light - thus, the DB2 can be used for long listening sessions without discomfort.

There's unfortunately driver flex on my set, though this is partially related to choice of eartips, and individual ear anatomy. Being a vented IEM, isolation is bang average.


INTERNALS



The DB2 is a hybrid, featuring a 10 mm titanium-plated graphene dynamic driver - this takes care of bass and midrange - and a BA which settles the treble frequencies.

We have no information on the BA brand, but these 2 drivers are arranged in a crossover design.


DRIVABILITY

I tested the DB2 with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is easily driven, with no compulsory need for amplification.


SOUND & TECHNICALITIES

Graph of the NiceHCK DB2 via IEC711 coupler. 8 kHz is a coupler artefact.

Tonally, the DB2 sports an old-school V-shaped tuning.

This IEM is sub-bass focused, with a deep rumble heard in sub-bass heavy tracks. Quantity-wise, it hits hard and is just a level shy of basshead levels. In terms of quality, bass has below average texturing, with middling speed and some mid-bass bleed, especially when complex bass riffs come out to play.

In keeping with the V-shaped profile, the lower mids are markedly recessed. This is not a set for midrange lovers as such, as male vocals may sound thin. With a 10 dB ear gain, the upper mids are admittedly on the shouty side, especially if used at higher volumes (Fletcher Munson curve). This IEM is hence best played at lower to moderate volumes.

The DB2's treble rolls off early, and while there is some taming of sibilance with this tuning choice, resolution is consequently depressed.

The DB2 does suffers from BA timbre, which is more apparent in the treble frequencies which is covered by the BA driver. Notes sound thin, especially when acoustic instruments are showcased. However, it isn't the worst offender in this department, which we will read about below.

On to technicalities. Soundstage is average in all 3 dimensions, with micro-detailing and resolution taking a backseat, in part due to the rolled-off treble. While imaging is pretty well-done for the coin, when very complex instrumentation with competing parts are heard, the music does smear, so instrument separation isn't the best.


COMPARISONS

Comparisons were made against other budget hybrids. Planars, single DD and BA types are omitted, as the different transducers have their own pros and cons.


CVJ Mei


Graph of the CVJ Mei via IEC711 coupler. 8 kHz is a coupler peak.

The Mei has 4 tuning options via 2 switches, so it can be tuned from neutral bright to a bassier L-shaped fare. The Mei is hence more versatile.

On the both switches up config, the Mei is neutral bright, with a thinner note weight and a more metallic timbre. The Mei has less bass but it is tighter and cleaner. On this configuration, the Mei has a more extended treble, but there is sibilance and fatigue noted.

On this setup, the Mei is also easily a league ahead in technicalities, with better imaging, soundstage and micro-detailing.


KZ Krila


Graph of the KZ Krila via IEC711 coupler. 8 kHz is a coupler peak.

The Krila is touted by the company to beat $1000 IEMs, but hyperbole aside, it probably operates at around the $30 USD mark in CHIFI-land.

The Krila has 4 tuning switches, which in theory furnishes 16 tuning permutations. However, in practice, there's just a 5 dB difference in the bass amongst the most extreme of switches, so the tuning switches are partially gimmicky.

The Krila has a more artificial timbre, with a thinner note weight. However, it has better imaging, soundstage and micro-detailing. The Krila has less bass (though it is more textured and fast), but the Krila has a more sibilant and harsh treble.


CONCLUSIONS



In the big scheme of things, the DB2 is admittedly forgettable, even considering its relatively affordable price tag. It is not downright bad, but being average in CHIFI-land is not good enough nowadays, as next week promises a new hypetrain to devour the thoughts and wallets of CHIFI addicts.

The DB2 brings an old-school V-shaped signature to the budget CHIFI table. There are some tonal flaws, such as an overzealous 10 dB upper midrange - which translates to shoutiness - coupled with a big bass that isn't too textured. Vocal lovers will lament a missing lower midrange, and the treble also drops off early, which may result in some veiling of resolution and micro-details. Soundstage is nothing to write home about too.

Alas, even the accompanying Waifu might not be able to mitigate for these negatives, but there are some redeeming properties. While there is slight BA timbre, the DB2 isn't the worst offender in this area, compared to other budget CHIFI hybrids. There is driver flex, though the rest of the external components - namely comfort, aesthetics, build, drivability and accessories - are done well enough for a sub-$30 IEM. Imaging is not too bad, and the treble is safe for our treble-sensitive friends.

Is there a market for the DB2? Well, it may be an option for those new to the hobby, or as a gift for lay consumers. But for folks who have been around the block and back in CHIFI-land, there are rivals out there - even at the same price range or for just a bit more - that are more technical or polished in tonality.

DISCLAIMER

I would like to thank KEFINE for providing this review unit.

The Delci can be gotten here: https://hifigo.com/products/kefine-delci or https://www.linsoul.com/products/kefine-delci (no affiliate links).




SPECIFICATIONS

• Driver configuration: 10 mm DLC + PU diaphragm dynamic driver
• Frequency response: 20 Hz - 20 kHz
• Impedance: 28 Ω
• Sensitivity: 108 dB
• Cable: 2-pin, 0.78 mm; 3.5 mm termination
• Tested at: $59 USD (usual price $79 USD)

ACCESSORIES



Other than the IEM, these are included:
- 3 pairs of wide-bore silicone eartips (S/M/L)
- 4 pairs of narrow-bore silicone eartips (S/M/L)
- Cable
- Carrying case

The accessories are very decent for a sub-$100 USD set, perhaps other than the lack of foam tips being a small nitpick.




We have 2 variants of silicone tips provided - the narrow-bore ones boost bass but compress soundstage a bit, whereas the wide-bore ones increase treble and air, with some soundstage improvement.




While we have no information on the exact cable materials, this stock cable is actually quite good for a budget IEM. It is well-braided, with minimal tangling and negligible microphonics. There is a chin cinch for added grip during usage. The cable only comes in a single-ended 3.5 mm termination, but it is no biggie for diehard audiophiles to pair an aftermarket balanced cable, with the detachable 2-pin housing.




Lastly, we have a semi-rigid leatherette zipper carrying case; it is tough to withstand compression, with inner webbing.

The rest of this review was done with the stock cable and stock narrow-bore silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.


BUILD/COMFORT



The Delci is fashioned from aviation-grade CNC machined aluminum alloy. It is literally built like a tank, and comes in a steam punk-like gunmetal hue.

Each earpiece weighs a mere 5.3 g, and coupled with smooth inner aspects sans awkward protrusions, the Delci promises to be a comfortable proposition for longer listening sessions, in terms of ergonomics.



I didn't detect any driver flex on my pair, but this is partially dependent on ear anatomy and type of tips used. Even though this IEM is heavily vented, isolation is above average and it can be used in noisier environments.




INTERNALS

The Delci's engine is a 10 mm DLC + PU diaphragm dynamic driver.


DRIVABILITY

I tested the Delci with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is relatively easy to drive, and can be powered off a weak smartphone. But it will scale with amplification, in terms of bass tightness, dynamics and soundstage.


SOUND & TECHNICALITIES


Graph of the KEFINE Delci via IEC711 coupler. 8 kHz is a coupler artefact.

Sound wise, the Delci has a U-shaped tonality, which makes it quite compatible with a myriad of music genres.

This set is sub-bass focused, with a nice visceral rumble heard in sub-bass heavy tracks. The mid-bass is nevertheless very nimble, with no mid-bass smearing. Admittedly, texturing may be at times one-noted, but it can handily cope with fast complex bass tracks. For example, in Sting's Englishman In New York, at around 2:12 there is a double bass solo, which the Delci handles with aplomb.

The lower midrange is relatively transparent, allowing vocals and instruments to be easily layered on a dark background. With no more than 6 dB ear gain, upper mids and vocals are extremely non-fatiguing, with zero instances of "shout". The vocals are still forwards and are not drowned out in the mix - so not to worry - but the pinna-gain sensitive gang will be very home with this tuning choice.

The slight boost in the upper mids continues on with an elevated lower treble. This brings resolution and clarity to the table, though there are some instances of spiciness. Sibilance is just slight, but thankfully the narrow-bore eartips included in the packaging can tame the treble for the very treble-sensitive. The upper treble tails off, so it isn't the most airy IEM per se.

Timbre is very natural, and is a highlight on this set, for acoustic instruments in particular.

In terms of technicalities, the Delci boasts of an expansive soundstage in all 3 dimensions, especially when well juiced with amplification. Imaging is accurate, with solid instrument separation and layering. Micro-details and resolution are good in view of the boosted lower treble, no complaints here.

All in all, with the big sub-bass and slightly augmented lower treble, the Delci amalgamates musicality and technicalities nicely. It does not veer to either extreme - not being overly sterile and analytical, yet staying away from being too analogue-sounding.


COMPARISONS

Comparisons were made against other $50 - $100 USD single DDs. Planars, hybrids and BA types are omitted, as the different transducers have their own pros and cons.


Oriveti OD100

Graph of the Delci versus OD100 via IEC711 coupler. 8 kHz is a coupler peak.

The OD100 is a much brighter IEM, and is very shouty in the upper mids, due to an over zealous 14 dB ear gain! The OD100 also has a marked sub-bass roll-off, and is quite sibilant in the treble. Thus, perhaps only trebleheads will gravitate to the OD100's tuning, as it can be grating for other consumers in tonal balance.

The OD100 is much more sterile in note weight, and sounds rather metallic in timbre. The OD100 has weaker soundstaging and imaging, but has slightly sharper edge definition and clarity, which is perhaps a function of the brighter signature.

The OD100 can be worn cable down or over-ears due to a bullet shaped design, which slightly increases fit permutations.


Moondrop Aria 2


Graph of the Delci versus Aria 2 via IEC711 coupler. 8 kHz is a coupler peak.

The Aria 2 follows the virtual diffuse sound field (VDSF) - which is essentially Moondrop's in-house variant of the Harman curve. Its sound signature is on the thinner side, with an upper midrange boost - this provides a "clean" soundscape, but it can sound boring and a bit shouty in the upper mids, with a 9 dB ear gain. Bass is also less pronounced on the Aria 2.

The Aria 2 is thus more sterile sounding, with less dynamics on tap. In technicalities, the Aria 2 loses in soundstage and imaging, with micro-detailing about on par.

The Aria 2 is much heavier in weight, and may be uncomfortable to use for longer listening sessions.


Simgot EA500LM


Graph of the Delci versus EA500LM (3 tuning nozzles) via IEC711 coupler. 8 kHz is a coupler peak.

The EA500LM has 3 tuning nozzles, with all tuning permutations being much brighter - and fatiguing - in the upper mids. This IEM has slightly better versatility though, due to the aforementioned tuning nozzles, but upper mids-sensitive folk should be wary of the EA500LM as such.

The EA500LM sounds a bit more metallic in timbre. With the gold/red nozzle installed on the EA500LM (ie least fatiguing/shouty combination), technicalities like imaging and micro-detailing are about on par with the Delci, though the Delci is the winner in soundstage.


CONCLUSIONS



The KEFINE Delci is a stellar entrant to the ultra-competitive budget single DD market. At its current pricing of $50ish USD, there's a lot to like about it. Externally, accessories, build, drivability, comfort and isolation are quite impeccable (literally and figuratively).

Sound-wise, the Delci is no slouch, espousing a U-shaped tuning with huge sub-bass rumble, yet being quite nimble in the mid-bass. The upper midrange eschews the commonly-found shout-fest fanatical steroid-boost in CHIFI budget sets, being very sedate in this region. Timbre is extremely natural, which should please the most ardent of timbre-snobs, and the Delci excels at soundstage and imaging, beating some of the single DD benchmarks in this arena.

I would have preferred a hair better texturing in the bass, but can close an eye considering its modest pricing. The lower treble is on the brighter side, and can be a tinge spicy, but thankfully, the provided narrow-bore eartips can mitigate this frequency band, even for my treble-sensitive ears.

In a nutshell, the Delci is an excellent budget single DD that I would heartily recommend for newcomers to the hobby, or even for those that want to sample something that blends musicality and technicalities adeptly, with no shouty upper midrange to boot.

DISCLAIMER

I would like to thank Tangzu for including me on the Singapore leg of the Nezha tour.




SPECIFICATIONS

• Driver configuration: 6 x balanced armatures (2 Sonion BAs + 4 custom BAs) and 1 x EST driver
• Frequency response: 10 Hz - 20 kHz
• Impedance: 16 Ω
• Sensitivity: 106 dB
• Cable: 2-pin, 0.78 mm; OCC silver-plated cable; 3.5 mm and 4.4 mm modules
• Tested at: $399 USD

ACCESSORIES




Other than the IEM, these are included:
- 3 pairs of wide-bore SANCAI silicone eartips (S/M/L)
- 3 pairs of narrow-bore SANCAI silicone eartips (S/M/L)
- 1 pair of balanced silicone eartips
- Cable
- Modular plugs for 3.5 mm and 4.4 mm terminals
- Large carrying case

The accessories are certainly princely and befitting of a midFI set. No complaints here, perhaps other than the lack of foam tips.




Other than 1 pair of balanced silicone tips, we have 2 variants of the popular SANCAI eartips. The wider-bore SANCAI tips boost treble and soundstage, whereas the narrow-bore ones increase bass, though with some compromise in staging.




Tangzu has provided an OCC silver-plated cable. This comes with 3.5 mm and 4.4 mm terminations to pair with single-ended and balanced sources, depending on your preferences. This cable is braided extremely well in a Litz design, with a PVC external sleeve that promises to reduce EMI. It has minimal tangling and has a chin cinch for added grip. Microphonics are zero.




Last but not least, we have a huge leatherette zipper carrying case, lined internally with a velvet and webbing. It is semi-rigid to withstand compressive forces, and is large enough to contain the IEM plus accessories. Definitely an elegant yet functional addition in the packaging.

The rest of this review was done with the stock cable and stock wide-bore SANCAI silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.


BUILD/COMFORT



The housings are fashioned from dermatological-friendly and hypoallergenic medical-grade resin. The shells are a real looker, incorporating electro-plated aluminum flakes in the faceplate, with laser-cut aluminum gold-plated motifs etched into the earpieces. These metal flakes are hand-layered onto the shells, with one side of the Nehza featuring rising flames, whereas the other earpiece has lotus fires, which ties in with Nezha's firewheels (https://en.wikipedia.org/wiki/Nezha).



Though the shells lie on the larger side, they are light and ergonomic, with a concha protrusion for stability. There are no weird protrusions to poke the ears, and the Nezha can be used for hour long sessions on my end.

I found no driver flex on my unit, though isolation is below average in view of the vented acoustics.


INTERNALS

The Nezha utilizes a unique 6 BA + 1 EST driver setup, with no DD being used at all. Instead we have the following configuration:
- 2 Sonion vented subwoofer BAs handle the low-end
- 2 custom BAs take care of the midrange
- 2 custom BAs settle the treble
- 1 EST is added for upper treble air

These eclectic drivers are paired via a Q-IAO crossover.


DRIVABILITY

I tested the Nezha with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is easy to drive, and amplification is not 100% essential.


SOUND & TECHNICALITIES


Graph of the Tangzu Nezha via IEC711 coupler. 8 kHz is a coupler artefact.

Tonal-wise, the Nezha sports a U-shaped smooth and darkish signature.

This set is sub-bass focused, but bass extension is not the deepest. Quantity is just north of neutral but not at basshead amounts. We hear a whiff of BA bass, in terms of a lack of movement of air and decay, compared to traditional DD bass. Sets with BA bass generally face this issue, even with a vented subwoofer concept implemented here in the Nezha, but it thankfully redeems itself in bass quality, with a very nimble bass without bleed, coupled with solid texturing.

The lower mids are slightly depressed, but this region is still relatively transparent without any bass encroachment. The upper midrange hits about 5 - 6 dB, resulting in smooth and fatigue-free vocals.

Treble rolls-off relatively early, and the Nezha is quite dark in the treble. Thus, this furnishes a very sedate and sibilant-free upper-end, which is well-suited for the treble-sensitive amongst us. There is no splashiness or harshness, and this IEM is a great option for longer chill listening sessions. Conversely, this IEM may not be for the trebleheads.

Timbre is surprisingly natural for a BA-containing setup, with not much BA timbre heard for acoustic instruments. There are way worse offenders in this arena for sure! Note weight is on the thicker side and the sonics are lush.

In terms of technicalities, the Nezha won't uproot any trees, and I would class it as being quite middle-of-the-road. While imaging is quite accurate, layering and soundstage are bang average; the Nezha may struggle to be smear-free when it tackles complex riffs with competing instrumentation. Micro-details are decently captured, but the darkish tone does contribute to some veiling of resolution. As such, the Nezha is a musical rather than analytical IEM.


COMPARISONS

Comparisons were made against other midFI multi-driver types. Planars and single DDs are omitted, as the different transducers have their own pros and cons.




EPZ 530


Graph of the EPZ 530 via IEC711 coupler.

The EPZ 530 is a bright V-shaped pure BA setup. It has much more treble than the Nezha, which may lead to sibilance and fatigue, but on the flip-side, the 530 has better resolution.

The 530 has superior isolation, but has a metallic timbre and a thinner note weight. The 530 has improved technicalities - in soundstage, imaging, micro-detailing and transients.


Yanyin Canon II


Graph of the Yanyin Canon II via IEC711 coupler. 8 kHz is a coupler artefact.

On paper, the Canon II has 4 tuning permutations. Sadly, as one can visualize above, the tuning switches are gimmicks, with not much change in tonality (just a 2 dB difference in the bass across the most extreme of tunings). This IEM also has a U-shaped signature across all the tunings, though the Canon II is a bit more recessed in the lower mids, but with a hair more treble extension.

The Canon II is slightly better in soundstage, imaging and layering, with micro-detailing about on par. Timbre is also quite natural on this set.

The Canon II comes with a poor accessory inclusion, but has better isolation.


CONCLUSIONS



The Nezha is a buttery smooth sibilant-free set, which is felicitous for relaxing late-night listening, with no harshness present in the upper frequencies. Timbre is surprisingly good for a BA-containing IEM, with the darkish signature a match made in heaven for the treble-sensitive. The thick and lush signature furnishes a hefty note weight. The accessories are quite premium, coupled with fetching looks and easy drivability.

Admittedly, trebleheads will need to look elsewhere for their kicks, and analytical-junkies may find the technical chops middling. Indeed, the Nezha is a beast that aces musicality over outright technicalities. Bassheads may also yearn for more quantity, but the Nezha makes up for that with good quality - with a quick and textured bass, with no bleed.

This IEM promises a tranquil and pleasant soundscape, and should be in the conversation for the treble-sensitive, or folks wanting a set for chilling back to enjoy music, rather than to analyze every fine minutiae in the track.

DISCLAIMER

I bought the EPZ Q1 Pro from Aliexpress at a discounted price.

It can be gotten here: https://www.aliexpress.com/item/1005006467098821.html (no affiliate links). Do note that there are 3 variations available for purchase - a mic version, non-mic version and a DSP USB-C variant.




SPECIFICATIONS

• Driver configuration: 10 mm PU + LCP liquid crystal molecular dome diaphragm DD
• Frequency response: 20 Hz - 20 kHz
• Impedance: 32 Ω @ 1kHz
• Sensitivity: 100 dB/Vrms
• Cable: 2-pin, 0.78 mm; LEONI 4-core single-crystal copper cable; 3.5 mm termination
• Tested at: $32.60 USD

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of silicone eartips
- Cable
- Carrying pouch

For a $30ish IEM, the accessories are admittedly disappointing.




We have only one selection of silicone tips (no foamies or alternative silicone types are included). Thankfully, these tips are quite comfortable in terms of fit.




The stock cable is a LEONI 4-core single-crystal copper cable, and only comes in a 3.5 mm termination. This cable is well-braided in a Litz concept, and is supple, with a chin cinch. Microphonics are minimal.




There's no case provided, with just a small drawstring pouch included. It is made of a velvety material, which promises to prevent scratches, but it won't survive compression or a drop for sure.

The rest of this review was done with the stock cable and stock silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.


BUILD/COMFORT



The Q1 Pro definitely is a looker, and has one of the most fetching faceplates for a budget IEM, with a purplish cosmic hue. The shells are fashioned from dermatological-friendly medical-grade resin, utilizing 3D-printed DLP high-precision (0.25 um) cut housings.

Comfortable is top-notch, with excellent ergonomics. There's an inner concha protrusion for grip, with no weird protrusions. To top it off, the Q1 Pro has is very light.



I did not find any driver flex on my pair.

Isolation is below average, in view of the vented acoustics.


INTERNALS

The Q1 Pro's engine is a 10 mm PU + LCP liquid crystal molecular dome diaphragm DD, housed within a double cavity and double magnetic circuit.


DRIVABILITY

I tested the Q1 Pro with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is relatively easy to drive, though it would benefit a bit from amplification, in terms of bass tightness, soundstage and dynamics.


SOUND & TECHNICALITIES


Graph of the EPZ Q1 Pro via IEC711 coupler. 8 kHz is a coupler artefact peak.

The Q1 Pro sports a consumer friendly Harmanish tonality, which should be a crowd pleaser.

This is a sub-bass focused IEM. It is not for bassheads though, as the sub-bass extension isn't the deepest, or with the greatest rumble. Bass speed is nimble with mild mid-bass bleed, with bass texturing being bang average.

The lower midrange is just a tinge recessed, but not overly so. The slight mid-bass bleed adds heft and lushness to this region. With a 9 dB ear gain, the upper mids are pushed forwards and are just at the edge. At louder volumes (Fletcher Munson curve), this can be somewhat shouty, but at lower to moderate volumes, it is quite well-behaved.

The Q1 Pro isn't the most extended in the treble. It is thus safe in the upper treble, with minimal sibilance. It should be a suitable pairing for all but the most treble-sensitive, with no splashiness of high hats or cymbals.

Timbre is relatively natural. In terms of technicalities, the Q1 Pro has average soundstage width, though height and depth are quite good. Imaging is decent but not pinpoint, and micro-details and instrument separation are about average. The Q1 Pro is thus more of a musical than technical beast.


COMPARISONS

Comparisons were made against other budget single DDs. Planars, hybrids and pure BA IEMs are omitted, as the different transducers have their own pros and cons.



7Hz Salnotes Zero 2

The Zero 2 is a warmer IEM, with more bass and a slightly less pronounced treble. The Zero 2 has a worse fit due to its angular-shaped shell with sharp edges. The Zero 2 is also tougher to drive.

The Zero 2 has a wider soundstage, but lags behind in micro-details, imaging and layering.


Simgot EW200

The EW200 is another archetypal Harmanesque set, which is a bit more zealous in the upper mids and treble. Thus, the EW200 may be more fatiguing for the treble-sensitive or anti-pinna gain gang.

Timbre is more metallic on the EW200, with a thinner note weight. The EW200 is superior in micro-detailing, imaging and clarity. The EW200 is however, easier to drive.


CONCLUSIONS

The EPZ Q1 Pro is a decent entrant to the budget single DD fray. It bestows a musical soundscape, with a consumer-friendly Harmanish signature, that should be an all-rounder for most music genres. The shells are drop-dead gorgeous, with excellent comfort. Timbre is natural, in addition to minimal sibilance in the treble.

While the upper mids hit about 9 dB ear gain and may be at the edge between forwardness and fatigue, if used at moderate volumes (Fletcher Munson curve), this region should be relatively well-behaved. Do note that the Q1 Pro is not a technical tour de force - it pursues a musical and agreeable profile, over an outright analytical signature. Think of it as a "musical" sidegrade that showcases the other side of the coin compared to more technical - but harsher - benchmarks like the Simgot EW200.

It is by no means perfect, but does more things right than wrong. Folks who have been around the block and back with higher-end IEMs might want to keep their powder dry. But with the alluring looks and relatively affordable pricing, the Q1 Pro will make a suitable gift or even an introductory set for those new to the CHIFI IEM rabbithole.

DISCLAIMER

This is a loaner unit from DITA. It will be returned after this review.

The DITA Project M can be gotten here: https://ditaaudio.com/products/project-m (no affiliate links).




SPECIFICATIONS

Driver configuration: 9.8 mm PM1+ dynamic driver + 1 x Knowles balanced armature driver
Frequency response: 20Hz - 20KHz
Impedance: 32 Ω @ 1kHz
Sensitivity: 107 dB/mW @ 1kHz
Cable: 2-pin, 0.78 mm; 16 strand; with 3.5 mm and 4.4 mm modular terminals
Tested at: $325 USD


ACCESSORIES



Other than the IEM, these are included:
- 5 pairs of Final E ear tips (SS/S/M/L/LL）
- Systainer hard carrying case
- Cable
- 2 modular plugs (3.5 mm single-ended and 4.4 mm balanced)

The accessories are quite princely, and are befitting of a $300ish IEM, perhaps other than the lack of foam tips.




Nevertheless, the highly sought after silicone Final E tips are included here, and they are one of my favourite eartips (confession, I have about 20 pairs of Final E tips at home haha). These tips are very comfortable and slightly tame the treble - this is a good pairing for the Project M, which lies on the brighter side. DITA has included 5 pairs of Final E tips here, from SS sizing all the way to LL.

Achtung! The Final E tips provided here glow-in-the-dark, so the significant other might notice that there is a new IEM in town (this can't be hidden!)




The stock cable is a MOOCA cable by Cardas. While we have no info on the cable materials, it is sheathed with PVC, and is a 16-stranded cable. This is very well-braided and supple, though slightly tangly. Sadly there is no chin cinch, but microphonics are minimal.

It is much appreciated that this cable is modular, with a 3.5 mm and 4.4 mm distal terminal, with a screw-on cover to protect it from dislodging. I've seen other simple plug-in modular cables with no screw-on protection cause the connected DAP to drop off! With a modular concept, users can decide which modular terminal to use, depending on whether you utilize single-ended or balanced sources.




Last but not least, we have a Systainer carrying case made by Tanos. This case is quite hard and tough, which promises to cushion the precious contents inside. This case is stackable in a lego-like configuration, so that's something cool to play with for owners of more than one case.

The rest of this review was done with the stock cable and stock Final E silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.


BUILD/COMFORT



The Project M is downright one of the most beautiful IEMs I have encountered in my audio journey. Fashioned from transparent resin, one can see the inner workings of the Project M in all their glory. The resin shells are not just pretty wallflowers, as they are tough as nails and extremely solid.

Due to the prism-like function of the transparent resin, at some angles, the Project M's shells are illuminated with a rainbow!



The housings are very light, with top-notch ergonomics. There's a concha protrusion for added grip, with no awkward edges to poke the ears. I have used the Project M for hour long sessions without issues.



I did not encounter any driver flex on my set, which is a sign of well-implemented acoustic airflow. Isolation is average, and this IEM is suited for outside use.


INTERNALS

The Project M is a 2 driver hybrid, comprised of a 9.8 mm PM1+ dynamic driver and 1 Knowles balanced armature driver. These are nested in a stainless steel chamber, with sound tubes leading to an aluminum nozzle.




DRIVABILITY

I tested the Project M with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

The Project M is moderately easy to drive. While it can be driven off a weak phone, the Project M scales beautifully with amplification (for soundstage, dynamics and bass tightness). Amplification is recommended to get the most out of this IEM as such.


SOUND & TECHNICALITIES


Graph of the DITA Project M via IEC711 coupler. 8 kHz is a coupler artefact peak.

The Project M is a sub-bass focused IEM. Having said that, it isn't the most extended in sub-bass rumble, with bass quantity is just a hair north of neutral. The Project M aces bass quality handily, with a nimble bass-line heard, coupled with nice texturing and not an ounce of mid-bass bleed.

The midrange is very transparent and clean, with no bass encroachment. Instruments and vocals are easily palleted on a dark background. With just a 5 dB ear gain, the upper mids are fowards without shrillness, which is a refreshing change from the usual shouty upper midrange in most modern day IEMs.

The Project M is a treblehead's dream. Treble is well-extended with good sparkle and air. We are greeted with astounding clarity and micro-details as such, though there is a slight sprinkling of sibilance. I'm treble-sensitive and personally find this set a tinge bright, but the Project M is one of those sets that is tuned bright but not overly harsh - I'm sure consumers have encountered some other CHIFI that are steroid boosted in the treble to give "fake clarity", but sound like an ice-pick in the ears!

There's a hint of BA timbre, with note weight a tinge on the lighter side, but nothing too egregious.

This set is a very technical and resolving midFI hybrid, which is all the more surprising considering it is just a 1 BA + 1 DD design. Micro-details are solidly captured, and layering and is very well done, with pinpoint imaging and an above average soundstage in all 3 dimensions.


COMPARISONS

Comparisons were made against other midFI hybrids. Planars, single DD and pure BA IEMs are omitted, as the different transducers have their own pros and cons.




Penon Fan 2

The Fan 2 is a warm neutral hybrid, with a thicker note weight. It has a lusher midrange with a less airy treble.

In technicalities, the Fan 2 is weaker, with a smaller soundstage and it is also worse in micro-detailing and imaging.

The Achilles' heel of the Fan 2 is its super long nozzles, which may cause consumers discomfort (this is in contrast to the ergonomic Project M). The Fan 2 is more easy to drive.


QOA Aviation

The Aviation is a U-shaped hybrid which is bassier. However, the bass isn't as tight, with smearing and bleeding noted. The Aviation has a less extended treble with poorer clarity.

In technicalities, the Aviation is a league behind, with inferior micro-detailing, imaging and soundstage. It sounds very veiled compared to the more resolving Project M. Timbre is a bit more natural on the Aviation, and it is easier to drive.


CONCLUSIONS



DITA has released a solid and elegant Mid-FI hybrid in the Project M. Incidentally, I believe this is DITA's pioneer hybrid release, and it is also the cheapest IEM in their stable as of the time of writing.

In terms of external tangibles, the Project M has one of the most beautiful shells in the industry, with a robust transparent resin housing that even allows a prism effect of rainbow colouration! We also have a generous accessory line-up, melded with great comfort during usage.

When evaluating it for sonic performance, the Project M furnishes a neutral bright tuning, with excellent resolution and technical chops. Bass is clean and fast, with no mid-bass bleed, and the midrange is as clean as a whistle. Treble is well-extended with great air, and this should please analytical-junkies and trebleheads.

The Project M may lie on the brighter side of the spectrum, with a bit of BA timbre and a thinner note weight, but otherwise, even for my treble-sensitive preferences, I can use it for extended sessions, and really enjoyed my time with this IEM. Verily, I would be sad to send it back after the tour!

This set will recommend for folks looking for a technical masterpiece with eye-catching looks!

DISCLAIMER

I would like to thank Rikubuds for providing the Saber 3 review unit.

It can be obtained here:
https://rikubuds.com/generation-3/
https://www.instagram.com/rikubuds/




SPECIFICATIONS



Tested at 100 Euros.


ACCESSORIES

Other than the earbuds, these are provided:
1) Large carrying case
2) White high-density foams
3) Red medium-density foams
4) Black low-density foams

No complaints here, it's really a great accessory line-up for a earbud. I've definitely seen way stingier goodies with pricier buds.




We have 3 types of foams in the packaging. The white foams are the densest, furnishing the greatest warmth and bass quantities. The black ones are the thinnest in density, removing some of the bass and adding clarity and brightness. The red ones are a mid-point between the two in terms of sound. Do foam-roll and see what suits your preferences sonically.




While the Saber 3 comes with a 3.5 mm non-detachable cable, when placing an order, one can message Rikubuds to get different terminations (eg 4.4 mm), various coloured cables, and also even to request for a detachable MMCX version, though one needs some coin for these.

This stock cable is somewhat thin and tangly, but it is supple and braided well, with minimal microphonics. The right terminal has a red band to mark that it is the right side, with a blue one on the left side, as per usual audiophile convention.




Last but not least, we have a carrying case which is huge, with inner webbing and pockets to store accessories.




For the otaku amongst us, the Saber 3 has its own waifu:


The rest of this review was done with the stock black (low density) foams. No aftermarket accessories were used, so as not to add any confounders to the sound.


BUILD/COMFORT

The Saber 3 incorporates a RG39-1 shell. It is extremely comfortable and ergonomic, with the stem's centre of gravity housed in the intertragal notch. The housings are very light, and this earbud can be used for hour long listening sessions without any discomfort whatsoever.




INTERNALS

This earbud's engine is a 15.4 mm PET & LCP dome composite diaphragm dynamic driver.


DRIVABILITY

I tested the Saber 3 with the following sources:
- Apple dongle
- Aune Yuki
- Cayin RU7
- Chord Mojo 2
- Fiio K11 DAC/amp
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

With a 64 ohm impedance and 107 dB/mW sensitivity, the Saber 3 benefits from amplification. While powering this earbud off a weak smartphone, one can get adequate loudness by maxing out the volume, but the bass is flabby and one-noted, with compressed dynamics. Hence, amplification is recommended to do the sonics justice.


SOUND & TECHNICALITIES



Tonally, the Saber 3 is an L-shaped basshead earbud. For folks who have heard the Final E3000 and E5000, the Saber 3 is the flathead version of these bassy IEMs. It is extremely smooth, with a thick note weight; there's not an ounce of fatigue in the upper frequencies.

Most earbuds are mid-bass focused, with an anemic sub-bass, but the Saber 3 bucks the trend, in providing a deep sub-bass rumble, with superb extension. For a earbud, I would consider it as basshead in quantity, with a tremendous mid-bass thump. Installing the densest white foams will boost the bass even more, for the bassheads amongst us! If one finds the bass too intrusive, no worries, the black (thinnest) foamies will shave off some reverberations to make it more balanced (even on black foams, the Saber 3 is still a bassy earbud though!).

The bass has average texturing, though speed is surprisingly nimble for such a bassy signature. We do have some mid-bass bleed, which is really inevitable with the copious bass on tap.

The lower midrange is warmed by the aforementioned massive mid-bass, which adds a lot of note weight and heft to the soundscape. The Saber 3 hence sounds very creamy and lush, and this is sonically akin to sleeping in a fluffy pillow. There's a slight boost in the upper mids, though vocals are very restrained with no shoutiness; so those sensitive to this pinna-gain region should be pleased.

Treble is dark on the Saber 3, so trebleheads might need to look elsewhere. Treble rolls off early, so we get sibilant-free sonics with no harshness - this earbud is definitely a kindred spirit for our treble-sensitive brethren - though some clarity and resolution is lost due to the function of a toned down treble.

Timbre is very natural, as per most DD-only earbuds.

Technicalities are decent for a darkish signature, with soundstage that is expansive (especially in depth), though it is perhaps not the most micro-detailed compared to brighter or more analytical buds. Imaging is surprisingly solid.


COMPARISONS




Yincrow RW-2000

The RW-2000 is a warm U-shaped set. The RW-2000 has a detachable cable, and is more easily driven. The RW-2000 can be worn cable down or over-ears, so fitting permutations are a bit more versatile.

The RW-2000 has a smaller soundstage, though it has slightly better layering, imaging and micro-detailing.

These 2 earbuds are considered a bit different in flavour, with the Saber 3 being one for chill listening sessions or bassheads, whereas the RW-2000 is a bit more balanced.


Yinman 600 ohm

The Yinman 600 ohm is also an L-shaped flathead with huge bass and a warm signature, but it is one of the most difficult transducers to drive, with a whopping 600 ohm impedance and 87 dB/mW sensitivity. Hence, this earbud generally needs desktop-grade sources for optimal drivability - not a matter of volume but more of bass control and dynamics - which severely limits its portability. Although the Saber 3 is not the easiest to drive, the Yinman 600 ohm is on a different planet for drivability requirements.

The Yinman 600 ohm is thicker in note weight, but sounds darker in the treble. The Yinman 600 ohm is behind in micro-detailing, imaging, instrument separation, while soundstaging is about on par. It also has a non-detachable cable.


CONCLUSIONS



For earbud enthusiasts who are looking for a chill and relaxing set - with not an ounce of fatigue in the upper registers - the Saber 3 is a match made in heaven. The creamy smooth sonics, combined with big bass, is a unique proposition amongst the usually sub-bass anemic earbuds we see every day. It is tuned very safely in the upper mids and treble, so there is no fear of any ice-pick vocals or sibilance.

In fact, if you have heard the Final E3000 or E5000, the Saber 3 sports a similar warmish and dark signature, which is well-suited for long listening sessions. No doubt, trebleheads might be alienated with the tuning choice, so it isn't the most analytical transducer in the Rikubuds stable, but one that embraces lush musicality over outright micro-detailing.

Nevertheless, the Saber 3 has solid soundstaging and imaging, with organic timbral accuracy. This earbud is also extremely well-fitting, with a great accessory line-up.

Compared to other darkish flatheads, the Saber 3 actually fares better in technicalities than the Yinman 600 ohm, with less power-hungry requirements to boot. It still however requires some amplification to tighten the bass and improve dynamics, due to the highish impedance, and sadly won't sound as great from a weak smartphone.

For late night listening sessions, or for bassheads, this earbud is definitely one that I can recommend.

DISCLAIMER

I bought the Fiio KA17 from Aliexpress at a discounted price.

It can be gotten here: https://www.aliexpress.com/item/1005006468787689.html (no affiliate links).




SPECIFICATIONS/COMPATIBILITY





Tested at $149.99 USD


The KA17 is a plug-and-play device. It does not require additional drivers on Windows 10 and above, and this dongle was easily recognized by various Android and Windows devices I paired it with. Apologies, as I am not an Apple user, so I can't comment on its usage with Apple gear.

The KA17 is compatible with a free Fiio Control App for Android devices. This is sadly not available for Apple users. As of the time of writing, only PEQ can be accessed with the app, though Fiio's rep says they are looking to add other functions to this app later on (https://www.head-fi.org/threads/fii...icially-released.971370/page-19#post-17998142).



For our gaming friends, the KA17 has a nifty UAC 1.0 mode, which is compatible with devices such as the Switch and PS5.


ACCESSORIES



Other than the dongle, the packaging comes with:
- Leatherette case
- USB-C to USB-C cable
- USB-C to USB-A adapter



Sadly, there is no Lightning adapter for our Apple users, but the accessories are nonetheless pretty generous. Some pricier dongles do not have a case for example. Talking about cases, we have in the box, an elegant leatherette case, and one can choose between a blue or black variant.

The USB-C to USB-C cable is sheathed nicely and is pretty supple, and the USB-A adapter is a useful gadget to plug the KA17 to laptops and PCs.


DESIGN/FUNCTION



The KA17 comes in a rectangular profile, and is fashioned from aluminum alloy. There's a black or blue chassis which users can opt for during ordering.

It is quite portable, weighing 33.5 g and measuring 64 x 27.7 x 12.7 mm. The KA17 is definitely pocketable and unobtrusive.

The top of this DAC/AMP features an elegant 0.91 inch matrix dot display LED screen.




One end has the 3.5 mm (single-ended) and 4.4 mm (balanced) ports.




The KA17 is uniquely designed with 2 USB-C input ports. One is for data-cum-power, whereas the other one along the lateral side of the fuselage is solely earmarked for external independent power. As this dongle is marketed to output up to 650 mW power on desktop mode, we may need this power booster!

Anyways, the KA17 can be powered from just the data USB-C port, without the aforementioned external USB-C power port, but the caveat is that this only works if the upstream source has enough output power (eg laptops and desktops should be fine). Android phones may also power the KA17 from the data port, but bear in mind, the battery might be drained down rapidly (some lineages of Apple phones reportedly may not have enough power though).

Users would be pleased to note that the KA17 does not cannibalize power from USB-OTG connected source when the external power USB-C port is plugged in. Hence, this latter USB-C port is a useful option to pump out higher output without consuming the battery of a weaker phone that is connected to the other data USB-C port.




On the other lateral side of the body, we have the desktop mode switch, volume switches and a multifunction button. Holding this multifunction button for 2 seconds will take one to the settings menu, where we have a wealth of toys to play with. These are:

• SPDIF toggling
• Channel balancing
• Timeout screen
• MQA toggling
• EQ settings
• Max volume cap
• Finetuning volume steps
• Screen rotation
• UAC 1.0 and 2.0 toggling
• Language
• Firmware version checks
• Gain settings
• DAC filters

Since the KA17 is a powerhouse, one may inadvertently max out the volume and destroy the transducer (or heavens forbid, the ears!), so it is nice that Fiio has provided options to limit the max volume and volume steps!

For our friends who love to EQ, the KA17 is special in that it supports 3 custom 10-band PEQ settings via the Fiio Control App. As discussed, this is only supported on Android devices. There are also preset EQ options found here, namely:
- Jazz
- Pop
- Rock
- Dance
- R&B
- Classical
- Hip-hop

The PEQ is a really incredible tool to shape the dongle to whatever sound signature you wish for. However, PEQ is unavailable in the UAC 1.0 mode, and the PEQ only supports up to a max PCM 192 kHz/24 bit. The SPDIF output also has no PEQ. Thankfully, once saved on the Android App, the PEQ settings will be available the next time you want to use it (there are 3 custom PEQ banks available).

The KA17 supports up to 60 and 120 volume steps (which allows great finetuning of the increments), and it has independent volume controls, something which is not seen in pricier competitor dongles (cough cough looking at you Questyle M15).

Sadly, in stock form, the KA17 has no play, pause and track skip buttons available on the dongle, but as above, Fiio is getting feedback and seeing if these can be added to their App for future firmware updates.


INTERNALS

The KA17's engine are dual ES9069Q DAC chips with dual OPA1662 amps. It supports up to 768 kHz/32 bit and DSD512, with full MQA decoding available. The 3.5 mm jack also supports SPDIF output (though this is limited to 96 kHz/32 bit).




For the technical geeks, this device has a THX AA 78+ amp, with 8 op amps in a parallel 4-channel circuit. Its brain is a
16-core XMOS XU316 with dual crystal oscillators. This is installed in a 3 stage plus 3 rail power supply design. The primary stage involves filtering and voltage protection, while the secondary stage settles the DC-DC boost conversion. The final stage involves 3rd stage LDO voltage stabilization, and the power supply circuit is split to two smaller rails.



The digital and analogue tracks are also installed on individual circuit boards with shielding, to minimize cross-talk.




SOUND/PERFORMANCE

I tested the Fiio KA17 with only Android phones and Windows laptops and PCs. Once again, I'm not an Apple user, so I can't vouch for its performance with Apple ecosystem sources.

On phones, I used the HiBy Music Player, with USB bit perfect OTG activated.


In stock form, tonally, the KA17 sports a neutralish profile, with a hint of warmth. It is very clean, yet expansive sounding. If one has heard the classic Fiio house sound, generally it veers to a sterile and analytical soundscape, and the apple here does not lie far from the tree. However, the KA17 seems to have a tinge thicker note weight than the other Fiio dongles - such as the predecessor KA13 for example - but the former adds a bit of musicality on top of the technical aspects with this added note weight.

Of course, with the previously mentioned 10-band PEQ, audiophiles can adjust this dongle to any tonality they wish for, so the possibilities and versatility of this device are literally endless. Dare I say it, but the PEQ is actually a game-changer, as one can prime the KA17 to be a warmer source for edgier gear, and vice versa.

Technicalities are superb for a $100ish dongle. Soundstage is expansive (especially with height and depth), and micro-details are retained well. Imaging and layering is solidly portrayed, and the KA17 can handily beat more expensive dongles in this department.

This DAC/AMP has single-ended and balance ports, with gain settings, and a beast desktop mode. Power-wise, we get impressive advertised output specs of 270 mW on single-ended, and 650 on mW balanced with the desktop mode triggered. As of the time of writing, the KA17 is the king godzilla in the dongle stable, beating its older brother's (the Fiio KA13) 550 mW output power. This is literally enough power to drive the most demanding of transducers, and users should not fear for any lack of headroom.

For voltage specs, on desktop mode and high gain, this corresponds to:

• single-ended output: 3 Vrms
• balanced output: 4.5 Vrms

No doubt we can't game physics, and the KA17 does get hot on desktop mode, especially when driving power-hungry transducers. The battery drain on phones is also quite substantial. Indeed, with desktop mode triggered, the parallel amp is in play, and Fiio reports a 40% power consumption increase with this: https://www.head-fi.org/threads/fii...icially-released.971370/page-19#post-17998142

Thankfully, we have an option to turn off desktop mode to conserve battery, especially for less demanding transducers. This dongle runs warm but not hot with desktop mode switched off. Additionally, Fiio has a placed an internal thermostat inside the KA17, which automatically reduces or tones down the output when the temperature hits a preset level. Using the KA17 in a fan-cooled environment, or perhaps removing the leather case may also aid in heat dissipation, especially if one is using the KA17 on desktop mode for long periods.

For those that do not require desktop mode, these are the specs for the power output on non-desktop mode, which is still very respectable, and should drive most gear out there, other than outliers (https://www.head-fi.org/threads/fii...-is-officially-released.971370/#post-17923494)

3.5mm output, high gain:

• L+R>110 mW+110 mW (16 Ω, THD+N<1%)
• L+R≥140 mW+140 mW (32 Ω, THD+N<1%)
• L+R≥20 mW +20 mW(300 Ω, THD+N<1%)

4.4mm output, high gain:

• L+R≥150 mW+150 mW(16 Ω, THD+N<1%)
• L+R≥300 mW+300 mW(32 Ω, THD+N<1%)
• L+R≥30 mW+30 mW(300 Ω, THD+N<1%)

FWIW, I put the KA17 through its paces via my hardest to drive gear:
1) Final Audio E5000 (low sensitivity at 93dB/mW)
2) Sennheiser HD650 (high impedance at 300ohm)
3) Yinman 600 ohm (600 ohm impedance and 87db/mW sensitivity)

With 4.4 mm and desktop mode, I'm glad to report these 3 goliaths were easily tamed, with much headroom to spare. Dynamics, soundstage and bass control were all exquisitely done, and the KA17 may actually do a better job with bass texturing and tightness than some desktop devices!

The KA17 has a low output impedance of 1 ohm on the single-ended and 1.5 ohm on the balanced ports, respectively. This fixes the issues of the predecessor KA13's 1.7 and 1.8 ohm output impedance on single-ended and balanced, which made it a tricky pairing with low impedance IEMs. We have no impedance mismatch here with the KA17, so there won't be tonal skewing of fussy IEMs.

Some additional areas of refinement: the KA17 has no EMI or hiss, which is a sign of good shielding and well-implemented noise floor control. There is also no nasty "POP" sound heard on removing transducers.


COMPARISONS

The KA17 will be compared against other midFI dongles . Some are actually pricer than the KA17, but read on to discover some surprising results, that performance is sometimes not related to price!


Cayin RU7

The RU7 is a 1-bit tech dongle. It is warmer and more analoguish than the KA17, though with inferior technicalities. The RU7 has smaller soundstage depth and height (but perhaps a hair better width), with weaker micro-detailing, imaging and transients.

Although the RU7 has a presentable 400 mw output on balanced/high gain, this is dwarfed by the KA17's 650 mW on tap. Both dongles run warm during usage (the KA17 a bit more so, especially on desktop mode, but this is not unexpected cause of the bigger power outlay).

The RU7 has 3 DSD filters, but it has no PEQ or app compatibility. It has no second USB-C port for external power feeding, and it also has some clicking noise during usage due to DSD conversion within the DAC.

The RU7 is more expensive, and has poorer power/technicalities, but it is a tinge thicker in note weight with a more natural timbre. However, value goes to the KA17, as the RU7 has no PEQ and can't drive higher demand transducers.


Aune Yuki

The Yuki is a dual Cirrus CS43198 dongle. It is tuned neutralish, with some blunted note edges.

The Yuki has no app compatibility, no DAC filters and no PEQ. It does not even have an LED screen.

With regard to technicalities, the Yuki is a league or two behind the KA17, with the former having worse soundstage depth and height, with second-rate imaging and micro-detailing. The Yuki is slightly more organic in timbre.

One area which may be deal-breaking, is the Yuki's anemic power specs. It has a paltry 160 mW on 4.4 mm, which is multiples lower than the KA17's monstrous 650 mW. Having said that, the Yuki runs cooler during usage, with a bit less battery drain.

Considering the Yuki is just $10 cheaper than the KA17, I would get the KA17 any day of the week, in view of the superior versatility (PEQ), technicalities, UI settings and power output.


Questyle M15

The M15 is a ES9281AC dongle, which is quite neutral. It has no LED screen, PEQ, app or DAC filter settings.

The M15 is behind in power output, and can't drive too demanding stuff. The M15 has weaker soundstage and imaging, with less dynamics. It also hisses with some sensitive IEMs, with EMI present on occasions. The M15 has no independent volume steps too.

In a nutshell, the M15 costs more, but actually doesn't perform as well as the cheaper KA17.




CONCLUSIONS

I hardly give 5/5 ratings for my reviews, but the Fiio KA17 deserves this stellar score for performing excellently in almost all departments.

Externals like build, accessories and portability are solid, with independent volume controls that are finely-tuned, with even an option for volume protection. There are a myriad of settings to play with, such as DAC filters, and even a UAC 1.0 mode for our gaming friends. The PEQ - only available on the Android app - unlocks tonal versatility, and may be a game-changing addition to morph the KA17 to what is desired tonally on-the-fly.

In stock form, it boasts of a neutral signature with a touch of warmth, with excellent technicalities to boot - in particular, soundstage and micro-details are eye (or rather, ear) catching. Internally, the KA17 is well-designed, with no hiss, EMI, nor "POP" on disconnecting gear.

The KA17 has a wicked 650 mW output power on desktop mode, which kills all competition in the dongle world, and this workhorse can easily drive challenging low sensitivity/high impedance gear to aplomb, with eargasmic dynamics and large headroom. It is not a one-trick pony, as fastidious sensitive IEMs also synergize well, due to the low output impedance of this dongle, something that more powerful sources usually neglect.

Well, despite all these laudable traits, the KA17 is not perfect, and one has to have a critical lens to pick out small areas for improvement. The big power output comes with a compromise of battery drain and heat (especially on desktop mode). Thankfully, Fiio has cleverly added a separate USB-C port for external power feeding, so as not to burn out weaker batteries from mere phones. Also, there is an option to turn off the desktop mode to conserve battery, and the KA17 still pumps out respectable specs even with this handicap.

As written above, Fiio has promised to look into adding more functionality to the Fiio Control App, which as of the time of writing, only supports PEQ. If this can truly be addressed, we will be close to perfection, though the Fiio Control App sadly does not support Apple devices for the KA17.

In conclusion, the Fiio KA17 has my stamp of approval for a benchmark dongle. At the $100ish retail price, it adeptly beats costlier dongles in most departments, with the PEQ being the feather on its cap. The KA17 is a sound investment (no pun intended) for audio enthusiasts that want a future-proof portable source, that can also double up as a desktop device, with stupendous power in this minute frame.

DISCLAIMER

I would like to thank Simgot for providing this review unit.

The EA500LM can be gotten here: https://www.linsoul.com/products/simgot-ea500-lm (no affliliate links).




SPECIFICATIONS

• Driver configuration: Lithium-magnesium diaphragm dynamic driver
• Impedance: 21 ohms
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 123dB/Vrms (@1kHz gold/red nozzle), 123dB/Vrms (@1kHz silver/red nozzle), 124dB/Vrms (@1kHz silver/black nozzle)
• Cable: 2-pin, 0.78 mm; 3.5 mm termination. Silver-plated OFC wire
• Tested at: $89.99 USD

ACCESSORIES



Other than the IEM, these are included:
- 3 pairs of silicone eartips (S/M/L)
- Cable
- Carrying case
- 3 pairs of tuning nozzles
- Spare silicone rings

The accessories are decent for a sub-$100 set, perhaps other than the lack of other types of eartips.




The silicone eartips are serviceable from a sonic and comfort perspective, though it would have been nice to have a wider selection of tips, be it foam or silicone ones.




Simgot has provided a silver-plated OFC cable, sheathed with anti-oxidation PVC. This is well-braided but is somewhat tangly. Thankfully, there's a chin cinch for added grip.




There's an ovoid zipper leatherette case, with inner webbing to store accessories, and a bunch of spare silicone ring identifiers.




Lastly, we have 3 pairs of tuning nozzles, which we will go into further detail below.




The rest of this review was done with the stock cable and stock silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.


BUILD/COMFORT



The EA500LM is fashioned from CNC etched alloy. It comes in a tear-drop shape design, with a mirror-like finish. While this is elegant, it may be a fingerprint or scratch magnet.

The shells are light and ergonomic, and are designed from accumulated data of 3D ear models. Indeed, comfort is top-notch for long listening sessions, with no awkward protrusions to poke the ears.

I did not find any driver flex on my pair. Isolation is above average in view of the vented acoustics.


TUNING NOZZLES/INTERNALS

The EA500LM - as per its "LM" namesake - utilizes a lithium-magnesium diaphragm dynamic driver.

Tuning nozzles are all the rage nowadays, and unexpectedly, this set comes with 3 pairs of tuning nozzles. Unlike other "tunable" IEMs that are gimmicky with minimal changes in tonality, I'm glad to report that the tuning nozzles of the EA500LM do contribute to some tonal differences:

Graphs of the Simgot EA500LM via IEC711 coupler. 8 kHz is a coupler artefact.

Simgot is known for its bright Harmanish house sound, and the black/silver and silver/red nozzles are tuned in the same vein as this stock house sound, bringing a thin but resolving and transparent soundscape, with solid technicalities to the table.

For the pinna-gain sensitive, the gold/red nozzle is a better match, toning down the upper mids and lower treble as per the graphs above, though with a slight compromise in resolution. This gold/red nozzle combination provides a thicker note weight than the basic Simgot tuning, with more meat to the bones.

The first 2 nozzles will suit the trebleheads and vocal lovers, with the silver/red nozzle being kind of a midpoint compromise if you want something more analytical but less fatiguing. Personally, I am not a fan of the overly bright silver/black config, and mostly utilized the more laid-back gold/red setup.


DRIVABILITY

I tested the EA500LM with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is easily driven, and additional amplification is not 100% required.


SOUND & TECHNICALITIES



The following impressions were done with the gold/red nozzle installed.

On this setup, the EA500LM has a Harmanish tonality that is quite crowd-pleasing. Simgot has taken on feedback from their previous IEMs, to shave off a few dB from the zealous upper mids of their house sound with this gold/red tuning nozzle.

Bass is focused at the sub-bass, though there is a sub-bass roll-off. This IEM is hence not for bassheads. While there is no mid-bass bleed, the texturing can be one-noted at times, though it is relatively speedy during complex bass movements.

The lower midrange is clean and transparent, with just a touch of mid-bass warmth. With a 9 dB ear gain on the gold/red nozzle, the upper mids are forwards but relatively shout-free, which is a very tough line to balance. The other 2 nozzles have a more zealous upper midrange, and I find the gold/red one to be the most restrained of the lot for this frequency band.

Treble is moderately extended, though this isn't the most airy of IEMs. We have decent resolution and clarity retained, though not veering to too much fatigue. Sibilance is just slight, with no splashy high hats or cymbals.

Timbre is realistic and authentic, in keeping with its single DD roots. No complaints here.

The EA500LM is a really solid in technicalities, for a sub-$100 USD single DD. Soundstage is wide, with accurate imaging and solid layering (soundstage height and depth are above average). There's a good sprinkling of micro-details and fast transients noted.


COMPARISONS

The EA500LM will be compared against other sub-$100 USD single DDs. Planars, multi-BAs, and hybrids are left out as the different driver types have their pros and cons.
The gold/red nozzle is used on the EA500LM for the comparisons.


Simgot EA500 (original)


Graphs of the Simgot EA500LM versus OG EA500, via IEC711 coupler. 8 kHz is a coupler artefact.

The OG EA500 has only 2 tuning nozzles, and both have less sub-bass than the EA500LM's 3 tuning nozzles.

When compared to the gold/red nozzle on the EA500LM, the EA500 is a tinge thinner in note weight, with a less natural timbre. The EA500 has slightly better micro-detailing, but loses in soundstage and bass extension. The EA500 is easier to drive.

In the big scheme of things, considering the EA500LM is about 10 bucks more than the OG EA500, it is an incremental upgrade and not a night-and-day different IEM. You get a slightly more refined IEM with an extra tuning nozzle in a way, but for existing owners of the OG EA500, perhaps there is not great value proposition to procure the newer EA500LM.


Oriveti OD100

The OD100 is a brighter IEM - it is shoutier in the upper mids, more sibilant in the treble, with less bass. Overall, this contributes to the OD100 sounding more fatiguing than the gold/red nozzle config on the EA500LM.

Timbre is worse on the OD100, and it is technically a league behind, with the OD100 having inferior micro-detailing, soundstage and layering.

The OD100 can be worn cable down or over-ears, so fit is a bit more versatile, but it is has no tuning nozzles to vary the tonality.


Moondrop Aria 2

The Aria 2 follows the virtual diffuse sound field (VDSF) - which is essentially Moondrop's in-house variant of the Harman curve.

Tonally, the Aria 2 has less bass, but is a tinge brighter. It hence sounds more sterile. Technically, the Aria 2 is slightly poorer, with a smaller soundstage and weaker imaging/micro-detailing.


CONCLUSIONS



It is rare to find a budget IEM that does well in most departments. Verily, most budget gear have compromises in some form or other, but the EA500LM manages to do well in the 3Ts of tonality, technicalities and timbre.

Accessories, aesthetics and build are good for the coin, and it is easily driven. There are 3 tuning nozzles to spice up tonal options, from a bright analytical-focused tuning to a slightly tamer Harmanish fare, to suit different ear sensitivities and preferences. Timbre is impeccable, and technicalities as alluded to, are solid. Soundstage width and imaging are really well done, even when compared against other single DD sets under a 100 bucks.

Well nothing is perfect, and there are admittedly some small nitpicks. The bass perhaps could do with better texturing, and the black/silver nozzle may be overly fatiguing for all but the most diehard of trebleheads.

Nevertheless, as an overall package, the EA500LM is certainly multifaceted and polished, and would be one of my go-to recommendations for a high-performing sub-$100 single DD set.

DISCLAIMER

I would like to thank the Angeldac Audio Store for providing this review unit.

The ND X12 can be gotten here: https://www.aliexpress.us/item/1005006485187631.html (no affliliate links).





SPECIFICATIONS

• Driver configuration: 1 x 10 mm nano dynamic driver + 4 x 50024 BAs + 1 x 30095 BA
• Impedance: 22 - 33 ohms (dependent on tuning switch toggled)
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 104 - 109 dB
• Cable: 2-pin, 0.78 mm; 3.5 mm termination. 4-strand silver-plated wire
• Tested at: $59.99 USD (non-mic version); $61.19 USD (mic version)

ACCESSORIES



Other than the IEM, these are included:
- 3 pairs of pliable silicone eartips (S/M/L)
- 3 pairs of stiff silicone eartips (S/M/L)
- Cable
- Carrying case
- Card pin

For gear residing at the $60ish USD bracket, the accessories are quite decent, perhaps other than the lack of foam tips.




2 types of silicone tips are provided, with a similar narrow bore sizes. The grey ones are a bit more pliable, whereas the white ones are stiffer. Do see what suits your preferences in terms of fit and sonics.




ND has included a 4-strand silver-plated cable. This is quite well braided, with just a sprinkling of microphonics. It has no chin cinch unfortunately. One can opt for a mic or non-mic version when placing an order.




Instead of a run-of-the-mill waifu, ND has included a Lion Dance post card instead! Sorry to our waifu fanboys.




Lastly, we have a leatherette button carrying case to store the X12, and a card pin to flip the tuning switches - don't lose them!

The rest of this review was done with the stock cable and stock white silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.


BUILD/COMFORT



The housings are fashioned from aviation-grade aluminum alloy, thru CNC manufacturing. There is a black or silver version available (the former's black paint is slathered on via a frosted process, whereas the silver one is electro-plated for a mirror-like finish). On the faceplate, we have a colourful striped motif, which gives the X12 a very psychedelic and eye-catching aesthetic.

The X12 is very ergonomic and comfortable, with the shell design being compiled from a collection of ear anatomies. The inner aspects are smooth with no protrusions, and it can be worn for hours without issues.



Being a vented IEM, isolation is average.


TUNING SWITCHES/INTERNALS

The X12 is a 6 driver hybrid:

• 1 x 10 mm nano dynamic driver handles the bass frequencies.
• 4 x 50024 BAs take care of the midrange.
• 1 x 30095 BA settles the treble.

The X12 has 3 tuning switches, which in theory should provide 8 different tuning permutations. However, on independent graphs, sneakily, we only have 2 different signatures!

Graph of the ND X12 via IEC711 coupler. 8 kHz is a coupler peak.

Thus, the tuning switches are rather gimmicky. Of the 2 tuning permutations, the X12 can only be tuned to bright and VERY bright.

So on the VERY bright tuning (switch DDD), it is extremely harsh and thin sounding. Maybe only bona fide trebleheads will enjoy this tuning choice, but it is too sibilant and fatiguing for me, and I can't tolerate it for more than a few minutes. Vocals are nasal and metallic, though clarity and resolution are high. This DDD setting is not recommended for the majority of consumers.

Thankfully, the other tuning option - switch UUU - although still bright, is overall tamer in the treble. So this is my preferred setting, and it furnishes a bright U-shaped tonality, which cedes some resolution but is more tolerable to the ears. However, it is probably still not a kindred spirit for the treble-sensitive or anti-pinna gain gang amongst us.

As part of the acoustics, ND markets that this IEM has a rear BA chamber vent, which purportedly assists in pressure equalization and expanding soundstage. Sadly, despite this vented design, I found slight driver flex on my pair, but this is partially dependent on ear anatomy and type of eartips used.


DRIVABILITY

I tested the X12 with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

The ND X12 is easy to drive, and amplification is not truly essential. However, as discussed above, due to the bright nature of this IEM, it synergizes better with warmer sources, rather than something already bright or treble boosted.


SOUND & TECHNICALITIES

The following impressions were done with the UUU switch config - ie the lesser evil less bright of the two available tuning options (caveat: this is still a bright U-shaped tonality).


On this setup, the X12 has a sub-bass focused tone. Bass is north of neutral but it doesn't hit basshead quantities, with just a little rumble heard. In terms of quality, the bass has above average texturing, and is relatively speedy, with no mid-bass bleed.

As per the U-shaped tuning, the lower mids are a bit scooped out. With no big bass to add heft to this region, the lower midrange is admittedly somewhat sterile sounding. However, it is transparent and clear, so there are pros and cons to the tuning choices. On the UUU setting, the ear gain hits around 11 dB or so in the upper mids - this allows vocals to be forwards in the mix, but we get some harshness and fatigue, especially at louder volumes (Fletcher Munson curve). Thus, the X12 is probably best used at low to moderate volume levels.

The X12 is a trebleheads' dream, with a very extended and airy treble. This brings a lot of resolution and clarity. However, cymbals and highhats can be splashy, in addition to some sibilance. Once again, the tuning alienates the treble-sensitive in our midst, so this may not be their cup of tea.

Unexpectedly, this hybrid has BA timbre, what with 5 out of the 6 drivers in this set being BAs. So notes are a bit hollow, especially when acoustic instruments come out to play.

In technicalities, the X12 redeems itself. As detailed above, the DDD brighter tuning switch option is definitely more resolving (but too fatiguing for non-trebleheads). Even so, on the UUU less bright setup, the X12 is a very technical and analytical IEM. Soundstage is above average, with good micro-detailing and imaging. Layering and instrument separation are well done for a budget hybrid.


COMPARISONS

The X12 will be compared against other budget multi-driver types that have tuning switches. The X12 will be toggled to the UUU less bright tuning switch setup on for this comparison.




CVJ Mei


Graphs of the CVJ Mei on various tuning switches. 8 kHz region is a coupler artefact peak.

The Mei has only 2 tuning switches, but the switches make a whole world of difference, unlike the borderline shady ones on the X12. The Mei has 4 distinct tonalities, from L-shaped LowFI sounding, all the way to a neutral-bright soundscape.

To compare apples to apples, we will use the most resolving neutral-bright setup on the Mei for the comparisons (both switches up). With this toggled, the Mei is thinner in note weight, with a more metallic timbre. The Mei has a smaller soundstage but slightly better imaging and micro-detailing.


TRI Star River


Graphs of the TRI Star River on various tuning switches. 8 kHz region is a coupler artefact peak.

The Star River is a dual DD set with 2 tuning switches, but is another switcheroo scam, as there are only 2 distinct signatures out of a promised 4. Additionally, my Star River unit has poor QC, with one earpiece having the switches stuck, requiring great force to activate them.

Whatever the case, the Star River's 2 tunings confer a very old-school shouty V-shaped banshee-like sound. The Star River's upper mids are harsh and fatiguing (worse than the XD N12's) and to top it off, the timbre is off, with weaker technicalities (in soundstage, imaging and micro-detailing). Comfort is worse than the XD N12.


CONCLUSIONS



The ND X12 is a hybrid for our trebleheaded friends, and won't be a universal recommendation - especially for the treble-sensitive - in view of the polarizing treble-on-steroids tuning. For the treble-inclined, the X12 bestows a very analytical soundscape, with solid technical chops. Additionally, comfort and accessories are more than decent, with easy drivability.

Unfortunately, despite boasting of 3 tuning switches - ie 8 tuning permutations on paper - there are only 2 true tonalities measured on independent graphs, so the switches are crowbarred in for the illusion of choice. And to top it off, these 2 tuning options are only bright and VERY bright. Even on the less bright setup, the X12 may be a bit too hot, if used at louder volumes. Slight driver flex and BA timbre are additional blights.

Essentially, the X12 is a niche IEM for trebleheads who want something analytical and technical to analyze music. It's case use might be quite limited as such, but for ears whose listening preferences dovetail nicely with this hybrid, the X12 may prove to be an affordable entry transducer for this subset of consumers.

DISCLAIMER

I would like to thank Hidizs for providing this review unit.

The SD2 can be gotten here: https://www.hidizs.net/products/hidizs-sd2-hifi-type-c-to-3-5mm-adapter-dongle-dac or https://www.amazon.fr/dp/B09G9YMHV5 (no affiliate links).




SPECIFICATIONS/COMPATIBILITY

DAC Chip: ES9270 DAC
Dimensions: 34.5 × 20 × 10 mm
Weight: 6 g
Maximum supported bitrate: 32-bit/384kHz PCM, DSD 64/128
Output port: Single-ended 3.5mm
Output power: 70 mW + 70 mW
Frequency Response: 20 Hz - 40 kHz
Distortion: PO (3.5): 0.0015%
Signal-to-noise ratio: PO (3.5): 118 dB
Separation: PO (3.5): 64 dB
Tested at: $39.99 USD ($31.99 for first 200 units)


The SD2 is a plug-and-play device; on Windows 10 systems and above, there is no need for any additional installation of drivers. I am not an Apple ecosystem user, but the SD2 was easily recognized on various Android and Windows devices I paired it with.

Unsurprising for a budget dongle, the SD2 does not have any app, DAC filters or built-in EQ options. It supports microphones though.


ACCESSORIES



Other than the dongle, included are:
- Type-C to USB-A adapter
- Lightning to type-C cable



Surprisingly, there is no type-C to type-C cable to extend the reach of this dongle, but for a budget DAC/AMP, the accessories are nevertheless quite generous. I've definitely have encountered way more expensive dongles which omitted even the USB-A adapter. Also, our Apple-using brethren should be happy with the inclusion of a Lightning adapter.


DESIGN/FUNCTION



In a sea of rectangular or cylindrical dongles, the SD2 certainly stands out with its asymmetrical pentagonal shape, coupled with a unique Mecha-style motif etched on the surface. The dongle itself is fashioned from aluminum alloy with an external resin fuselage.

The SD2 is for sure, one of the smaller dongles, weighing a mere 6 g, and measuring 34.5 × 20 × 10 mm. During ordering, consumers can choose amongst a black, white or grey hued chassis.




On one side, we have a gold-plated 3.5 mm terminal.




The opposite side houses the USB-C port.


The SD2 does not have any volume controller - thus, users will need to adjust the volume at the proximal source - and it has no screen.

This dongle does have a LED light, which will switch between red and blue, depending on file bitrate played:

• Red Color: PCM 44.1 - 48kHz
• Blue Color: PCM 88.2 - 384kHz & DSD

The SD2 is a great match for laptops and PCs, due to the small profile that functions similar to a thumb drive. It doesn't dangle around unlike other elongated dongles which have cables flailing around.




However, the SD2 may be an awkward proposition for phones, especially if placed in tight pockets or small bags. I'm quite fearful that the SD2 might snag onto something and twist and pivot on the USB-C port of the phone, which is a potential disaster!



Thus, it behooves the user to perhaps be careful when bringing the SD2 out-on-the-go with a phone.


INTERNALS

This dongle's DAC is an ESS sabre ES9270 chip, housed inside a 32-bit HyperStream®II QUAD DACTM frame. It plays PCM up to 384 kHz and DSD128.


SOUND/PERFORMANCE

I tested the SD2 with Android phones and on Windows laptops and PCs. TAKE NOTE: No Apple devices were tested as I am not an Apple user.


Tonally, the SD2 is on the warmer side with a slightly emphasized mid-bass. This tuning choice bestows a consumer-friendly tuning, bringing head-banging fun to the table. The bass is can be somewhat bloated though - this is apparent with complex bass tracks - and this region isn't too textured, but thankfully, it doesn't overly bleed into the other frequencies. The treble is decently extended, but is not super airy, with a roll-off in the upper treble.

In technicalities, when compared against other budget dongles, the SD2 has a wide soundstage with almost pin-point imaging, which is quite remarkable for the $30ish entrance fee. It is not the most micro-detailed in view of the tuning, with instrument separation sometimes smearing in complex musical movements.

This DAC/AMP is only single-ended, with no gain options. Power-wise, it outputs 70 mW, which is acceptable for a budget dongle, but is not the most powerful at this price-point.

My crucibles for source testing include 3 of my hardest to drive gear:
1) Final Audio E5000 (low sensitivity at 93dB/mW)
2) Sennheiser HD650 (high impedance at 300ohm)
3) Yinman 600 ohm (600 ohm impedance and 87db/mW sensitivity)

Driving to adequate volume is not the same as driving well, and though the SD2 could get the volume loud enough with these 3 behemoths, the transducers couldn't "sing". All 3 had bloated one-noted and untextured basslines. The E500 in particular sounding undynamic, though the HD650 had decent dynamics, but was compressed in soundstage. The Yinman 600 ohm sounded claustrophobic and lowFI, but this is probably an unfair transducer to test the SD2 with, as even pricier dongles and DAPs have trouble driving the Yinmans optimally.

The SD2 doesn't hiss even with fussy high sensitivity IEMs, which is much appreciated. Unfortunately, there is an irritating "Pop" sound heard when disconnecting transducers, even when the upstream source and dongle are muted - this could have been prevented with a "pop" suppression design I suppose. Thankfully, one can mitigate the "popping" via using an interim 3.5 mm to 3.5 mm adapter.

Hidizs has not included any output impedance (OI) specs on the product insert. To my ears, the OI is perhaps on the higher side as some low impedance gear plugged into the SD2 sounded a bit bass boosted. This may be a boon for some who want a warmer tonality, but purists who prefer a dead neutral dongle might need to look elsewhere, unless you are open to playing with EQ upstream.

The SD2 runs warm when powering hard-to-drive gear, but not overly hot, compared to rival dongles.


COMPARISONS

The SD2 will be compared against some other $40ish USD dongles that are single-ended.


Apple dongle (non EU version)

The Apple dongle is one of the cheapest dongles at sub-$10 USD, but it has a noodle-thin non-detachable cable, and feels quite filmsy compared to the sturdy SD2. The Apple dongle also does not have volume controls.

Tonally, the Apple dongle is dead neutral, with a comparatively thinner note weight than the bassier SD2. The Apple dongle has less power than the SD2, and is also inferior in soundstage and imaging. Micro-detailing is on par, but clarity is a shade better on the Apple dongle, as the bass is a bit less emphasized.

For diehard audiophiles, the Apple dongle is capped to a 48 kHz/24 bit maximum sample rate, whereas the SD2 can play up to 384 kHz/32 bit and DSD 128. The Apple dongle has no "pop" sound when disconnecting gear.


Tempotec Sonata HD Pro

The HD Pro is a neutral dongle. It has volume controllers and a detachable cable. The HD Pro is weaker in soundstage and imaging, but has a bit better micro-detailing.

The HD Pro is limited to 60 mW at 32 ohms, so it is marginally weaker than the 70 mW of the SD2. The HD Pro is also more bulky in size, though it is ice-cool during usage. The HD Pro has no "pop" sound when disconnecting transducers.


Fiio KA11

The KA11 is also tuned warmish, but it has 200 mW of power at 32 ohms, which is probably class-leading for a dongle of its size, easily dwarfing the SD2's 70 mW on tap. The KA11 gets hotter during usage, but understandably so due to the bigger power outlay.

The KA11 has no volume controls too, but it has no "pop" sound on removing IEMs due to the implementation of a "pop" suppression system. The KA11 is second class in technical chops, with a smaller soundstage and poorer imaging.


CONCLUSIONS



For a budget dongle, the SD2 is a decent offering, boasting of a fun, slightly bass-emphasized tone, with generous accessories - it even has a Lightning adapter for Apple users, which is frequently neglected with even more expensive dongles!

The SD2's calling card is its small pentagonal profile, which is pretty unconventional to say the least. This makes it an unobtrusive dongle for PCs or laptops - in functioning like a thumb drive - but conversely, it may awkwardly snag when placed in tight pockets or crowded bags.

Of note, the SD2 has a deceiving large soundstage and nearly pinpoint imaging, which is quite unexpected for the $30ish entrance fee - this is something found in pricier dongles usually. However, the emphasized bass goes for quantity over quality, and it may not be the tightest or fastest, especially when complex bass tracks come out to play.

For a budget single-ended only dongle, the SD2 pumps out 70 mW power, which should do an okay job for most IEMs (other than outliers like the notorious Final E5000). However, it admittedly loses to the Fiio KA11 in power, which as of the time of writing amongst the small and cheap dongles, has a class-leading 200 mW juice at 32 ohms; the SD2 beats the KA11 in technicalities though, so each has their strengths.

One bugbear during my testing was the "pop" sound when changing transducers - this can be mitigated with a 3.5 mm to 3.5 mm adapter - though it would have been great if there was a "pop" suppression added in the design.

In conclusion, the SD2 is not perfect, but it does more areas well than bad, and is a suitable everyday carry (EDC) dongle, especially for laptop or PC users who want something compact, with an expansive soundstage and solid imaging.

DISCLAIMER

I would like to thank Aune for providing this review unit.
It can be gotten here: https://www.amazon.com/dp/B0CJXYNNTH (no affiliate links).





SPECIFICATIONS/COMPATIBILITY

DAC Chip: Dual Cirrus CS43198
Maximum supported bitrate: 32-bit/768kHz PCM, DSD 256
Output ports: 3.5 mm (single-ended) and 4.4 mm (balanced)
Dimensions: 24 mm x 13 mm x 53.5 mm
Output power: single-ended: 2.0 Vrms, 90 mW @ 32 ohms; balanced: 4.0 Vrms, 160 mW at 32 ohms
Noise floor: single-ended: 2.6 uV; balanced: 2.9 uV
THD + N: single-ended 0.00036%; balanced 0.00033%
Tested at: $169 USD


The Yuki is a plug-and-play dongle, and it does not require additional drivers for Windows 10 systems and above. The Yuki was readily recognized by multiple Android and Windows devices I paired it to; apologies, I am not an Apple user and cannot vouch for the compatibility here.

The Yuki does not have any app, DAC filters or EQ options. However, it has a UAC 1.0 mode for gaming devices such as the PS5 and Switch. The dongle operates in UAC 2.0 mode by default, but long holding the volume "+" button while the dongle is connected to a gaming device will trigger it in UAC 1.0 mode.


ACCESSORIES




Aune has included a USB-C to USB-C cable and a USB-C to USB-A adapter. The former is gold-plated on both terminals, and has a pretty well-braided cable that is supple.




For Apple users, you might need to source for an aftermarket lightning adapter as this is not included.

For those interested, there is an option to separately purchase a leather case for the Yuki (at $15 USD), in either an orange or green hue: https://www.amazon.com/dp/B0CN165RWR




DESIGN/FUNCTION



The Yuki is arguably the most beautiful-looking of around 20 dongles that I own. The external chassis is fashioned from aluminum alloy, and this is coated by a white baked enamel. The top of the dongle has a glass panel to visualize the inner circuit board, which should please the tech geeks amongst us.

It is rather compact at 24 mm x 13 mm x 53.5 mm, and is easily pocketable.

The Yuki does not have any LED screen display. On one end of the fuselage, we have the 3.5 mm (single-ended) and 4.4 mm (balanced) ports, with both reinforced by gold-plating.




On the opposite end, we have the USB-C port for power and data transfer.




While most dongles place the volume buttons at the lateral sides of the dongle, the Yuki's volume "+" and "-" buttons are located at a very unconventional location - at the base of the dongle! When the dongle is for example inside a jeans pocket, users might face issues accessing the buttons, or end up accidentally toggling them.



Thankfully, these volume controls are independent, with 100 finely-tuned volume steps. Indeed, some high-end dongles like the Questyle M15 do not have independent volume controls, so Aune including it here is a plus point.

Long-pressing these 2 buttons simultaneously will toggle between the high and low gain modes.


INTERNALS

This DAC/Amp houses dual CS43198 DAC chips, and can support up to 32-bit/768kHz PCM and native DSD256 playback.

The Yuki incorporates a dual layer design, which independently separates the DAC from the analogue headphone amp. This 4-way balanced amp has 16 transistors to power it. This is mounted on a hybrid ceramic PCB, which is marketed to have better thermal conductivity and insulation, in addition being physically robust.




SOUND/PERFORMANCE

I tested the Yuki with Android phones and on Windows laptops and PCs. TAKE NOTE: No Apple devices were tested as I am not an Apple ecosystem user.

The Yuki is quite neutral, and lets the connected transducer do the colouration. End-to-end extension is good, with no roll-off at either end. Bass is textured with a transparent midrange and pretty well extended treble. The keyword to describe the Yuki would be "clean", with notes painted on a dark background.

In technicalities, the Yuki has a wide soundstage with quite accurate imaging and nice layering. However, it has a tinge blunted edge definition, which adds some smoothness to note edges. As such, there is some dampening of micro-details and clarity, but this adds some musicality to the equation. Timbre is natural, no complaints here.

This DAC/AMP has 3.5 mm (single-ended) and 4.4 mm (balanced) ports, with the latter providing more power. On high gain, with the 4.4 mm output, Aune markets that the Yuki can hit 4.0 Vrms, 160 mW at 32 ohms.

My crucibles for source testing include 3 of my hardest to drive gear:
1) Final Audio E5000 (low sensitivity at 93dB/mW)
2) Sennheiser HD650 (high impedance at 300ohm)
3) Yinman 600 ohm (600 ohm impedance and 87db/mW sensitivity)

The above were tested with the 4.4 mm (balanced) port, on high gain.

The E5000 was juiced sufficiently well for dynamics and volume, though bass could do with better texturing and speed. The Senn HD650 could hit solid volume levels, but sounded a bit undynamic, with a smallish stage. Bass was pretty well-controlled though.

The final boss, the Yinman 600 ohm, with a crazy low sensitivity and high impedance, was unsurprisingly not driven well. It is not a matter of volume, but the bass was flabby and one-noted, with dynamics not up to par. No shame though - not many portable sources - dongles in particular - can drive the Yinmans properly, so it is usually reserved for desktop grade amps.

The Yuki doesn't hiss even with fastidious high sensitivity IEMs, which hints at good noise floor control. Unfortunately, no output impedance (OI) specs are provided on the product insert. To my ears, the OI should be relatively low on both balanced and single-ended ports, as the low impedance IEMs I plugged in sounded similar tonal-wise (i.e. not skewed by too high OI).

The Yuki gets a hair warm during usage, but not scalding, unlike some other dongle rivals. There is no "pop" sound when disconnecting transducers, which is something very much appreciated.


COMPARISONS

The Yuki will be compared against some other $100ish USD dongles.




AFUL Snowy Night

The Snowy Night packs a similar dual CS43198 DAC. On high gain, with the 4.4 mm output, the Snowy Night can provide 300 mW, which is almost double that of the Yuki.

Tonally, the Snowy Night is also neutralish, but the Snowy Night lags behind in soundstage, imaging, micro-detailing and instrument separation.


EPZ TP50

The TP50 also contains dual C43198 Cirrus chips. This dongle is however, cold and sterile sounding, with a thinner note weight.

The TP50 has a smaller soundstage, but superior micro-detailing and imaging. In terms of power output, the TP50 pushes out 240 mW on the 4.4 mm port, which shades that of the Yuki.

The TP50 has hissing with sensitive IEMs, though it has an LED screen and DAC filters and other settings to play with.


Fiio KA17

The KA17 sports a dual ES9069Q chip, and is neutral in stock form. However, it can access PEQ from a Fiio app on Android devices, which unlocks greater versatility in terms of tonality.

The KA17 has 650 mW output on its desktop mode (4.4 mm), which is the most powerful dongle at the time of writing, easily trumping the Yuki in this department. However, the KA17 gets much hotter and drains more battery than the Yuki, so we can't game physics.

The KA17 has better soundstage depth and height, though it sounds a bit more metallic in timbre. The KA17 has improved imaging and micro-detailing.


CONCLUSIONS



The Aune Yuki is a decent entrant amongst the dual C43198 Cirrus mid-priced dongles. It brings refined aesthetics, portability and a neutral soundscape to the table, with soundstage and imaging a highlight. This is not at the expense of veering to an overly analytical dongle, as note edges are sweetened a bit to add some musicality.

Timbre is quite natural, with no hiss with high sensitivity gear. The volume steps are finely tuned - with independent controls - though they are strangely located at a less ergonomic position. This device has a UAC 1.0 mode for our gaming friends too, and does not get hot during usage.

The Yuki lacks some functional elements, such as no LED screen, EQ or DAC filter options. Neither is it isn't the most resolving or powerful dongle at its price point, though one can think of it as doing well in most other departments, and perhaps surpassing some others in soundstage.

All-in-all, the Yuki is a potential sidegrade to consider in the conversation amongst the usual C43198 dongle contenders, for folks wanting something neutralish with a non-claustrophobic and "clean" soundscape.

DISCLAIMER

I would like to thank Sam Audio for this loaner unit of the Tanchjim Origin: https://samaudiosg.com/products/sg-tanchjim-origin-1-dynamic-driver-iem

It will be returned after the review.




INTRODUTION

The Tanchjim Oxygen is one of the legendary midFI single DDs that any CHIFI aficionado worth his or her salt would know. Indeed, in a sea of weekly sidegrade CHIFI releases, the Oxygen is still competitive, even though it was released 5 years ago; this is a testament to its longevity and tuning prowess!

The Origin we will be talking about today, is a sequel to the venerable Oxygen, and it surely has huge boots to fill, in following after the footsteps of the original Oxygen.

SPECIFICATIONS

• Driver configuration: 1 x 10 mm DMT 5th generation dynamic driver
• Impedance: 16 Ohms
• Frequency response: 20 Hz - 48 kHz
• Sensitivity: 126 dB/Vrms
• Cable: 2-pin, 0.78 mm; 3.5 mm termination. 6N Litz oxygen-free copper silver-plated cable
• Tested at: $259.99 USD

ACCESSORIES

Other than the IEM, these are included:
- T-APB pressure-relief wide-bore silicone eartips (S/M/L)
- T-APB pressure-relief narrow-bore silicone eartips (S/M/L)
- Cable
- Carrying case
- 3 pairs of tuning nozzles

Considering the Origin is a midFI single DD, the accessories are par for the course, perhaps other than the lack of a modular cable and foam tips.




We have 2 variants of T-APB pressure-relief silicone tips included. The wide bore ones boost treble and soundstage, whereas the narrow-bore ones increase bass, with some compromise in soundstage. They are quite comfortable, as per the "pressure relieving" properties.




Tanchjim has provided a 2-pin 6N Litz oxygen-free copper silver-plated cable. This is on the thinner side, though it has minimal microphonics, and has a chin cinch. It is tangly though, but is quite supple otherwise.




We have a white PVC leatherette case that is pretty spacious, with the innards lined by a velvety material. Certainly functional, with a button clasp.




Last but not least, we have 3 pairs of tuning nozzles, which come in their own metal tray. We will discuss in further detail below on what the nozzles do.

The rest of this review was done with the stock cable and stock wide-bore silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.


BUILD/COMFORT

Tanchjim is renowned for their elegant and refined aesthetics, so it is no surprise that the Origin is a looker. It has a gorgeous mirror-like finish, and is fashioned from corrosion resistant stainless steel. The mirror-like finish may be prone to scratches and smudges, so the shells need to be babied.

Tanchjim markets that the housings have a FEA (finite element analysis) simulated acoustic structure, with a rear cavity air-pressure release vent (located next to the 2-pin connectors). This rear vent is very interesting - it aids in equalizing pressure - and hence there is no driver flex - plus it furnishes a semi-open backed design. Thus, it contributes to an expansive soundstage, though we do have some penalties in isolation.



Tanchjim has accumulated a myriad of ear samples in designing the Origin, and I'm glad to report that ergonomics are top-notch, with no weird protrusions or short nozzles - cough cough looking at you Tanchjim Oxygen. The Origin can be used for hours without discomfort.


TUNING NOZZLES/INTERNALS

The Origin's engine is a 10 mm DMT 5th generation dynamic driver. The wave guide cover of the housings have radian corrugations on the inner aspects to aid in resonance dispersal.

Tuning switches and nozzles are the flavour of the year, and the Origin comes with 3 pairs of tuning nozzles. Each nozzle comprises of an outer composite strainer covered by a steel mesh - this is supposedly condensation proof - and there is an inner finer strainer which is dust-proof.



These 3 sets of nozzles are labelled S, L and D, which refer to:
L - light
S - standard
D - dynamic

Sadly, the tonal changes are very subtle on graphing; we see some slight changes in the lower and upper treble mainly, but overall the tuning nozzles do border on gimmicky.

Graph of the Tanchjim Origin via IEC711 coupler. 8 kHz is a coupler artefact peak.


DRIVABILITY

I tested the Origin with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is moderately easy to drive. While weak sources like a mere smartphone can drive it, sonics will be optimized with amplification.


SOUND & TECHNICALITIES

The following impressions were done with the S tuning nozzles installed.



The Origin sports a safe Harmanish profile. This is very consumer friendly, and perhaps only die-hard bassheads and the anti-Harman gang will find the tuning unpleasant.

The bass is mostly sub-bass focused. It is tight and fast, with no mid-bass bleed, but it isn't the deepest in quantity and rumble. Definitely a case of quality over quantity, with solid texturing on show.

With no big bass encroachment, the lower mids are clean and transparent. Upper mids hit nearly 10 dB ear gain, which is right at the edge between forwardness and shoutiness. Vocals have a tinge of nasalness, and at lower to moderate volumes, this region is quite acceptable, but perhaps the Origin is not best played at very loud volumes (Fletcher Munson curve).

Treble is quite extended and resolving, with just slight sibilance. It does not veer too much to harshness or fatigue, but keeps a decent sprinkling of clarity and micro-details.

Timbre is very organic; timbre freaks will have nothing to complain in this department.

Technicalities-wise, the Origin would be considered as very capable for a midFI single DD. Due to the aforementioned open-backed acoustic structure, soundstage is expansive in width, with good depth and height. Micro-detailing and clarity as previously mentioned, are also well done, with crisp transients. Imaging and instrument separation are also very solid.


COMPARISONS

The Origin will be compared against other midFI single DD. Pure BA, hybrids and planars are left out of the comparisons, as the different transducers have their pros and cons.


Tanchjim Oxygen

The Oxygen's Achilles' heel, is its super stubby nozzle, that gives fitting issues for consumers. I'm glad to report that the Origin fares much better in this aspect, with a longer profile.


Photo of the Oxygen (left) versus Origin (right).

The Oxygen is also tuned to the Harman curve, but it has a slightly thicker note weight, with more sub-bass. It comes across as a bit darker due to this.

In technicalities, the Oxygen has weaker instrument separation, micro-detailing and imaging. Soundstage is more compressed on the Oxygen too.


Oriveti OD200

The OD200 has 2 tuning nozzles - the black one is pretty shouty in the upper mids (though it is more resolving), and most listeners have to revert to the tamer silver nozzle, which we will use in the comparisons here.

With the silver nozzle installed, the OD200 has a thicker note weight, with more bass and less treble. The OD200 has a weaker soundstage, with inferior imaging, micro-details and layering.


DUNU Falcon Ultra

The Falcon Ultra is another single DD with tuning nozzles - 2 pairs in this case - and the gold one bestows a laid back darkish tone, whereas the blue nozzles provide a pleasant Harmanish fare. We will be comparing the Falcon Ultra with the blue nozzles in place.

On this setup, the Falcon Ultra has more sub-bass, with a tinge less treble extension. The Falcon Ultra has a smaller stage, but has better imaging, with the rest of the technical aspects about on par.

Of note, the Falcon Ultra is easier to drive, and it has a way better accessory spread.


Simgot EA1000

For the pedantic amongst us, the Simgot EA1000 contains a passive radiator and isn't a pure single DD, but it functions similarly to one, and is one of the benchmarks in the midFI region. Thus, no midFI single DD fight will be complete without mentioning the EA1000.

The EA1000 has 3 tuning nozzles, but all present a bright Harmanish soundscape, which is classical of Simgot's house sound.

The EA1000 has more heft to the bass - as a result of the passive radiator - and it is also brighter in the treble. The EA1000 may come across as more fatiguing as such, but it is more resolving, with better micro-detailing and imaging. The EA1000 has a smaller soundstage though, but is easier to drive.


CONCLUSIONS



The ultra-competitive midFi single DD arena is a cut-throat market to enter. The Origin has tough rivals to face, such as the Oriveti OD200, the Simgot EA1000, the DUNU Falcon Ultra, and of course, its own older sibling, the lionized Tanchjim Oxygen.

The Origin does hold its own in such esteemed company - and indeed, it surpasses these 4 challengers in soundstage - though perhaps these other midFI single DDs may do better in other departments (for example the EA1000 has superior resolution, and the Falcon Ultra has improved imaging).

When compared against the predecessor Oxygen, the Origin thankfully solves the fitting issues - and does provide better technical chops - though it is an incremental upgrade over the Oxygen, but coming in at a higher price point.

Soundstage aside, some other areas that the Origin performs well, are its classy exterior, comfortable shells and organic timbre. However, one can argue that the Origin is overly safe in following the tried-and-tested Harman curve, and that the tuning nozzles don't bring much to the table. It is also not for bassheads, as it pursues bass quality over quantity.

In the big scheme of things, the Origin is arguably a sidegrade to the acclaimed single DDs mentioned above. It should definitely be in the conversation for single DD lovers. It is not perfect, and there are areas for improvement, but think of it as a jack of all trades and master of soundstage? Personally though, I still prefer the EA1000's resolution and technicalities (with the added PR bass heft), so that's the gold standard to dethrone.

DISCLAIMER

I bought the Fiio KA11 from Aliexpress.
It can be gotten here: https://www.aliexpress.com/item/3256806284660223.html (no affiliate links).





SPECIFICATIONS/COMPATIBILITY

Tested at $29.99 USD


The KA11 is a plug-and-play device, with no need for the installation of additional drivers on Windows 10 and above. I am not an Apple ecosystem user, but the KA11 was easily picked-up by various Android and Windows devices I paired it with.

The KA11 is compatible with a free Fiio Control app that can be installed on Android devices - this unlocks various features like DAC filters, indicator lights and to toggle between UAC 1.0 and UAC 2.0. The UAC 1.0 mode is a useful setting for gaming devices such as the Switch and PS5. Unfortunately, as of the time of writing, it seems Apple users do not have a functional Fiio Control app. There is no PEQ/EQ software available for the KA11 on this app, and the KA11 also does not support wired mics.





ACCESSORIES

Being a budget dongle, it is no surprise that the KA11 has a non-detachable cable. When ordering, there is an option for a lightning or USB-C termination, which is hardwired onto the dongle. It does not come with USB-A adapters, so users who want to pair the KA11 with a laptop or PC will need to get one.




The KA11's cable is an oxygen-free palladium-plated copper one. Externally, it is sheathed with flexible silicone and a fine-braid, which minimizes EMI and adds durability. Generally, I'm worried about the longevity of non-detachable cables, but I am reassured to find that the one on the KA11 is very sturdy, and is not easily bent. Fiio has actually stated that this cable is also rated for 5000 connections and disconnections for the distal terminal.


DESIGN/FUNCTION

The KA11 is fashioned from aluminum-magnesium alloy, and is built very solidly. There's an inner gold-finish circuit board, covered by an elegant wave-like chassis. During ordering, one can choose between a black or silver hued variant.

Amongst the dongle DAC/AMPs, the KA11 is considered small in profile - measuring 44.5 x 9.7 x 10.55 mm, and weighing a mere 8.5 g. Indeed, it is just slightly larger than the venerable Apple dongle, but is surely tinier than most modern day dongles. Thus, the KA11 is extremely portable and compact, making it a suitable EDC (everyday carry).

This device has no volume control buttons, so one has to perform the volume/skip controls on the upstream source. It also only comes in a 3.5 mm termination, so there is no balanced output.


INTERNALS



The KA11's engine is a CS43131 DAC, with an SGM8262 op amp. It can handle music files up to 384 kHz/32 bit and DSD 256.

It is nice that Fiio has implemented a "pop" suppression system, so that removing or connecting transducers to the KA11 will not result in an unnecessary "pop", which can protect the ears and the transducer!


SOUND/PERFORMANCE

I tested the Fiio KA11 with only Android phones and Windows laptops and PCs. As I am not an Apple user, I can't vouch for their performance with Apple devices.

On phones, I used the HiBy Music Player, with USB bit perfect OTG activated. I cannot vouch for usage with other USB exclusive music apps.




Tonally, the KA11 lies on the warmer side, and has a note weight that is somewhat thicker than neutral. It would make a good pairing for brighter and harsher transducers as such. Bass descends deeply, with good punch. The hefty bass does add a bit of warmth to the midrange, and treble is smooth with minimal sibilance.

In technicalities, for a budget source that is not overly boosted in the upper frequencies, the KA11 has decent micro-detailing but is not class-leading here. Soundstage is average in height and width, though imaging and instrument separation are above average, though not as pinpoint as more expensive dongles.

Looking past its Lilliputian frame, and despite only having a 3.5 mm (single-ended) port, this dongle pumps out 200 mW at 32 Ω, and 245mW at 16 Ω. Thus, it is probably the most powerful dongle I've encountered in this minute profile, and definitely thrashes the Apple dongle in terms of power specs.

My acid tests for source evaluation include 3 of my hardest to drive gear:
1) Final Audio E5000 (low sensitivity at 93dB/mW)
2) Sennheiser HD650 (high impedance at 300ohm)
3) Yinman 600 ohm (600 ohm impedance and 87db/mW sensitivity)

To my surprise, the Final E5000 and HD650 were serviceably driven on the KA11. Definitely desktop grade sources will do a better job, but some pricier or larger portable sources are not able to drive them - it is not a matter of volume, but control, with the E5000 sounding one-noted and flabby in the bass, and the HD650 sounding undynamic and boring with weaker sources. I would have preferred a more expansive soundstage on the HD650, and better bass texturing on the E5000, but we can't complain much here, with the KA11's sub-$30 price and diminutive stature.

The final boss, the Yinman 600 ohm - with an outrageously low sensitivity and high impedance - can be powered to adequate volume, but bass is untextured and smears, though dynamics and soundstage were admirably adequate. It is no shame to not fully conquer the Yinman 600 ohm though - some sources costing 10X of the KA11 are not able to do so either, as this is one tough customer.

It is much appreciated that I did not find any hiss with fastidious high sensitivity IEMs. No EMI was detected with my Samsung S22 phone. Additionally, output impedance on the KA11 is < 0.7 ohms, which makes it a suitable pairing with low impedance gear. Thus, all-in-all, the KA11 is pretty well implemented in engineering, for a budget dongle.

During usage, the KA11 may get warm, especially when driving power-hungry gear, but it is not scalding hot compared to other dongle rivals. The big power on tap does contribute to some battery drainage - can't escape from physics after all - and Fiio has quoted these data for battery drain:

• 90 mA (standby）
• 100 mA (40mV during use)

COMPARISONS

The KA11 will be compared against some budget dongles below $50 USD, with only 3.5 mm (single-ended) output.




Apple dongle (non EU version)

The Apple dongle is cheaper at sub-$10 USD, but has a more filmsy non-detachable cable, and the overall build is less solid. The Apple dongle is dead neutral, with a thinner note weight than the somewhat coloured yet warmish KA11.

In power output, the KA11 kills the Apple dongle but quite a far margin (this is referring to the non-volume capped Apple dongle). Though some may claim that the Apple dongle is enough for all transducers, IMHO, it cannot drive low sensitivity/high impedance transducers properly (in terms of bass tightness and dynamics) (ie current issue rather than volume issue). Driving to adequate volume is not the same as driving well, YMMV.

The Apple dongle has a slightly smaller soundstage, though imaging is on par. The Apple dongle seems to have a bit more treble extension and clarity, with a tinge better micro-detailing. Instrument separation is superior on the KA11.

For the tech geeks amongst us, the Apple dongle is capped to a 48 kHz/24 bit maximum sample rate, whereas the KA11 scales up to 384 kHz/32 bit and DSD 256.


Tempotec Sonata HD Pro

The HD Pro is another neutral source. It has volume controllers and a detachable cable.

The HD Pro has a larger soundstage, with a hair better micro-detailing and imaging.

The HD Pro is limited to 60 mW at 32 ohms, and it cannot power demanding behemoths, unlike the KA11. The HD Pro is also larger in size, though it runs cooler during usage.


CONCLUSIONS



The KA11 is a dongle that disproves the adage "does size matter"? It is a literal pocket rocket, punching out 200 mW at 32 Ω, which at the time of writing, is way more than most other sub-$50 USD dongles can provide, and in such a wee frame to boot! Indeed, the KA11 can sufficiently drive low sensitivity/high impedance gear, something that many rival dongles - some pricier and larger - cannot boast of.

The KA11 also sports a warmish soundscape, which synergizes well with overly harsh or edgy transducers. In addition, it has low output impedance, no hiss and no "pop" sounds when disconnecting gear, which are all laudable properties. For the gamers in our midst, this dongle has a UAC 1.0 mode for some gaming devices, and there is a Fiio Control app for Android users that can unpack DAC filters and additional settings to play with. Sadly, PEQ seems to be omitted in the app for the KA11, perhaps this could be added in with a future firmware update?

We can't expect the moon for the sub-$30 retail price, and the KA11 does not have a volume controller, and the cable is not-detachable, though it is quite sturdy compared to the noodle-thin floppy one of the Apple dongle. Although it only comes in a single-ended 3.5 mm terminal, the available power may dwarf some other balanced dongles, so don't be too focused on it lacking a balanced output! While it gets a bit warm when driving power-hungry gear, the KA11 does not get scalding.

In a nutshell, I do regard the KA11 as a game-changing dongle. The sub-$30 price already brings excellent price-to-performance to the conversation, but more than that, the power output specs are really impressive for such a miniature device. It is a legit mighty mouse and an affordable EDC for audiophiles who want to drive gear from simple IEMs, all the way to more formidable full-sized cans.

DISCLAIMER

The Diablo 2 is a loaner from iFi. It will be returned after this review.
It can be gotten here (no affiliate links): https://ifi-audio.com/products/idsd-diablo-2/.




SPECIFICATIONS/COMPATIBILITY

The Diablo 2's engine is a dual DSD & DXD Burr Brown DAC chip, which is lauded for its buttery smooth house sound. It can function as a DAC, amp and Bluetooth device.

This DAC/AMP is compatible with multiple music formats. PCM can be played up to 32-bit/768 kHz, with native playback up to DSD512, with full MQA decoding. The Diablo 2 supports a myriad of Bluetooth codecs, which we will talk about below.


ACCESSORIES

Other than the Diablo 2, these are included:
- Carrying case with sling
- 3.5 mm to 6.35 mm adapter
- Optical adapter
- USB-C to USB-A adapter
- USB-C to lightning adapter
- USB-C to USB-C adapter x 2 (long and short)
- Power supply brick, with adapter
- iFi stickers x 2
- 2 sets of desktop wing stands




Verily, the accessory line-up for the Diablo 2 is befitting of a kilobuck source. Both Android and Apple ecosystem users should be covered. Everything that an audio enthusiast should require is inside, perhaps other than the lack of a 2.5 mm adapter, for users who are still using this cable type.




Well, a small nitpick would be the absence of a hard case, or at least a semi-rigid one. While the Diablo 2 is sturdy enough, the provided carrying case is soft and would not survive a drop or compression - and heaven forbid that the kilobuck Diablo 2 should suffer such a fate!

The Diablo 2 comes with four desktop wings stands that you can use to elevate the device. This can aid in accessing the iEMatch button located at the bottom, and also for cooling the device.


DESIGN/FUNCTION



The Diablo 2 is fashioned from metal, and comes in a provocative silver and red motif, with sleek vertical lines along the chassis. It is literally built like a tank, but is quite large, measuring 166 x 85 x 28.5 mm and weighing 455 g. Thus, the Diablo 2 is probably best suited to be a desktop source or for stationary usage, rather than being something pocketable.




On the front, we have an analogue volume knob and the single-ended (6.35 mm) and balanced (4.4 mm) outputs, which are reinforced with gold-plating. Rotating the volume knob clockwise will turn the device on.

Interestingly, iFi has included an innovative volume lock button on the 7 o' clock position of the knob, which can prevent the knob from inadvertently being excessively turned, thus protecting the user's precious ears and transducers! The volume knob is also very finely tuned, with minimal channel imbalance even at low volumes.

On this panel, we also have a vertical switch to toggle 3 gain settings, which iFi has creatively named "Normal", "Turbo" and "Nitro", in ascending gain levels. Additionally, there is an xMEMS tab to pair with xMEMS compatible transducers, but I do not have any of these gear to pair with the Diablo 2 unfortunately.





On the rear of the device, we have separate USB-C charging and data ports, in addition to an optical input. There is a Bluetooth button too, on the extreme left.



The Diablo 2 is equipped with an inbuilt memory function, it will recall the last mode (wired or Bluetooth) that the device was set to, when powering it on.

The Diablo 2 has no LED screen unfortunately. Surprisingly, it also has no XSpace/XBass buttons, unlike some other iFi products. Thus, for folks who want to boost bass, you might need to resort to EQing it on the upstream source.




On the base, we have the serial number and a built-in iEMatch, which is an extremely useful tool for fussy low impedance/high sensitivity IEMs, to mitigate for hiss and impedance mismatch. The iEMatch is actually quite different from other impedance adapters, in that it does not skew the frequency response of IEMs with a variable impedance curve. So fear not, some fastidious gear - such as the infamous Campfire Andromeda - can be readily paired with the Diablo 2.





BLUETOOTH

The Diablo 2 is the world’s first portable DAC/AMP with Bluetooth 5.4, via Qualcomm’s new QCC518x Bluetooth chip. Additionally it supports the pioneer aptX Lossless codec, which theoretically hits a maximum bitrate of 1,200kbps. In contrast, the previous 2 so-called high bitrate codecs of aptX Adaptive and LDAC can only reach a bitrate of 420kbps and 990kbps respectively.

The following are the Bluetooth codecs that this device supports:

• aptX Lossless
• aptX Adaptive
• aptX
• LDAC
• LHDC/HWA
• AAC
• SBC

During my field tests, the Diablo 2 was easily recognized by multiple Windows and Android devices, including DAPs. I apologize, but I do not use Apple devices, so I can't vouch for these.

Bluetooth connectivity and range with the Diablo 2 is only so so. Range-wise, we can hit around 10 meters without obstructions, and 5 meters with obstructions. Unfortunately, there was some stuttering and occasional drop outs with longer distances or larger obstructions.


BATTERY

The Diablo 2 can be powered by battery or mains. The battery can actually be bypassed with the 5V wall charger, which can help preserve battery charge cycles, especially for consumers who want to use the Diablo 2 as a desktop source only.

In theory, battery-fed sources should provide cleaner power, via mitigating "dirty" mains power problems like RFI and EMI, but on the flip-side, battery-driven gear may pump out low output voltage, or have variable output impedance as the batteries discharge. It is thus good that consumers have an option for both.

Packing a lithium-polymer 4800mAh battery, I can achieve between 6 - 12 hours battery life with the Diablo 2. Higher gain, louder volumes and lossless files definitely burn more battery, but on average, thru wired connection and FLAC/WAV files at moderate volumes, I can get at least 10 hours on a full charge. Do bear in mind though that with repeated charge cycles, battery life will be expected to drop.

One nitpick - the Diablo 2 takes very long to be charged. We need around 12 hours and 5 hours for a standard and high-powered charger, respectively, to fill up this beast.




SOUND

Like most Burr Brown-based sources, the Diablo 2 has a warm-neutral tuning. It isn't as analoguish as other iFi products, but is still a hair thicker in note weight than neutral. This device has dulcet smooth tones that makes it a great pairing with edgier or harsher transducers. Timbral accuracy is very organic and a joy to listen to.

End-to-end extension is solid, and the Diablo 2 has good technical chops, despite not being steroid boosted in the treble, unlike some other brighter sources with "fake resolution". An expansive soundstage and beautiful layering greets the listener. Bass is very punchy and controlled. The midrange is lush. Treble is relatively sibilant-free but not lacking in micro-details.

Not to flog a dying horse, but I'm sure some readers here are cognizant about the Diablo 2's power specs controversy regarding max power versus continuous real-life specs, but FWIW, this device is still a powerful behemoth even with RMS specs. These are the data provided by iFi:

On balanced:
>19.2V/611mW (@600Ω);
>7.4/1710mW (@32Ω);
>11.5/2060mW (@64Ω)

On single-ended:
>9.6V/150mW (@600Ω);
>8.1V/2050mW (@32Ω);
>9.3V/1360mW (@64Ω)

These are my usual acid tests when testing out a new source:
- Final Audio E5000 (low sensitivity at 93dB/mW)
- Sennheiser HD650 (high impedance at 300ohm)
- Yinman 600 ohm (600 ohm impedance and 87db/mW sensitivity)

I'm glad to report that all 3 tough customers were easily driven, with an abundance of headroom to spare. The first 2 (Final E500 and Senn HD650) were juiced well with excellent dynamics, with a tight and clean bass ensured. Many weaker sources would have furnished a flabby one-noted bass, with a boring soundscape.

The final boss - the Yinman 600 ohm (600 ohm impedance and 87db/mW sensitivity) - fails to be driven properly by the majority of portable sources. Happily, the Diablo 2 aces this assignment with aplomb. It is not a matter of volume, but control - the Yinman has a textured bass with a spacious soundscape with the Diablo 2, and they are a match made in heaven.

With the iEMatch, the Diablo 2 has <1.0 ohm output impedance both output ports, which is great for low impedance gear, based on the audiophile rule of eights. Hiss can also be easily fixed with this iEMatch.

The Diablo 2 does not get overly warm during prolonged usage, even with harder to drive stuff, which is much appreciated.




CONCLUSIONS

The Diablo 2 is a TOTL source, which can function as both a desktop and a portable device. It can be powered by both mains and battery, with a more than decent battery life. It is built like a tank, with a princely inclusion of accessories, in addition to multiple inputs and outputs. With no hiss, nor EMI, it also does not get hot with usage, which are all big pluses in my book.

Sound-wise, the Diablo 2 bestows a warm neutral agreeable tonality, with natural timbre and good technicalities. Think of musicality meeting technicalities, an amalgamation of relaxing to music, yet not losing too much resolution.

Power controversy aside, it packs enough power to still drive most gear out there. The addition of the iEMatch guarantees compatibility with fussy gear, so essentially, the Diablo 2 can drive high sensitivity IEMs all the way to full sized planar cans, with 3 gain options on the table.

There are also many interesting innovations on this device, such as an xMEMS compatible tab, being the world's first portable source that utilizes Bluetooth 5.4, and compatibility with the ultra-high bitrate aptX Lossless codec. Unfortunately, Bluetooth connectivity on this DAC/AMP is not the best in terms of implementation, with occasional stuttering and dropouts, especially when obstructions come into play.

I would be sad to return this loaner unit. No doubt the Diablo 2 is not 100% perfect, and there are diminishing returns once we reach kilobuck prices - costing north of $1200 USD, the Diablo 2 is indeed on the pricier side. However, as an overall package, the sonics are really quite addictive, and once you heard something nice it is quite hard to unhear it!

DISCLAIMER

I would like to thank Linsoul for providing the Forteza unit.
It can be gotten here: https://www.linsoul.com/products/kiwi-ears-forteza (no affiliate links).





SPECIFICATIONS

• Driver configuration: 1 x balanced armature + 2 x 10 mm dynamic drivers
• Impedance: 32 Ohms
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 103 dB/mW
• Cable: 2-pin, 0.78 mm; 3.5 mm termination. No info on cable material
• Tested at: $59 USD

ACCESSORIES



Other than the IEM, these are included:
- 3 pairs of wide-bore silicone ear tips (S/M/L)
- 3 pairs of narrow-bore silicone ear tips (S/M/L)
- 3 pairs of "balanced" silicone ear tips (S/M/L)
- Cable
- Semi-rigid carrying case

Accessories are more than decent for a budget set, perhaps other than the lack of foam tips. I've definitely seen pricier IEMs with a stingier accessory line-up.




We have 3 variants of silicone tips on offer. The black ones are the most soft and pliable, with the widest bore; these will increase treble and air. The grey tips are the narrowest in bore, and these boost bass. The white ones are a mid-point between the above two. Do explore to see what suits your needs.




The stock cable is a 2-pin one. There is no information provided on the cable materials, but it is nothing to write home about - the cable is very tangly and thin, though thankfully it has minimal microphonics, and has a chin cinch.

Lastly, we have a semi-rigid case, which is soft internally with webbing. It is large enough to carry the Forteza with room for accessories.

The rest of this review was done with the stock cable and stock narrow-bore silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.


BUILD/COMFORT



The Forteza housings are fashioned from semi-transparent resin, with a gorgeous sparkly faceplate. The shells are a real looker, and one can opt between a purple, black or blue hued earpiece during ordering.



The shells are lightweight, with solid ergonomics. There's a concha protrusion for grip, with smooth inner aspects. Despite the Forteza being on the larger side, I did not encounter any discomfort even for longer listening sessions.

Isolation is quite decent, despite being vented. I did not find any driver flex on my set.


INTERNALS

The Forteza packs an uncommon 1 x balanced armature driver + 2 x dynamic driver setup.

Interestingly, the sole BA handles the upper mids and treble, whereas one 10 mm DD takes care of the midrange. The last 10 mm DD settles the bass frequencies. Unfortunately, we have no information on the driver brands used.


DRIVABILITY

I tested the Forteza with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

While it can be driven off a weak phone, this IEM has a lowish sensitivity at 103 dB/mW, and would benefit from amplification in terms of scaling (for soundstage, dynamics and bass tightness).


SOUND & TECHNICALITIES

Graph of the Kiwi Ears Forteza via IEC711 coupler. 8 kHz is a coupler artefact peak, but there is an actual peak heard on actual listening there.

While most modern day CHIFI releases follow a Harmanish curve, tonally, the Forteza is tuned to an old-school deep V-shaped profile, reminiscent of the embryonic stages of CHIFI of a few years ago. Bass and the treble are pushed forwards in the mix, and there is a scoop-out in the lower midrange.

The Forteza is a sub-bass focused IEM. There is a deep visceral rumble called for when bassy tracks are played. The mid-bass is deemphasized, so for folks that want a big thump in basslines, it is best to look elsewhere. Quality is middling though: bass texturing is average, and can be one-noted at times, with the bass smearing with complex or rapid bass movements.

As per the deep V-shaped signature, the lower midrange is unabashedly recessed. Midrange lovers will wince at this tuning choice. The upper mids hit around 9 - 10 dB ear gain - though the big sub-bass balances it off to some extent - it is still at the verge of shoutiness, and can be quite fatiguing with louder volumes (Fletcher Munson curve).

The Forteza is a treblehead IEM, make no bones about this. We have good treble extension, with sparkle, though sibilance is present in spades. Cymbals and high-hats can be splashy, and this IEM is not recommended for our treble-sensitive brethren. Once again, when used at louder volumes, the treble will probably be an overkill for most non-trebleheads, so the Forteza is best utilized at low to moderate volumes only.

Sadly, this IEM has bad timbral accuracy. Nasal vocals and metallic overtones for acoustic instruments are present. Notes have a hollow weight and sound highly artificial. If you are sensitive to timbre or listen to a lot of classical or jazz, this will be a dealbreaker.

In technicalities, the Forteza redeems itself to some extent. Clarity, micro-detailing and imaging are above average, though instrument separation and soundstage are acceptable but not class-leading.


COMPARISONS

Comparisons were made against other budget hybrids. Planars, single DD and pure BA IEMs are omitted, as the different transducers have their own pros and cons.




7Hz Sonus

The Sonus is a U-shaped pair, with less treble and bass. The midrange is more balanced - it is not as recessed as on the Forteza - which makes the Sonus a better fit for vocal and midrange lovers.

The Sonus has a hair smaller soundstage. Imaging and instrument separation is similar, thought the Forteza has the upper hand in micro-detailing and clarity, which is a function of the boosted treble.

The Sonus has better timbre, and is easier to drive.


CVJ Mei

The CVJ Mei has 4 tuning options, so it is a more versatile IEM. To make it similar tonally to the bright Forteza, when toggled to the brightest option, the Mei is U-shaped, with less bass and treble than the Forteza.

Both sets aren't paragons in timbre, but the Mei has improved technicalities, with better soundstage, imaging and instrument separation. The Forteza has a bit more micro-detailing, but this is once again contributed by the zealous treble.

The Mei is easier to drive, but may generate hiss on some sources with a poor noise floor control.


CONCLUSIONS



The Forteza sports a unique 2 DD + 1 BA setup, with a bright V-shaped signature. While ergonomics, accessories, isolation and aesthetics are great - with above average technical chops - the rest of the sound has too many compromises in my opinion.

For one, the overly V-shaped profile will alienate midrange lovers, and the treble is too spicy for all but the trebleheads amongst us. Sibilance and splashiness greets listeners, and timbral accuracy is despondent. The Forteza is also not the easiest IEM to drive, due to a lowish sensitivity. While sub-bass has immense rumble, bass quality won't uproot any trees.

Kiwi Ears has churned out some solid releases in recent months - such as the Cadenza and Quintet - but I'm afraid the Forteza does not belong in such esteemed company. If the Forteza was released a few years back, there would be no quibbles about the old-school aggressive tuning - but this is now 2024, and there are so many other worthy rivals out there that perform way better sonically.

DISCLAIMER

I bought the EPZ TP50 from Aliexpress at a discounted price.

The TP50 can be gotten here: https://www.aliexpress.com/item/3256806271952937.html (no affiliate links).





SPECIFICATIONS/COMPATIBILITY

DAC Chip: Dual C43198 Cirrus chips
Amplifier: Dual RT6863
Decoding specifications: PCM:32Bit/768KHz/DSD256
Output ports: 3.5 mm (single-ended) and 4.4 mm (balanced)
Output power: single-ended: 2 Vrms @ 32 ohms, 121 mW; balanced: 4 Vrms @ 32 ohms, 240 mW
Signal-to-noise ratio: single-ended ≥125 dB; balanced ≥130 dB
THD+N: ≤ 0.0005%
Dynamic range: single-ended ≥125 dB; balanced 130 dB
Frequency response: 20 Hz - 80 kHz
Weight: 28 g
Tested at: $111 USD


The EPZ TP50 is a plug-and-play device, with no need for the installation of additional drivers on Windows 10 and above. I'm not an Apple user, but this dongle was immediately recognized by multiple Android and Windows devices I connected it to.

This dongle has no app or internal EQ software.


ACCESSORIES

One can opt between a USB-C or lightning cable when placing an order, depending on whether you are an Android or Apple ecosystem user. This is a copper-silver mixed cable, which is shielded to reduce instances of EMI.





Sadly, the TP50 does not come with a USB-A adapter, so for folks who want to pair the dongle with a laptop or PC, you will need to source for one.


DESIGN/FUNCTION



The TP50 has a CNC metal body, which has undergone composite processing 10 times. This is then covered with a carbon fibre panel, with sandblasting is used to give a matte finish to the chassis. There is a black or blue variant available.

The TP50 is build very solidly, and only weighs a mere 28 g, which increases portability.

On the top of the device, we have a 0.87 inch LED screen, which can be turned-on by double pressing the "M" button. This screen displays volume levels, sample rates, gain settings etc.

Long-pressing the "M" button will bring one to the settings page, where users can play with various options, including gain, channel balancing and DAC filters. Unfortunately, the TP50 does not have an internal PEQ option.



On one end of the chassis, we have the 3.5 mm (single-ended) and 4.4 mm (balanced) ports, with the latter having gold-plated reinforcement.




The other end contains a USB-C port, for powering the device and data transfer.




On one side, we have the volume buttons, plus the aforementioned "M" settings button. I highly appreciate that the volume controls are very finely-tuned to 100 steps - with independent controls - unlike some pricier dongles like the Questyle M15.





INTERNALS



This dongle's engine are dual C43198 cirrus chips, and it can support up to PCM:32Bit/768KHz/DSD256

The dual CS43198 chips are linked to independent left and right channels, with four channel decoding implemented to reduce channel interference


SOUND/PERFORMANCE

I tested the EPZ TP50 with only Android phones and Windows laptops and PCs. As I am not an Apple user, I can't vouch for their performance with Apple devices.


Tonally, the TP50 has a cold neutral bright signature. It is extremely analytical, and this dongle is well-suited to pick out fine nuances in the music, but is perhaps not for folks who want a musical and laid back tone.

End-to-end extension is good, with a tight and fast bass, with solid texturing. The midrange and treble are clear and resolving, with great resolution noted in the upper-end.

Note weight lies on the thinner side, and timbre comes across as slightly sterile. Perhaps the TP50 may not be a kindred spirit with overly bright transducers, as this will push out even more of the high-end, but definitely warmer or less resolving transducers will get an upgrade in clarity when paired with the TP50.

Technically, soundstage is above average - though perhaps not as wide as some pricier rivals like the Fiio KA17 and Cayin RU7 - though instrument separation and imaging are solid, so instruments can still be pinpointed within the headspace, in contrast to sources with a larger but fuzzier imaging. The TP50's forte is in micro-details and resolution, with users able to pick-out minutiae in the music that some laid-back dongle rivals cannot. Excellent transparency and crisp transients round off the final product, with sharp edge definition noted.

This DAC/AMP has 3.5 mm (single-ended) and 4.4 mm (balanced) ports, with high and low gain settings. The 3.5 mm port provides 121 mW power, whereas the 4.4 mm one can juice out 240 mW.

My crucibles for source testing include 3 of my hardest to drive gear:
1) Final Audio E5000 (low sensitivity at 93dB/mW)
2) Sennheiser HD650 (high impedance at 300ohm)
3) Yinman 600 ohm (600 ohm impedance and 87db/mW sensitivity)

The above were tested with the 4.4 mm (balanced) port, on high gain.

The first two tough customers (the E5000 and HD650) were powered well, with decent dynamics and sufficient bass texturing and tightness, without veering to a one-noted flabby bass, which is the case with weaker dongles (not a matter of volume per se). Definitely, desktop grade amps or some outlier dongles like the Fiio KA13 and KA17 would have done a more refined job for the E5000 and HD650, but nonetheless, a very respectable performance from the TP50 here.

For the final boss, the Yinman 600 ohm earbuds - which has an ultra-low sensitivity and high impedance - the TP50 can drive it to sufficient dynamics. Bass is surprisingly controlled, though desktop level amps would have ensured less smearing of the bass during complex bass movements. It does a serviceable job here IMHO, but of course, if one has heard a well-driven Yinman 600 ohm, one can't unhear that. It is no shame though, as many pricier dongles and DAPs also can't drive this behemoth optimally, but I think the sound is somewhat functional here with the TP50.

The EP50 has an anti-pop function that can be activated on the settings menu, which is an excellent addition. I've encountered some other sources that give a nasty "pop" sound whenever transducers are disconnected from the source, which is not good for the ears or the driver!

Unfortunately, there is a slight hiss noted with fussy high sensitivity IEMs. In marketing materials, EPZ has not furnished any output impedance (OI) specs, but the OI should be relatively low, as some of the low impedance IEMs I plugged in sounded similar in tonality.

The TP50 may get slightly warm, especially when driving power-hungry gear, but it is not scalding hot compared to other dongles.




COMPARISONS

The TP50 will be compared against dongles that reside around the $100 USD price point, which utilize the same dual C43198 Cirrus DAC chips.


AFUL SnowyNight

The SnowyNight is tonally neutral, though with some blunted edge definition and less upper treble extension.

Compared to the TP50, the SnowyNight is a bit weaker in soundstage, imaging, micro-detailing and instrument separation.

The SnowyNight is a tinge more powerful at 300 mW on the high gain/balanced output, though it does not have an LED screen.


Truthear SHIO

The Shio is polar opposite in tuning, as it has an emphasized mid-bass, with a warmer and hazier soundscape. Power is sadly anemic on the SHIO, with less headroom for hard to drive gear. However, the Shio does not get as warm during usage.

The Shio is technically inferior by quite a far margin - it has a smaller soundstage, with worse instrument separation and imaging.

Both dongles have an independent volume controller, with finely-tuned volume steps.


CONCLUSIONS

The EPZ TP50 is an analytical neutral bright dongle - its raison d'etre is the excellent micro-detailing and nitty-gritties it picks out in the music. Essentially, it is like listening to tracks with a fine-tooth comb. No doubt it lies on the colder side in tonal balance, and may not be the cup of tea for consumers who yearn for a thicker or more laid-back soundscape, but analytical-heads and folks who want a source for critical-listening will love the sonics provided.

There is also more than decent power available - especially on the 4.4 mm port - and this dongle should be able to drive most transducers out there, other than some outlier goliaths.

For non-sonic aspects, the TP50 comes in a small compact profile, with 100 finely-tuned volume steps with an independent volume control. There is a cool LED screen, with scores of functions to play with within the settings menu, such as DAC filters, channel balancing etc.

Some nitpicks would be the lack of PEQ, and a slight hiss noted with high sensitivity suspects. It would have been much appreciated if more accessories could have been provided too.

In conclusion, the TP50 is one for meticulous critical listening and micro-detail focused listeners, who want a leaner tone that showcases solid technicalities.

DISCLAIMER

I would like to thank GeekWold for providing the GK10S unit.
It can be gotten here: https://www.aliexpress.com/item/3256806123759223.html (no affiliate links).





SPECIFICATIONS

• Driver configuration: 1 x balanced armature driver + 2 x piezoelectric ceramics drivers + 2 x dynamic drivers
• Impedance: 10 Ohms
• Frequency response: 20 Hz - 40 kHz
• Sensitivity: 106 dB
• Cable: 2-pin, 0.78 mm; 3.5 mm termination. No info on cable material
• Tested at: $49.90 USD

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of wide-bore silicone ear tips (S/M/L)
- 3 pairs of narrow-bore silicone ear tips (S/M/L)
- Cable
- Carrying pouch

Accessories are quite decent for a budget pair, can't nitpick too much here.




No foam tips are included, but we have 2 variants of silicone tips. The narrow-bore ones boost bass and tame the upper frequencies, whereas the wide-bore ones do the opposite, and open up the staging a bit.




The stock cable is a 2-pin one. While GeekWold has not provided any info on the cable materials, suffice to say, it is quite decent. Well-braided, the cable has no microphonics, but can be somewhat tangly.




GeekWold has added a leatherette soft carrying pouch to the accessories, which operates via a drawstring mechanism. It is not as sturdy as a hardcase, but should sufficiently prevent scratches.

The rest of this review was done with the stock cable and stock wide-bore silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.


BUILD/COMFORT

The GKS10S comes in a unique heart-shaped motif, with a marbled face-plate. Fashioned from resin, ergonomics are excellent - it is light and can be used for extended listening sessions. The inner aspects of the housings are smooth.




I did not find any driver flex on my pair. Being a vented IEM, isolation is bang average.


INTERNALS

The GK10S utilizes a very uncommon 1 x balanced armature driver + 2 x piezoelectric ceramics drivers + 2 x dynamic drivers setup. Unfortunately, we have no information on the driver brands used.


DRIVABILITY

I tested the GK10S with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is easily driven. However, with a 10 ohm impedance, based on the rules of eights, the GK10S is best paired with a source with < 1.25 ohm output impedance (10 divide by 8). If something with a higher output impedance is used, it might skew the frequency response and cause the GK10S to be super bassy and boomy.


SOUND & TECHNICALITIES


Graph of the GeekWold GK10S via IEC711 coupler. 8 kHz is a coupler artefact peak.

Tonally, the GK10S sports an L-shaped bassy signature.

This IEM is sub-bass focused, with deep sub-bass extension and rumble. It is definitely one for bassheads in terms of quantity. Quality wise, bass is on the slow side, with below average texturing. The copious bass amounts contributes to mid-bass bleed, and the GK10S does not perform well when complex bass tracks come out to play - we hear smudging and smearing of the basslines sadly.

The lower midrange is recessed, and this region is very hefty, warmed by the aforementioned mid-bass bleed. Upper mids hit nearly 9 dB in ear gain - but surprisingly, this region is not shouty, due to the gargantuan bass balancing it out.

The GK10S is a dark IEM, with the treble rolling off very early. While this will be a treble-sensitive listener's cup of tea, we lose a lot of resolution and clarity in the mix. No doubt there is no sibilance, but cymbals and high hats are very muted, with a distinct lack of air and sparkle. The treble is surprisingly overdampened for a piezo/BA tribrid, where most piezos usually furnish exceptional treble extension.

Moving on from the niche tonality, the GK10S also sadly doesn't fare well in timbral accuracy. When acoustic instruments are heard, there is a marked metallic tinge, possible contributed by the piezos and BAs inside. Note weight is hollow and artificial.

More woes in the tuning are that the GK10S is sub-par when it comes to technicalities. While soundstage is above average in width, height and depth are just average. Micro-details and clarity are lacking, due in part to the dark treble. Instrument separation and imaging are also poorly done. Thus, we hear a somewhat wide soundstage with nebulous imaging, so notes are fuzzy in the headspace. I would describe the GK10S as sounding "lowFI".


COMPARISONS

Comparisons were made against other tribrids. Planars, single DD and pure BA IEMs are omitted, as the different transducers have their own pros and cons.




Kinera Celest Plutus Beast

The Plutus Beast boasts of a special configuration: 1 x 10 mm bone conduction driver + 1 x balanced armature driver + 1 x 10 mm square planar driver.

The Plutus Beast is also L-shaped and bassy, though with better treble extension and less bass than the GK10S.

Technically, the Plutus Beast is ahead, with better soundstage, imaging, instrument separation and micro-detailing.

It also has a lowish impedance at 8 ohms, which makes source pairing a tricky proposition.


Celest Phoenix Call

The Phoenix Call houses a DD + 2 BAs + flat planar driver. It is tuned to a more aggressive V-shape, with greater treble extension, though with some sibilance present, and may not be the best option for the treble-sensitive. Sub-bass is also lesser with the Phoenix Call.

The Phoenix Call is in another league when it comes to technical chops, with a more expansive soundstage, better micro-detailing, imaging and instrument separation.

The Phoenix Call has a thinner note weight, but is more agnostic with source pairing, as it has a 32 ohm impedance.


CONCLUSIONS

It is back to the drawing board for the GK10S. While on paper, it may have an eclectic driver setup, the final product is a mega disappointment. The L-shaped dark profile presents a very lowFI soundscape, with marked loss of resolution. While soundstage is acceptable, the fuzzy imaging and poor instrument separation gives a sense of muddiness.

Actually, there are other L-shaped tribrids such as the Plutus Beast that show how an L-shaped bassy signature can still keep decent resolution. Having said that, perhaps the GK10S will be a suitable IEM for the very treble-sensitive or those that want an immense bass rumble. Even so, bassheads may find the timbre and bass quality are not up-to-mark on the GK10S, so it is a case of bass quantity over quality.

Some redeeming points are the decent ergonomics and accessories, though the low impedance of this IEM may make it fastidious with source pairing, especially for gear with higher output impedance.

This IEM is not recommended. For similarly priced tribrids that are superior, check out the Kinera Plutus Beast or Celest Phoenix Call - even though those are not perfect, they at least do a much better job in other departments.