KZ X-HBB PR2​

Intro​

Today I am reviewing the KZ X-HBB PR2. KZ has been on a tear lately and the KZ X-HBB PR2 is one of the reasons why there has been such a spotlight on the company. Certainly, it doesn’t hurt to run a collaboration with the well-known “Hawaiian Bad Boy” from “Bad Guy Good Audio Reviews” of YouTube renown. Another thing which helps the cause of this budget earphone giant is that they are offering the KZ X-HBB PR2 for a crazy low price of only $40. By the way, this set is a true Planar iem. Many of you already know how unheard of this is for a truly planar iem to be sold at such prices, but as the tech becomes more widely produced and manageable, I suppose the prices have dropped accordingly. It is a great time to be a fan of audio my friends.

HBB​

I have always been a fan of HBB’s style, his delivery, that forthright and honest authority which he seems to speak with. Naturally I gravitated to his iems. Have they all been amazing? No, not all of them (I’ve never heard any of his more expensive sets), but by and large his iems have been very well tuned to his preference and coincidentally they are tuned nicely to my preference as well. For the most part anyways.

One thing is for sure, HBB seems to only put his name on something which he can sit back and be proud of. When you mix experience, passion and genuine pride in the end product I think you will most of the time end up with a good result. To me this is evident in HBB’s collab thus far. Always built well, always stylish, always tuned better than the OG of whatever iem he is tuning. with the PR2 there is high expectations and I believe those expectations have been met and exceeded with this set.

On a tear lately​

I mentioned the absolute tear that KZ has been on in the last year or so and certainly within the last few months creating truly top level iems at their respective price points. I have reviewed some myself and even have some which are waiting in the wings to be published. Sets like the KZ ZVX and the KZ D-Fi are two iems that truly play within the top of their price segments. So, how does the PR2 fare against other KZ Planar iems of recent times or even other Planar iems from other manufacturers for that matter? Why don’t we take a look. Thank you for visiting my full review of the KZ X-HBB PR2.

Gear used for testing​

–Ifi Go Blu
–Moondrop Dawn 4.4
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra

Packaging​

Not much to say here. Most of the time this is my first sentence in the “packaging” area of my review of a KZ/CCA set. KZ doesn’t typically offer much, but I am more than fine with that because they put so much into the earphones themselves. The box is the same size and shape as the cardboard sleeve box. A picture of the PR2 adorns the front cover while there are some stats on the back. Take off the sleeve and you’ll notice the masculine looking PR2 sitting in a plastic holder. Under the earphones is a cardboard cover which houses the eartips and the cable. That’s about it my friends.

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Eartips​

KZ included one pair of medium sized foam tips of decent quality as well as three pairs (S, M, L) of some of my all-time favorite tips, the KZ Starlines. This may not seem like much, but I believe the Starlines are some of the best tips (when you need them). They seal phenomenally and are very rigid. Also, you can invert them to a horn style using a screw and some elbow grease. Coincidentally the audio community refers to these as “Reversed KZ Starlines”. I actually stuck with the Starlines for this review.

Cable​

The cable is a downer. I really was hoping to get something else with this collaboration but in truth… I would’ve swapped it out anyways, I always do. The cable provided is the same QDC style, OFC cable with the white rubber casing and right angle 3.5 se connector. I do believe that a balanced cable for balanced sources is likely the way most people will listen, being the power requirements are greater than your average set of earphones. I actually swapped the cable for an 8 core Fedai QDC, 2-Pin, SPC balanced cable. No there isn’t anything wrong with the included cable providing you have a good and strong source to power the PR2.

Build / Design / Internals / Fit / Drivability ​

Build​

The build quality seems to fall in perfect harmony with some of KZ’s earlier Planar releases like the KZ PR1 Hifi (review here) and KZ PR1 Pro. KZ switched up the faceplate a bit, but the quality remains. KZ decided to go with two colorways using a gunmetal or silver colored faceplate as well as a black color. Obviously, mine is the silver color. What we have is a solid build, no doubt about it. The PR2 carries the identical shape of most KZ iems and certainly all of their planar sets are almost identical in footprint.

The faceplate cover is die-cast using a metal alloy and perfectly fitted on the shell. Underneath that is a faux semi-open back mesh which gives the appearance of a semi-open design. Please note that this is most certainly not semi-open back. The body of the shell is made using a clear resin which combined with the alloy makes for a lightweight iem which is good enough for long listening sessions. Also, the PR2 is sold with or without a mic. I personally enjoy the mic-less version and have no way of knowing how well the mic actually works for phone calls and such. I believe the mic has working controls too which is nice. Honestly, there isn’t really anything special about the build except that it is done for the low cost of $40. It is solid, has a good feel to it and seems durable.

Design​

The design is very much reminiscent of other recent KZ Planar iems. I do like the open style look of this set with the mesh underneath. There is a certain confident swag that the PR2 imposes. Definitely masculine in appearance and looks pretty sweet in the ear. At the very least it is something to talk about with non-audio people out there. I wouldn’t call the look anything crazy unique but it’s a nice style. Something KZ has been doing very well of late.

Internals​

There is so much hoopla which has surfaced within the past year about what is a real or semi-real planar. One thing that KZ can hang their hat on is the fact that their planar iems are in fact… Planar iems. They equipped the large full frequency 13.2 Planar Magnetic Driver with a double sided (7+7) array of N52 magnets. That is fourteen N52 Rubidium magnets in total. The Diaphragm itself is actually silver plated which is said to increase transient response as well as resolution and balance between the frequencies, among other notable attributes.

Fit​

Have you tried any other KZ planar iem? If so, then you know how the PR2 will fit. For me it fits pretty good, nothing to note either way. I fiddle for half a second and I’m in business. I never have fallouts and I never get an ache in my ear or anything like that. They are pretty comfortable and (at least for me) they seal very well and isolate very well. I heard no complaints from friends or family that there is any sound leakage and noise from the outside environment is attenuated pretty well.

Drivability​

Okay, now we get to the meat of this review. Phew… I try to hurry through everything else because let’s be honest, this is what you are here for. You need to know what it takes to drive this lil baddie appropriately. Fear not my friends, I have done the legwork and painstakingly come up with an answer to all your queries. Okay painstaking may be a stretch. However, I did find out that the PR2 does need some good amping and it will take whatever you throw at it.

The PR2 is rated at 15+3 ohms and a low sensitivity of 94 db’s and so it isn’t some walk in the park to power this set of earphones. Using a mobile solution such as the Fiio UTWS5 was instantly thrown out the window. 50 mw@32 ohms is simply not enough.

Moving up to the IFi Go Blu was an instant upgrade on balanced and just enough to push the PR2 decently. In fact it is a pretty nice pairing if you happen to own the Go Blu. The CS43131 dac chip and warmer yet dynamic tonality worked well with the PR2 yet still the PR2 has not reached its best fidelity in my opinion. Even at 245 mw @32 ohms on balanced. Moving onto the Moondrop Dawn 4.4 which also has the CS43131 dac chip, I found it even easier to push the PR2 and there is pretty good synergy with the Dawn. However, they still have more to squeeze out of them (PR2).

More juice & synergy​

The last stage of the power game for me ends at my daps. The iBasso DX240 as well as the Shanling M6 Ultra. Both daps push close to 1 watt of output. I used both on high gain and with those power numbers the PR2 is finally brought to a very lively and dynamic sound. It is with these two daps that I finally heard just how good this set of $40 earphones can be. By the way, I also found out that the PR2 isn’t very picky about source and synergizes well with all that I used them with.

The DX240 has a beast of a dac chip, the ES9038 Pro along with the Amp8 MK2 module. Boy do these two sound engrossing together. Also, the M6 Ultra which uses the AK4493SEQ dac chip, another beast of a chip which in my opinion brings out the best in the PR2. All different kinds of chips and source impedance and the PR2 still sounds fantastic.

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Pint Sized Sound Impressions​

Note: During the course of my testing, I used proper amping, high gain, balanced cable and about 100 hours of burn-in.

For a $40 Planar iem I was most certainly taken aback by its mature and balanced sound. Yes, the PR2 is a great sounding planar iem, no beating around the bush. Especially for an iem with this driver tech which hovers at such a low asking price. It’s obscene actually. However, the PR2 isn’t without hesitations. In fact, I could make a healthy argument that there are multiple better sets that you could get for the money depending on your source situation. There are good reasons and usage cases that make less sense to own the PR2. I will dig into that later, but I’d like to prelude the rest of this section with… This set sounds really nice and is basically a complete no brainer.

Preface​

I’ll also re-preface that I did burn this set in for at least 100 hours. I most certainly heard changes in this set after the burn-in period and I would strongly advise that you keep from judging the PR2 until you have done so. Just take my advice, humor me please, burn-in or listen-in for at least 70 hours and if you have the patience give it some more.

Sound​

The PR2 has a warmer tonality with just enough illumination up top to open up the sound and add some luster or some brightness. I hear a slight V-shape sound signature with nice energy when properly amped. The sound is reasonably airy and open with a nice sized stage.

The PR2 has a moderately thumpy bass with decent rumble which is actually very nice for a true planar magnetic. It’s a nice and quick planar bass. Extension is pretty good into the lowest of lows and the bass replays very well most any genre with a bass drop, bass guitar, kick drum etc. Not exactly DD bass, but a very good planar bass that comes close to that beloved DD bass.

The midrange is slightly forward, or better said, not really all too far recessed. Not the thickest male and female vocal, but precise, clean and vivid. Not so lush, but the vocals sound smooth enough and not too coarse.

The treble region is elevated yet not to a detriment. I hear a smoother style treble which still has a snap to it, or a punch. Extension is very well drawn out and I only hear very minimal “Planar” timbre.

If this is all you read, then just know that the tuning is very well done. HBB is quickly mastering this tuning thing and I can honestly say that I trust the dude completely anymore. If he can do with $40, what KZ couldn’t do with $80-100, then c’mon folks… dude has an ear for sound. Let’s break down each 3rd of the mix a little further…

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Bass Region​

The sub-bass of the PR2 can be described as well emphasized with a snappy punch to it and adequately deep haptic vibrational buzz and good extension down low. So, what is adequate? Adequate to me, in this sense, is a bass that can sufficiently feel the rumble, with enough density to add some of the droning tactility to the bass region which so many genres require. The PR2 certainly has a planar type bass. To be honest, planar bass has never been ideal for me, but it can definitely be satisfying. What the PR2 does have is a tightly perceived transient attack and decay.

Close to DD?​

In the track “Heavy is the Ocean” by Bush (newest album) this song comes right out the gate with some deep droning and grizzly guitar riff which absolutely sets the stage. The PR2 is not the deepest and trust me this track can get pretty deep with a thrumming type of growl. I do get some of the “feels” of the bass on this track. For a planar I think it sounds great. Truthfully it almost has the timbre of a DD yet seemingly less emphasized. The only real difference is in the tightness of the presentation as the PR2 does have a more concise, concentrated leading edge like most planar magnetic iems. I hope that makes sense. Planars typically (not always) don’t have the atmospheric type bass with the same depth as a dynamic driver but the PR2 gets you close and sounds very nice.

Mid-bass​

We aren’t left in wanting on the PR2 though the mid-bass is much less emphasized. There is still a modest slam which has been rationed for HBB’s tuning purposes. Less emphasis means more clarity and openness in the midrange, particularly the low-mids, most of the time. I love me some good and satisfyingly robust bass my friends. While the PR2 is not at all at basshead levels there is definitely a quality to the mid-bass which I derive from the nicely layered, textured and tight sound which comes across snappy and with good macro-details. Take the track “Lost Cause” by Billie Eilish. The PR2 exhibits an authoritative and pretty hard-edged rumble that is very clean. It sounds really nice and rewarding to my senses.

Don’t get it twisted​

I don’t want to get things twisted. I think these reviews can confuse some people or easily lead people astray. Please note that I do think there is plenty of low-end boom for hip-hop, metal, edm etc. In fact, depending on the track the PR2 can actually sound nicely weighted and accentuated. I think that the PR2 will faithfully playback what you feed it but it simply is more mature and won’t muddy up the waters with a gradual decline into the midrange.

Thankfully the mid-bass still has enough emphasis for stuff like the fundamental body of a bass guitar. In “Feelin’ the Miles” by The Wilder Blue, I do hear some pleasing grunt in the bass guitar. What I like best is the detailed minutia that can be picked up in the process and the organic timbre in this region. There is a tactile type of surface structure to the sound which is nice for a planar iem and even nicer for $40. I am impressed.

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Midrange​

Low-mids​

Male vocals come across more forward than they are recessed and have good energy. Note definition is well enough rendered as well. Timbre isn’t exactly spot on, but it also isn’t altogether unnatural either. Males from bass, to baritone, to tenors all have plenty of presence and a pretty good sense of musicality for the tuning style.

In “Cover Me Up” by Morgan Wallen, his raspy southern drawl is well recreated to my ears. A song I’ve heard a trillion times (a slight exaggeration) replays pretty nicely on the PR2. Perhaps his voice is a bit lean, if anything, but it is also very well carved out and partitioned off to have a good dynamic presence. There is an openness or airiness that is nice. Again, the only things I’d say which are drawbacks would be the timbre is a hint lean and does have a slight planar tinge to it.

Sense of clean space​

The song “Salt Water” by Ed Sheeran is very well done on the PR2. There is a sense of clean space with his vocals sitting a touch forward (recording), yet also slightly dialed back as far as dynamics goes. This is not a con by the way. His voice is kept in check. In the more spirited points in this track Ed’s intonations of his voice can come across a bit sharp at the edges with worser tuned iems. Edgy if you will. The PR2 slightly smooths those over while the rest of the track has nice macro-dynamics. I find the PR2’s lower midrange to be nicely rhythmical & melodious as a whole on this song. Maybe a hair thin. I say that, yet he still comes across with good texture and substantive vitality.

Upper-Midrange​

Females like Sierra Ferrell in “Whispering Waltz” have a certain controlled and soft sheen to them. It’s nice. There is a levity in her voice. Not the most organic or earthy but very effective at showing the emotion of the track. I promise that not every iem can do this regardless of the price tag. In the same breath there are some which do it better. I certainly wouldn’t say the PR2 specializes in female vocals, but I can surely add them to the list of the benefits of this iem. Also, for a true planar, I find her voice and the instrumentation to be very musical. Which, by the way, is a huge compliment to the makers of the PR2.

The Ukulele in this track has great detail along with a nicely bodied sound. It sounds distinct and separated. Also, the acoustic guitar plucks ping then followed closely by natural sounding harmonics. There is a tactile energy to strings which I enjoy. The violin is almost haunting, melodic and buoyant with very nice verve, or spirit. They have a velvet-like tactile sound with nice depth encircling the instrument. This set is $40 friends… Just thought I’d remind you all, in case you forgot.

All things considered​

The midrange is really nice in the PR2. Altogether there is good control in the whole of the midrange. I hear more smoothness than I do coarseness and no unevenness at all. It is a nicely articulated and cohesive sounding midrange. Perhaps dialed back a bit but still very musical. The midrange benefits from not having the veil or muddiness of the bass region but it also benefits from the rise in the treble and doing so without sounding harsh at all. I hear no sibilance or graininess, I hear no shout or odd moments of weird planar artifacts…It’s simply nice.

Now, of course, if you want to spend more you can get better, but I’d have a hard time telling anyone they can find better at this price. There are a handful of sets within its price point which can play ball with the PR2… but they are few and far in between and none of those sets are planar magnetic iems.

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Treble Region​

I find the treble region to have good extension yet not even close to the shrillness that we have seen in past KZ planar iems. This is a true upgrade in my book. Some of KZ’s other planars have had a large rise through the treble region and while I thought it was tolerable (with mods or EQ) I did think that they needed a reduction up top. It appears and sounds as though HBB may have corrected this on the PR2. Mostly the crazy intensity of the treble has been cut back on this set which is very welcome. What you are left with is a nicely smooth treble region that doesn’t engage my ears with anything shrieking, invasive or harsh. The secondary harmonics of cymbal strikes are actually not splashy and truthfully the treble as a whole has a nice timbre. Extension is great.

Listening to one of my go to tracks for treble activity is “Bishop School” by Yusef Lateef. It isn’t my favorite song in the world (by any stretch of the imagination) but it is great for rapid fire treble activity. This is a crazy style New Age Jazz track with instruments such as flute, bass, congas, drums, electric bass, electric guitar, percussion, piano, trumpet and strings etc. The best compliment I can give the PR2 is that it keeps up with this song and does so in a clean and pretty precise fashion. Separation and imaging in this track are very well displayed with a snappiness to every leading edge and a decent treble punch. Details arise quite easily as the treble is resolute, separated and balanced with the rest of the frequency while never too smooth to gloss over tiny micro details.

Safe?? ​

I don’t think I’d go so far as to say the PR2 is for treble Heads, but the treble has good energy which uplifts and adds a luster to the whole of the mix without bringing upon anything too offensive, to my ears and with my library anyways. In fact, I would certainly say that the treble is mostly “safe” compared to earlier KZ releases. Again, mostly a smooth affair without anything grainy, shrill, or shouty and without sibilance to distract my listening ears with my library. In all I’d say that HBB and KZ did a fantastic job creating an earphone which will entertain the vast majority of hobbyists.

The only treble complaints that I could see would come from very treble sensitive folks, or folks who enjoy a much lusher and warmer experience with toned down treble. Listening on the PR2 at higher volumes to tracks which seem to induce a peakier sound; there is a chance for a bit of harshness, but in my opinion, those are rarer than they aren’t.

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Technicalities​

Soundstage​

The stage size of the PR2 is one that I would call above average. I perceive the PR2 to have a nice width to the sound which can be easily heard in “Hook” by Blues Traveler. Macro-dynamics are in pretty good abundance and the sound stretches past my ears with this track. Not stadium sized, but also if that is something you are expecting out of an “in-ear-earphone” then you may want to look on Mars for that, because planet Earth doesn’t have it.

Height is about average, and I hear a good, layered depth for the price and driver tech. I am used to hearing planar iems with almost a “flat wall of sound” which normally doesn’t have the greatest depth, but the PR2 seems to buck the trend. The stage size, dimensions and realism is nice for the price, which coincidentally means it’s good for any price. Good is good.

Separation / Imaging​

Like I stated earlier, separation is actually very well accomplished on the PR2. In each 3rd of the mix and everywhere between the 20’s I don’t really hear any masking or muddiness. Even on more chaotic songs the PR2 seems to delineate between instruments and voices nicely. I don’t think any of you will find fault with how well the separation is on this set. Imaging is the exact same story and walks hand-in-hand with how well the PR2 is able to partition off elements of a stage. You will hear decent depth and layering from front to back. Not mind-blowing, but for $40 you’d be hard pressed to find any iems which blow this one out of the water. Left to right everything has its place with vocals taking center stage most of the time and depending on the track of course.

Details​

Another thing I’ve already commented on briefly is the ability of the PR2 to bring the tiny minutiae of a song into the forefront of the imaginary stage. The PR2 has a nicely balanced sound, quick planar drivers and comes across resolute and focused, with “perceivably” tight transients, which is a good recipe for details. Whether it be the breath of an emotional singer, or well discerned and controlled harmonics, finger slides, or even the random commotion in your favorite live track, the PR2 can and will draw those things out.

I wouldn’t call the PR2 a “Detail King” but just by virtue of the driver type and tuning alone; I’d say it is up there with the best at the price point, no doubt about it. I’d also say that if you enjoy a nicely detailed sound yet also enjoy a good dynamic and fun signature then say less and look no further… The PR2 may just be what you are looking for.

Comparisons​

**Note: Each comparison here is not a duel to the death. I don’t find that very helpful in subjective comparisons. I compare attributes between sets, simply to better acquaint the reader with how the iem I am reviewing sounds. However, during the process I do think you will gather which set is better for the price or style for you, at least that is what I’m trying to do. Each comparison is mostly done with iems that have similar driver types or are priced similarly. There has to be some relatable quality to qualify a reasonable comparison. I try to keep these comparisons pretty short and somewhat concise and so I use very general terms, nothing in-depth either and always my subjective thoughts over fairly long a/b sessions.**

KZ PR1 Hifi ($45-60)​

The KZ PR1 Hifi is the first set I thought of to compare with the PR2. It too has a full range Planar Magnetic Driver and shares much the same shape and design style as the PR2. The Hifi was KZ’s answer to the much maligned earlier Planar iem the CCA PLA13. I reviewed the PR1 Hifi last year (KZ PR1 Hifi Review) and gave it pretty good marks (average) as it held its own in the budget iem world. However, it does have its faults. Still, at the time it was a good starter iem for anyone wanting to experience a “true planar” iem at the fraction of what most Planar iems were going for.

Bass region​

Between the two the PR1 has more of a bass emphasis. It hits harder and has a greater rise in the mid-bass area which adds a warmer hue to the whole of the mix. The PR1 comes across more V-shaped, but also it sounds a bit more congested and much more bloated and intrusive. The PR2 is much cleaner down low with just as good, if not better extension into the lowest of the lows. I would say the PR1 has better density in its bass but the PR2 has a more precise, textured, and layered sound, with better punch while highlighting macro-details much better. The PR2 has fantastic bass quality compared to the Hifi which has an otherwise immature forceful rise down low. It isn’t horrible but it certainly doesn’t compare to the lesser priced and newer PR2.

Midrange​

The PR1 is a lot warmer due to the overdrawn mid-bass push and spill-over into the midrange which (in my opinion) adversely affects male vocals and does add a slight veil over the region. The PR2 on the other hand drops that mid-bass down and adds emphasis to the sub-bass. This effectively frees up male vocals to sound much more neutral sounding, airy, detailed and clean in comparison. Females on the PR2 have more of a shimmer, or controlled sheen, and a musical nature with greater resolution. Really it seems that in all aspects the PR2 is an upgrade from the PR1 Hifi and the midrange perfectly shows this. Timbre is also much better as that was one area that I thought the PR1 needed some work. I don’t hear nearly as much of that metallic type of tinge to the note outlines on the PR2.

Treble Region​

The treble is one area that I think KZ made the biggest difference. The treble of the PR1 Hifi was greatly emphasized. Extension into the air region was great, but there was a shrillness and shoutiness to my music which prompted me to modify the PR1 anyway that I could tame it. The PR2 is much better tuned as everything is brought back down to earth on this set. The PR1 gave a false sense of detail and perceived resolution with the forced rise up top, whereas the PR2 does so with a more natural timbre and lifelike replay while dialing back the treble.

Truthfully this one is a no brainer for me. Unless you adore a greatly boosted treble and would love a bit more slam in the bass. I think the PR2 is an upgrade across the board and was exactly what KZ needed to do to truly create a fantastic Planar iem at affordable prices.

Celeste Pandamon ($59)​

Okay now this may be a bit of a stretch to compare the two. First off, the Pandamon is not exactly a Planar iem. There was much debate on the topic upon its release, and the release of its predecessor… the Gumiho. I reviewed the Pandamon last year (Celeste Pandamon review) and admittedly adore the sound. Of course, it also costs a little bit more as well.

I would say the Pandamon is a hint more neutral, but both sets have a very mature sound and, in my mind, can go toe-to-toe with each other sound wise. Maybe not a perfect comparison but they do share similar tech as the PR2 is a true Planar Magnetic iem and the Pandamon is actually a “Square Planar” iem. Still a Planar but with subtle differences which I will not explain here. One noticeable difference is that the Pandamon is much easier to drive than the PR2.

Bass Region​

What exactly are those differences? Let’s start in the bass region. As far as which set offers more of an impact and raw bass density, I would say that both of these are close, but the PR2 actually has more emphasis in this regard. The Pandamon does have a snappy and punchy low-end with a speedy driver as it matches the PR2’s ability to sound textured and layered down low, but if straight bass density and impact is what you are after, and it is between these two iems you are choosing from… I would imagine the PR2 would fit that bill a touch better. I think the PR2 has a tighter bass for things like bass drops and more grunt for bass guitar as well as better rounded and fuller sounding kick-drums.

Midrange​

Both sets offer a well-placed midrange, not too forward, not too recessed. The Pandamon and PR2 are both pretty melodic as well, but I would say the PR2 actually has the better macro-dynamics and fullness with a more detailed midrange while both come across as clean and kempt. Male vocals come across a hint thinner on the Pandamon but this is not really an issue as timbre is fantastic. Really, I see neither of these sets head and shoulders above one another.

I do think the PR2 has the more effervescent and livelier upper midrange for female vocals. The Pandamon sounds smoother to me throughout the mids with less chance for shout. However, it also sounds a hint more dialed back dynamically. I suppose there is a give and take with both iems. The PR2 is a little better defined but also can be more intense to a degree. All that said, I think both iems sound great to me. Perhaps the PR2 has a bit more of a dynamically expressive sound where the Pandamon is a little more laid back in comparison, but my brain can easily adjust and begin to adore both interpretations of my music.

Treble region​

Most certainly the PR2 shines a bit more in this area as the extension is better up top as well as the detail retrieval. The PR2’s treble has a more vibrant punch to the smoother and safer Pandamon. This is really a question of preference between the two. Both sets offer a well composed treble region with a slightly different tuning. Neither sets sound shrill or sibilant and neither of these two offer a ton of shout or pierce up top. Though, of the two, the PR2 will not be good for the ultra-treble sensitive, especially at higher volumes on piercing type tracks. The Pandamon is definitely the safer choice there.

Again, this is a question of preference. To be honest I find the Pandamon to be one of the best iems under $75, and for good reason. It is tuned wonderfully with that close to neutral sound which is very clean and smooth. The PR2 hangs right there with it and even overtakes it in a few key categories. Do you want a dynamically controlled, expressive, vibrant and detail-oriented set? Or do you prefer something punchy, pretty precise, balanced, smooth and with great organic timbre? Both are absolutely fantastic options, and both are priced extremely well. The PR2 is certainly built much better and looks more mature whereas the look of the Pandamon is pretty polarizing, but both sets offer a unique and low-cost Hi-Fi experience.

TangZu Zetian Wu ($149)​

The Wu Zetian or Zetian Wu, is one of those sets that quite literally changed the game to a slight degree. Now, at the time of its release the OG Raptgo Hook-X came out (Review HERE) and already kind of “owned” the top spot as far as planar iems goes, for a great majority of folks anyways. However, the Zetian came out and was lauded by hobbyists for its great timbre, balanced sound and overall dynamic and fun replay. BTW, I am not including the Hook-X in comparisons because it just doesn’t make sense. The Zetian is much closer in tonality and timbre and is a logical comparison. TangZu created a fantastic set in the Zetian Wu which is still a good buy at around $150. Still, I said this is a logical comparison and the PR2 costs $40 soooo…I’m not saying anymore, let’s compare the two shall we.

Bass Region​

The first thing I notice in the bass region when comparing these two sets is the emphasis sounds more pronounced on the Zetian. Both in the sub-bass rumble and haptic feel to the mid-bass slam. The graph will tell you otherwise… Liar. Possibly the PR2 has a bit quicker attack but the Zetian seems to have a hint more sub-bass rumble, and possibly a bit more slam, but that’s it. Both sets are solid down low while the PR2 is a bit snappier, but both have that slightly softened leading edge with nice density. Both have a nicely textured bass as well. Neither are bass head iems but both can represent most genres perfectly fine. The Zetian offers greater rise in the low end, giving a warmer hue to the sound and comes across a little bit less like a planar timbre-wise and closer to a dynamic driver.

Midrange​

The Zetian comes across a bit thicker in note weight in the lower mid region and more forward when listening to male vocals. The PR2 is slightly less smooth in the lower mids but not to any detriment and in fact it adds some nice definition to the PR2. I hesitate to call the PR2 “cleaner” as I don’t think that’s the case but perhaps the slightly cooler sound makes it perceivably more resolute. Females follow much of the same trajectory as they are further back to a slight degree, less note body but more shimmer. Vocals and instrumentation sound lusher in general on the Zetian but the PR2 sounds slightly more detailed and more open and separated to my ears.

Dynamically the Zetian has more of a spirited and compelling sound. It’s more forward and simply more intense to a small degree. This certainly doesn’t mean the PR2 is not this way but the PR2 is more controlled throughout and simply offers a different take.

Treble Region​

The PR2 has better extension up top and is possibly more vibrant but the Zetian has the more musical treble region. Once again, it’s smoother and easier to digest over long periods. The PR2 sounds a bit better balanced across the mix yet with a nice rise in the treble which perceivably draws out details a bit easier than when listening with the Zetian. The differences are not huge but there is a slight bit more luminance on the PR2.

Technicalities​

Soundstage sounds a bit wider on the PR2, more spread out and deeper yet slightly less tall than the Zetian. Not exactly better. The Zetian is a more intimate listen yet also more musical than the PR2. It’s fuller, more present sounding, macro-dynamics of the Zetian are a touch more expressive too. Again, the Zetian has a more dynamic and fun sound while the PR2 sounds a bit more controlled altogether and slightly dryer. The PR2 is just as resolute while sounding tighter and with better controlled transients. Again, details rise to the surface easier on the PR2 while the Zetian is smoother, warmer, more bodied and with slightly more lifelike and a more emotional sounding timbre throughout.

It can hang​

Folks, I am impressed by the PR2, flat out. The fact that it not only hangs with the Zetian, but even bests it in a few categories is saying a lot for a set which costs so much less. The only other differences to note is that the PR2 is harder to drive and naturally has far worse accessories like the cable and it lacks a carrying case. We should expect this though. However, what counts is in the music and the PR2 absolutely bodes very well against one of the better Planar iems under $200.


**Note: There were a number of other planar iems that I was going to compare with the PR2 but simply ran out of gas fellas and ladies. The TRN Rosefinch came to mind but unforeseen circumstances destroyed any chance of that happening. Plus, it wasn’t going to be positive for the Rosefinch… at all. Proving that it’s definitely not easy to create and tune a ultra cheap true planar iem. I was going to compare the Letshuoer S12 Pro as well but I think the S12 Pro is simply a step up and not really a logical comparison, in some regards. Close, but at the same time quite a ways apart. I will gladly edit this review if any of the readers would like to read my thoughts about the two.

Is it worth the asking price? ​

I sound as though I’m on repeat reviewing these KZ iems of late. Friends, the KZ X-HBB PR2 is worth every penny. It’s pretty much irrefutable at this point. This is actually a silly question to even utter. What KZ and HBB managed to create and successfully put to market is a very low-priced planar iem that actually takes on other planar sets costing four times the amount. At the very least the PR2 has a seat at the table folks.

The PR2 is built very well, it’s comfortable enough (at least for me), and has a confident and sleek design. The PR2 is a detailed, technically proficient planar iem which is balanced across the mix and with good timbre for a planar… at any price. Transient attack/decay/sustain is snappy, prompt, measured and controlled which should be expected for a $150 planar iem, but for $40 it is a nice surprise. I don’t think I’ve mentioned enough about the timbre because this is one area that really turns me off to planar sets. There isn’t any of that metallic, electric sounding inflection and overtone that is a residual from the driver tech. I don’t get that in the PR2 as much as I have with sets that are more expensive, which is a testament to KZ and HBB’s ability and expertise.

It’s worth it!​

So yes, the KZ X-HBB PR2 has quite easily managed to make it to the top of my personal “top five under $75” (for what it’s worth). Now, there are quite a few great sets in this price point and the PR2 has a lot of competition from different iems with different driver configurations. Despite that and considering all that the PR2 offers, I think it’s a shoo-in for most people’s “best-of” lists.

Yes, the PR2 is most certainly worth the $40 that KZ is asking for and I think it is the only iem that anyone should purchase if they are interested in purchasing a planar iem for the first time. Especially if you are tight on funds. Which happens to be most people in the world. In fact, I’d say with assurance and without question that all roads should go through the PR2 where first time planars owners are concerned. The only pause I would give anyone is if you don't have a decently powerful source to drive this set.

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Ratings (0-10)​

Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles. In the case of the XHBB PR2 ratings below, that would be $30-$50 iems in any configuration. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5” is exactly average and please take into consideration the “lot” of iems these ratings are gathered against. $30-$50 US is a small pool in the grand scheme of things and so seeing ratings above a “9” is understandable.

Aesthetic ​

-Build Quality: 8.9

-Design: 9.5

-Accessories: 8.0 (at this price I won’t calculate this score for this particular category)

Overall: 9.2

Sound Rating​

-Timbre: 9.0

-Bass: 9.7

-Midrange: 9.2

-Treble: 9.2

-Technicalities: 9.8

-Overall: 9.3

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Conclusion​

There you have it folks, that is my review of the KZ X-HBB PR2. Most certainly, I do hope this helps at least someone in a purchasing decision. I want to again thank KZ and Tyvan Lam for providing the PR2 for a full review. I must add that I hope every reader checks out other thoughts on the PR2 as it will only help get a better understanding about this set and about the reviewers as well. We all have different likes and dislikes, we can have varying music libraries and favored genres, I’m sure we don’t all have the same audio gear and sources, and we haven’t all been down the same audio journey. We are all different and so hearing other perspectives is very important. Thank you for reading, it means a lot everyone. Take care and stay safe.

KZ D-FI (Tuning Version)​

Intro​

Another day, another KZ budget set to review and today I review the KZ D-Fi. The KZ D-Fi is KZ’s latest single DD iem that just so happens to come with tuning switches, or you can purchase the D-fi without the switches. One is called the “Standard” model and the other is the “Tuning” version. The KZ D-Fi “standard” version is simply the KZ D-Fi without tuning switches and obviously the KZ D-Fi “tuning” version has the four switches so to better dial in the sound to one’s preference. I have to thank Tyvan Lam and the good people at KZ for providing the D-Fi “Tuning” version in exchange for a fair and honest review.

They never rest​

KZ/CCA is doing what KZ/CCA does my friends. They must never rest because every week it seems they have developed a new set for the market. I’ve been impressed with this company for some time now and have had great experiences with their budget iems. I’ve reviewed quite a few from KZ and CCA. Recently I’ve reviewed the KZ ZVX which I personally consider as one of the best sets in its price point… hands down! I reviewed the Ling Long, the EDCX, the KZ PR1 Hifi, the CCA CRA+ and even some tws iems like the KZ VXS. Another fantastic set that I reviewed last year was one of my favorites, the KZ AS16 Pro. They are all very well-conceived and well implemented iems that all compete well in their respective price brackets. The key words are “in their price brackets”.

Budget Kings​

Other companies come out with nice competitive sets, then KZ just ups the ante and makes something better. I swear they take that budget crown more seriously than anything else, and I’m glad they do. I do believe that the majority of hobbyists across the world can really only afford budget sector iems and audio gears, and so I can understand KZ/CCA’s line of thinking. What is most surprising is that KZ seems to always one-up themselves with every new release. With that said, let’s see just how well KZ has done with their latest budget sector iem. Is the D-Fi a budget success or a dud, we shall see….

Purchase link: KZ D-Fi Tunable Version

Gear Used for this review​

-Fiio UTWS5
-Ifi Go Blu
-Moondrop Dawn 4.4
-iBasso DX240 with Amp8 MK2
-Shanling M6 Ultra

Full Review HERE

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Packaging ​

The KZ D-Fi arrived at my door in a simple packaging not much unlike any KZ budget product. Nothing fancy and never over the top. KZ is not trying to wow the buyer with the unboxing experience, and I am more than fine with this. Listen folks, at this price I would much-much rather that KZ or any budget iem maker put the extra cost into the earphones themselves than into the graphics on the cardboard box.

So yes, it isn’t some grand and amazing unboxing but… yes but… When you open the box and you see those beautifully made D-Fi iems staring back at you, please trust me the unboxing cares go right out the window. Underneath the earphones you’ll find the cable and eartips as well as a “micro sd pin” for the tuning switches. That’s it, good enough for me. Moving on…

Eartips​

KZ went a bit out of the norm with the D-fi and added seven pairs of eartips. The D-fi themselves came with a pair of medium sized foam tips which are of nice quality. They also added three pairs (L, M, S) of a wide bore white set which are also of great quality. I like the firmer flange which helps in sealing. The other set is remarkably similar to Tennmak Whirlwind eartips which are fantastic tips that are so very well structured, and firm and they too are a wide bore set of eartips. Really a great job by KZ with the tips alone. I will use each of these pairs of tips on… something.

However, I actually went with my tried-and-true KBear 07 Large tips. Honestly, I actually do think that KZ really stepped up their tip game for the packaging with the D-Fi. In fact, it is strange because you don’t see them doing that often. Every now and again KZ will add a accessory that they don’t usually package, kind of like the carrying case provided with the Ling Long. Same thing here. All tips are very usable and a good thing to have in a collection. I use the KBear 07 tips simply for fit reasons and because they do add a certain punch and dynamics to most earphones. Normally the bass region will see a slight boost along with the upper midrange, but that is a case-by-case thing for the most part.

Cable​

Okay so the cable is kind of a downer. I of course wasn’t expecting something fabulous and beefy, but I also would’ve liked to see a different cable than the one we always see with KZ/CCA’s earphones. Same QDC style OFC 2-pin cable which ends with a 3.5 single ended jack and the opaque rubber material covering. Not a bad cable at all but also not that great. I listen mainly on balanced and so I did swap cables to a brass colored 8 core Fedai SPC Cable, it looks fantastic meshed with the silver of the D-fi and sounds fantastic with it. Balanced listening does add some life to the sound, but I will explain more on that later.

Build / Design / Internals / Fit / Drivability​

Build​

KZ went with a very durable and hefty all metal alloy build which is very nicely put together at this price point. Ya know, KZ also created a fine built set in the ZVX as well. They are really dialing it in lately with these metal shelled budget iems that far exceed what we are used to at these prices. Now, it is not unheard of to see alloy shells under $30 but the quality is what sets the D-Fi apart in my opinion. The faceplate area has a wavy pattern to it with a good-sized vent hole near the rear.

Due to the all metal build, there is the possibility that this set may be a bit too heavy for some. I could certainly see the comfort being a problem for some folks. Now, it doesn’t bug me even in the slightest, but I know a lot of my friends in the community may have a difficult time keeping the weight distribution in check. Basically, the D-Fi may find its way out of your ears with movements or with different eartips due to the weight. Don’t get me wrong there are much heavier sets out there, but I do think it’s worth noting.

Tuning Switches​

The tuning switches are on the very back of the D-fi perfectly seated without any imperfections (which I expected to see). You’ll notice an on & off markings labeled above each switch pad as well as 1-2-3-4 labeled at each localized frequency changing switch. All switches can either be flipped up (with the needle tool) for “on” or left down for “off”. The first three tuning switches each affect the low end by adding one decibel increases to the bass region while the last switch affects the entire frequency band. For the purpose of this review, I will call down “D” and up “U”. My favorite switch orientation is either UDDU or UUDD. For this review I am mostly using UUDD.

Not a huge difference​

There is a slightly audible difference in the switch changes which gives credence to even having them in the first place. The switches have to work friends, who’da thunk it? Now, please don’t get me confused here, it isn’t exactly like the switches make huge differences. I don’t feel like I have 16 different earphones in one. It has been advertised as well as promoted from certain audio personalities as well as KZ themselves that you can get 16 different and unique tuning options. This is not the case my friends. Yes, there is an audible boost in the bass area but not really a huge change in the overall sound.

For instance, raising the first switch to “on” will bump up the bass region one db. Raising the 1st & 2nd switches to “on” will now bump up the bass two dbs. The 3rd switch will also add one more db and so the difference is not very large. Turning on the last switch takes the entire frequency up four db’s across the board. So, it is an odd switch arrangement that KZ chose but not bad by any means. The switches really only focus on the bass region which concurrently affects the overall sound in subtle ways.

Anyways, we have seen an onslaught of tuning switches of late in the budget sector. Of course, you used to have to pay quite a bit for switch arrangements like we are seeing now. The switches work exactly as they have in the past where they will need something small enough to push the switches. Again, KZ added a micro-sd card pin within the packaging, but you can also use a paperclip or something similar. I actually have a toothpick at my bedside to switch it up and that works perfectly fine.

Design​

This set does not look or feel like it costs. Not even close! If this means anything at all to you, then you are in luck with the D-Fi. The design is truly fantastic with a very highly polished exterior in a mirror type fashion. The D-Fi looks confident, clean and aesthetically pleasing to the eye. It’s quite amazing to me that a premium look can be sold and purchased at budget prices, yet we are seeing this more and more lately. They have a wavy pattern on the faceplates which breaks up the monotony of an otherwise utilitarian design and actually creates a look that is fresh and somehow modern looking. I think KZ really knocked this one out of the park in terms of looks.

I should add that this high-polished look also will capture every little fingerprint and may scratch easily as well. It doesn’t bother me in the slightest, but it should be noted. I know there are those sticklers out there that may be put-off by this.

Internals​

KZ chose to use a 10mm Dual-Magnet Dynamic Driver which rests in a Dual-Cavity. KZ highlights the dual-magnetic structure in their advertising saying… Ya know what, I’ll let them tell you themselves…. [“KZ D-Fi adopts the exclusive custom dual-magnet & dual-cavity dynamic driver. Dual magnetic means a dual magnetic circuit whose magnetic field is enhanced by superimposing the magnetic force of 2 magnets to achieve energy efficiency and stronger transient performance.”] – KZ Promo.

The other highlight is the implementation of the “Zobel Network” which is a departure from traditional tuning methods that use dampers and different tuning mesh among other tricks to get the desired tuning result. The Zobel Network is actually a network of resistors that can be tuned to cancel out the effects of capacitance and inductance. Basically, the Zobel Network compensates the rising impedance of a driver in the upper frequencies due to inductance in the voice coil. I hope that makes sense because I am not going any further with the explanation which “may” or “may not” be due to my ignorance in the subject. I suppose it’s a good thing that I’m not reviewing Zobel Networks.

Fit / Isolation​

I still have zero idea why I add this section into any review? However, I will keep writing about it whether it makes sense or not. I can only speak on how the fit relates to my ears so I don’t know how helpful this will be to anyone else. For me personally, the fit is pretty nice. I do have to fiddle around a bit, but once I get that nice seal the D-Fi does very well for me. Isolation is about average, not unlike any earphone short of something meant for stage use. There isn’t any real sound leakage either, at least not to a degree that you should be concerned about.

Drivability ​

The D-Fi is not a difficult earphone to drive but it can certainly benefit from extra output power. Rated at 29-48 ohms with a sensitivity of 113+-3 dbs the D-Fi can be driven fairly easily from most any source. I used the D-Fi quite a lot with the Fiio UTWS5 which only has a Max output of around 50mw @ 32ohms. Not exactly a powerhouse but fantastic for more sensitive iems. I found this to be a perfect mobile pairing only if I have the fourth switch turned on (which decreases the impedance). The warmth and organic nature of the UTWS5 created a lovely synergy.

Another great mobile solution is the IFi Go Blu bluetooth amp/dac. The Go Blue really adds some muscle for such a small device. Listening on 4.4 balanced there is this dynamism, which is an obvious improvement and again, great synergy friends. The Go Blu has the popular CS43131 dac onboard and the D-Fi really responds well to it. The warmth of the Go Blu seems to counter the more neutral sound of the D-Fi which makes it a good mobile bluetooth option.

Dongle Dacs​

One of my absolute favorite dongle dacs of any that I’ve ever tried is the Moondrop Dawn 4.4. People, if you have $69 laying around and are in need of a solid option for on the go listening, please trust me, get the Dawn 4.4. The D-Fi again reacts well and doesn’t get too bright or sharp but rather the Dawn emphasizes the D-Fi’s strengths. The Dawn 4.4 also uses the CS43131 dac but the tuning is what sets this pairing over the top.

Daps​

Moving onto the iBasso DX240, with its ES9038Pro chip or the Shanling M6 Ultra with its AK4493SEQ chip. The slightly more analytical yet dynamically expressive sound of the DX240 using iBasso Amp8 MK2 module with the D-Fi gives off a clean yet punchy sound that sounds nicely airy with great note definition. The downside is that it can become too sharp in the upper mids on rare occasions. Turning to the M6 Ultra, it has a slightly warmer, more lush, more beefy sound yet still remaining airy and resolute. I found the D-Fi is much more to my liking with this pairing. Almost as though there was better control in the upper parts of the frequency whereas with the DX240 I do hear a touch more of a loose note definition.

Very quickly, when the fourth switch is turned off the D-Fi is a bit harder to drive. Lower powered sources will have a harder time properly bringing the D-Fi to a good fidelity. For instance, I decided to use my iPad 6th gen just to see how well it pushed the D-Fi with the fourth switch off and the sound was pretty bland without any real dynamism or vivacity. In the same vein, when all are turned on, the D-Fi is generally much easier to drive to that spirited and full-bodied sound. This of course makes complete sense, but I did want to spell that out for the readers here. What that boils down to is, try to get a nicely powered dongle dac and you’ll have more than enough to properly drive this set to enjoyment.

Pint Sized Sound Impressions​

I won’t go too crazy into detail here, but I will quickly outline each of the three main areas of the frequency response (Bass, Mids, Treble). The D-Fi can go from almost neutral (slightly colored) to warmer in its tonal coloring depending on switch orientation. We have seen this movement back to neutrality of late and it’s had a nice reaction from hobbyists. The D-Fi walk that neutral line for the most part with subtle coloration occurring in each switch orientation. Remember, the D-Fi switches don’t make the biggest difference in the world, but they are differences nonetheless and they do slightly affect the airiness, crispness, openness of the stage and obviously low-end emphasis among other attributes.

To me (using UUDD) the D-Fi is more of a U-shaped sound, maybe a very slight V-shape. The D-Fi has a nice symmetry in its frequency response, or a nice equilibrium, which seems to have a coherent uniformity of sound in each 3rd of the mix. What I hear is a warmish-neutral sounding set with a good dynamic balance, the D-Fi is mostly natural and organic, depending on what your idea of natural and organic is. Transient attack & release is perceivably quicker on attack with a slightly less quick release, for the most part.

The frequencies​

The bass region is on the lighter side and doesn’t give me that robust sound like I hear on most KZ sets. It isn’t absent from slam but it certainly isn’t super beefy. The sub-bass can growl and represent pretty well and has a moderately effective haptic vibration. The mid bass has just enough impact for genres like hip-hop, EDM etc. The midrange is presented more forward but definitely not “in your face” or shouty. There is a smooth nature to the mids which have only okay resolution for the price with a more natural sound. The treble has nice energy and decent extension into the highest of highs. I hear a transparent, smooth, high fidelity type treble which adds nice details. The soundstage is above average in every direction and the D-Fi has a technically astute sound for a single DD under $30.

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Bass Region​

The bass of the D-Fi is not at all close to basshead levels. Bass Bois will likely not find the D-Fi too enjoyable. Those who will enjoy this bass region are those people who embrace a more even bass that isn’t pushy or exaggerated, basically more mature in sound. The bass is emphasized to a slight degree while leaving room for the other frequencies. I would call this a quality bass, or a controlled bass. Perhaps a bit soft in attack yet still has moderate density. I don’t think the bass is the strong suit of the D-Fi while in the same breath it also isn’t it’s achilles heel either. The bass is simply a nicely tuned part of a whole, an instrumental cog in the machine which offers support to the overarching sound. Don’t get it twisted though, It doesn’t lack either, as I still get a good and satisfying rumble and thump when called upon to do so.

Sub-bass​

The sub-bass is moderately deep. I would certainly say that the focus of the low-end on the D-Fi is more in the sub-bass. There is evident texture and a haptic feel in the lowest of lows with good extension, especially when you give this set a good amount of juice. So, don’t be afraid to add power, she likes it friends. While it isn’t the world’s deepest sub-bass, it is clean and dense enough. I don’t hear that statically fuzzy note definition or pillow-like leading edge. There is just enough abrasive texture to give a bite. Not perfect… but satisfying. In “Rich Off Pain” by Lil Baby & Lil Durk the bass drops a few seconds into the track, and I notice it isn’t the most concrete in its solidity, but the sub-bass still represents the region well.

In spite of that last sentence, other tracks like “Jealous” by Nick Jonas does have a bit more sub-bass tactility and more of a concrete sound. So a lot depends on the track, source, output and switch setting. I suppose you truly get back what you give this set. It isn’t over emphasized and is more faithful to the recording than some budget iems. There are other sets in this price point which can bring a bit more of a hard edged delivery yet they can have other issues arise as well.

Mid-bass​

The mid-bass has some slam to it. Still, like the sub-bass I will almost repeat myself as the mid-bass isn’t over emphasized at all while still giving enough heft in this area to replay those gratifying thump tracks. There is nice surface texture with a very tidy and kempt mid-bass boom, which has just enough of a rise to playback the bass guitar pretty darn nicely.

The song “John Wayne” by Whiskey Myers has an abrasive bass guitar riff that is a bit dirty and really gets my head moving to the groove and the D-Fi is able to replay it satisfactorily. I wouldn’t call it the most robust or gritty sounding, but the D-Fi manages good texture that I can enjoy with enough emphasis in this region for my tastes. I can say for sure that we don’t hear anything akin to a mid-bass tuck which will nuder some of that bass guitar growl.

Kick drums also across rounded, bouncy, boomy yet never over accentuated. The natural texture is nice in the song “Billie Jean” by Weezer (Michael Jackson cover). The speed of the attack and decay comes across with each kick of the drum. Very slightly soft in attack yet also speedy and stout, with an organic fullness that is quality for a set at this price. Not the best I’ve heard in the price point but far from the worst. Again, it sounds as though it is a part of a whole and comes across clean, well defined, and adequately sonorous and boomy. This song is great for testing kick-drum texture and I enjoy how the D-Fi handles it.

I dig it!​

I have begun to really enjoy the bass of the D-Fi. It has a richness to the bass which isn’t going to devour anything else. It’s clean and with nice clarity and texture which also adds in better-than-okay layering, depending on the track I’m listening to. No, it isn’t that deep vibration with a mega boom type slam, but in all honesty, I can find that for $15 at Walmart if I need that. Those sets are a dime a dozen. KZ tuned the D-Fi to sound airier down low, better separation and not congested or muddy or over accentuated. I could use a touch more clean bass but all in all… I dig it.

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Midrange​

The mids are presented in a musical manner, with an earthy and mostly undebased organic timbre which sounds close to neutral across the breadth of the midrange, which is saying a lot for an budget priced single dynamic driver. I love a good midrange that has a hint of forwardness without coming across too thin, or shouty, or a handful of other less desirable characteristics. Anyone who has been in this hobby long enough knows there is a balance which has to take place for single DD’s. Basically, this is a musical midrange with hints of color.

The D-Fi’s ability to acquaint my ears with the coarseness of a Chris Stapleton song, or the soft eloquence of Gabrielle Aplin’s singer songwriter originality is nice to hear. Not 100% accurate but nicely rendered. The D-Fi costs very little in the world of iems, yet it has a refined nature to it which begs the question… “How much more does a person actually need?” or “How much more does one really need to spend?” No doubt about it, if I was stuck on a deserted island with only the D-Fi and my dap (with endless battery life of course) I would be perfectly content and happy.

Lower-midrange​

Getting on with my actual thoughts about the mids. I hear male vocals which can (based upon your switch settings) either sound slightly hefty, lusher and warmer, or they can be edgier and leaner yet always transparent and melodic to my ears. I am going with “UUDU” in this portion of the review and so male vocals have an ever so slight bit of warmth and aren’t overly thick in note weight but there is still good density. Males sound solid, not fuzzy and they have a nice edge to the sound.

Take a voice like Zach Williams in the track “Lookin’ For You“. The fundamental meat of his voice has nice body to it with an edgier and grizzled note texture but not warm with heft on the D-Fi. Nothing sounds accentuated or forced but rather he comes across organic in body. Or the track “Plain to the Plainsman” by Colter Wall. His voice is extremely deep with a certain resonance to it and is rugged and jagged. Listening with the D-Fi he sounds firm and controlled. Which just so happens to be exactly how he is supposed to sound. Not hefty or super rich in sound but natural and with a clean resolution. It is easy for a set to screw up his voice but the D-Fi sound nice.

Upper-Midrange​

Females come across loud and clear with a neutral hue to the area. Definitely this is a more lustrous and shimmery type upper-midrange experience. Females really do sound illuminated and can even subtly cross into a piercing and edgy sound on some tracks. Be that as it may, for the most part this area sounds very clean, detailed, uplifted and with a focused resolution.

Camila Cabello in “Never Be The Same” is a track that just douses you in her sensual and saucy inflections to her emotionally scratchy voice. The D-Fi catches every piece of grain within the rasp of her voice as it cuts through the melody with this aching and ardent yearning. I feel the D-Fi does this track justice. Yes, it’s a bit grating which is partially caused by her voice alone, but it’s also fitting as the song has this urgency and pining, almost a pleading within her voice. I suppose we must suffer those sharper articulations with her. The nice thing is she comes through crystal clear and rich enough.

Another song is “Whispering Waltz” by Sierra Ferrell. This is a singer songwriter type old school style folk country track which is absolutely beautiful in both instrumentation as well as her angelic voice. Her voice shimmers with elegance and a soft sheen listening with the D-Fi. Another emotionally centered song with her voice sounding so cherubic and harmonious as the Ukulele and Acoustic Guitar perfectly comes across with great separation and detail. She ahs a good and uplifted energy to her voice even in the more somber sonb. In fact, most females sound really nicely energetic, fully present and forward with this budget set.

Instrumentation​

Instruments benefit greatly from this mostly neutral and tighter type replay. Strings sound a hair thinned out but not in a frail way. More like thin in a tighter way, because there is good substance and solidity to plucks from a guitar and the harmonics that trail off from there. The tight transient response keeps a more kempt and taut sound from strings which is very nice for this price point. Percussion of all types has a punch with good body within the midrange. Flute and violin both come across organic and pleasing to the ear.

Are they really issues?​

I don’t hear any glaring issues but not everyone is a fan of a more neutral midrange. Some yearn for a more warm, syrupy, or even dark sounding midrange with a robust thickness. Certainly, the D-Fi is not that.

Also, there are very small instances of timbre issues in the upper mids. I hear a metallic or nasally sound at times. However, I only really heard this on a couple tracks. One being “Look At You” by Rebecca Black. I know reading the words “metallic” or “nasally” are keywords to avoid but this can be changed using the switches to a small degree. This is the reason as to why I went with the UUDD configuration. Before that I was more than happy listening with the UDDU settings. So that’s really it, some very slight timbre issues that to me aren’t even real issues.

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Treble Region​

The upper parts of the frequency have a very nice transition from the midrange. Perhaps the timbre could be a bit more natural, but we are talking about a budget iem here. The D-Fi’s treble region does have some crunch and punch to it. Listening to the fast-paced treble deluge from the song “Bishop School” by Yusef Lateef, the D-Fi shows off its pretty good detail chops as well as its nice extension. Also depending on the switch arrangements this song can absolutely tinge the senses in trebly delight. The D-Fi shows off good separation and imaging of each instrument. I would have thought that I’d hear some smearing, but the D-Fi are proving to be a pretty mature set.

Mostly non-offensive affair​

Like I stated, the D-Fi has nice extension into the upper parts of the frequency. I get nothing piercing or shrill. I also don’t hear anything really metallic or bothersome. It seems that KZ tuned this set to be listenable and non-offensive. Like I said, I hear nothing shrill with instrumentation. Instead, I hear nicely diminishing harmonics from cymbal strikes that don’t sound splashy to me.

For instance, “In Bloom” by Nirvana has a lot of treble activity to begin this track. On a treble lifted set, this song can sound almost pain inducing. The D-Fi is able to cut out the cymbals amongst the chaos jamming out around them. Most sets I will hear some masking going on and there is some of that to a degree on the D-Fi, but the balanced tuning does help. Perhaps they sound a bit tinselly and not perfectly natural, but they don’t come across weirdly splashy. If that makes sense?

Good for instruments up top​

Now, instruments with their fundamental frequency and body of the sound within the treble region, I like what I am hearing from a $30 iem. Flute, Sax, Electric Guitar & Violin are a few which take center stage in some tracks within my library of music. Like I said, the treble has a okay punch to it, slightly crunchy, slightly smooth and never offensive.

No, it isn’t perfect, but it is very well accomplished for the asking price and does very well to round out the entire mix adding a nicely controlled luminance, and NOT to a fault. This bodes well for instrumentation in the treble region. Some may argue that the timbre may not be spot on, and I can understand that, but the amount of pickiness that it must take to declare that a “con” is pretty ridiculous. At $23-30!? I hear nothing that is wonky, tizzy or tinny or too dry or too sheened out in glare or shrillness. I hear a nicely airy presentation with a nice lift which makes for a decently good replay for instruments in my library.

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Technicalities​

Soundstage​

I feel like this review already sounds like the hype train is boarding. I am giving you my word that this is not the case. The D-Fi is a very well-tuned set, this is only true, of course, if this tuning agrees with you…by the way, it agrees with me. I prefaced with that to say… The soundstage has nice width and openness to it with a sense of space to the sound. Still, height is above average against the crop of similarly priced iems and depth is there to add a sense of 3D. Anyways, to check for soundstage, my notes include a hit from the nineties called “Hook” by Blues Traveler. The recording alone sounds wide and will easily show you how vast of a stage your earphones can get you. There are a number of tracks which are good for this but this is simply in my notes. Again, the D-Fi sounds above average and stretches past my ears in width.

Not a concert hall​

Just like any set of iems, you shouldn’t be expecting a concert hall type of listening experience. This just won’t happen. In spite of that, some iems can stretch the psychoacoustic stage and a lot has to do with the tuning among other things. Anyways, the D-Fi does a decent job at helping me to perceive an appropriately sized stage for my musical library. You will not be taken aback at the vastness on this set but also, nothing stands out as congested either. There isn’t any closed in feeling at all. We should expect an average stage size at the very least and I’d say that you get better than that from this set. The nice thing I hear is the depth and the relative accuracy of the image created with nice space in between elements of a stage.

Separation / Imaging​

Separation is good. As with most single DDs there can be a bit of masking and smearing in chaotic and congested tracks with a lot of commotion happening. Still, the D-Fi actually fares okay in these situations. Not perfect by any means but not bad either. Anything less than a very chaotic song and the D-Fi separates very well with localized and partitioned elements of a stage. Imaging is also nicely rendered. The imaging is great left to right as well as forward and backward. Again, in more congested tracks things do muddy up a bit and you’ll lose some of the perceived imaging but all in all, I think the D-Fi do very well in these two categories. In fact, I’d say it’s one of the D-Fi’s strong suits.

Details​

The D-Fi offers a reasonably well-done detail experience. Certainly not detail kings but very good against similarly priced iems. Which, by the way, is the only really good stick to measure these against. How do they fare against others in the price point? I can say that there are sets which bring the subtleties to the surface better and for cheaper. Sets like the 7Hz Zero and a few others are tuned to elevate details. That being said, the D-Fi has other attributes that it offers which are much more important to the overall listening experience. Now, with that also being said, the D-Fi has a cleaner sound with a good transient response and an uplifted, non-veiled, and open sounding approach and so details naturally aren’t bad at all. You aren’t missing much my friends.

Full Review HERE

Comparisons​

Note: I want to preface these comparisons with a few underlying notes. First, I mainly use the “UUDD” setting on my D-Fi which is my favored way of listening. Also, I compared all sets using a balanced cable on my Shanling M6 Ultra. Another thing, this is not a duel to the death, the only reason I even compare iems is to better explain the set I am reviewing, and these will be very generic explanations to quickly describe some differences without going too in depth.

KZ ZVX ($18)​

The KZ ZVX is a bona-fide STUD my friends. I adore its tuning, truly. I would have never imagined you could get such a well-tuned iem at this price yet here we are. Is the D-Fi a true upgrade? I suppose we shall see. The ZVX is another amazingly built tank of an iem which is offered at a ridiculously low price and outperforms sets which double it or more. No joke. The ZVX also uses a 10mm Dynamic Driver and also uses the Zobel Network, like the D-Fi. I gave this set great marks and have zero issues rating it in my top three in the ultra-budget space. Possibly number one. Check out my review of the ZVX HERE.

Bass Region​

Between the two of these sets, I can plainly see that the ZVX has more of a low-end emphasis and a bit more rumble and slam. In fact, I’d probably say that this is one area where the ZVX sounds a bit more fun to me. Of course, I enjoy a healthy dose of quality bass. That said, the difference is pretty minimal, which by the way is something you will have to get used to hearing in these comparisons. The D-Fi however has a smidgen better clarity to my ears as well as better texture to this area based on the tracks I used for testing. I’m sure this is debatable. What it comes down to is, they both sound very much alike with roughly a 5db boost in the sub-bass through the mid-bass on the ZVX. This of course depends on which switch setting you decide to use in the D-Fi.

Midrange ​

The D-Fi sounds more neutral than the warmish neutral ZVX. The ZVX renders male vocals a hair thicker and more pronounced. Not necessarily more forward but slightly lusher I suppose. However, the D-Fi has that sharp inflection in a male’s voice that just gives vocals that last bit of clarity. Neither is really triumphant over the other, honestly it is really just a question of preference. The ZVX is smoother in the whole of the midrange while the D-Fi is the cleaner, more resolute and more detailed of the two. The D-Fi draws female voices ever so slightly more forward with a more neutral and organic timbre. Less color I should say. With that said, the ZVX sound very natural in their own right and also sound nicely detailed yet only a little more smoothed over.

Instrumentation has an airier quality listening on the D-Fi, a bit better detailed with a better transient attack and decay in the midrange. There is a snappiness to the sound while not coming across sharp. I would say the ZVX is very similar yet with a slightly warmer hue. To my ears the D-Fi have a bit more energy with a more vibrant display of instrumentation. However, to my ears I do like strings on the ZVX a bit more, while I like percussion a bit more on the D-Fi.

Treble region​

I find both of these sets to have a mostly non-offensive sound, and both have good energy up top. Certainly, both of these iems have enough presence up top to elevate the entire spectrum. Definitely not the most elevated or extended but both are nice. Between the two I think the D-Fi stays a hair more in control, but man is it a slight difference. As far as actual treble quantity, the ZVX does have a little bit more of an emphasis with a more forward treble region. Both sets have a softer attack, and both bring upon details relatively nicely.

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Kiwi Ears Cadenza ($35)​

Oh, sweet Cadenza, you are an alluring and beautiful iem. I reviewed the Cadenza in January of this year HERE. I was nothing short of impressed with this set. The Cadenza is outfitted with a single 10mm Beryllium coated Dynamic Driver and it is a fantastic all-rounder type of set that quite easily sits in many best under $50 lists. It is a striking iem which offers a slightly different tuning then the D-Fi but does punch above it’s price in my opinion.

Bass Region​

As far as differences go… in the UUDU configuration the D-Fi has a bit less in the bass department. This isn’t some colossal difference, yet it is a difference nonetheless. The D-Fi has a bit softer of an impact as well. Now, I can put that third switch up and then this is a different conversation. In that case the D-Fi gets a bit warmer and heartier in the bass region and sounds about the same as far as quantity is concerned. One thing remains is the leading edge of attack is still a bit softer on the D-Fi than the beryllium Cadenza. Both sets offer a very nice bass region that sounds clean and textured. I would say the Cadenza has a bit more of a snappiness to the sound but again, miniscule differences here.

Midrange​

Both of these sets hover around neutral in tonal color with the Cadenza leaning slightly more to the left with a touch more warmth to my ears. I think the D-Fi has a cleaner sounding male and female vocal and is slightly more detailed. However, I will have to keep repeating myself, the differences are very minimal. With the Cadenza, males carry a slightly heftier note weight with a smoother and lusher delivery while the D-Fi is more tidy, sharper. Both sound great. Females offer the same differences. The one thing I’ll say is females seem to be a bit more laid back on the Cadenza, but please don’t confuse me, they aren’t laid back in general, only in comparison. The D-Fi replays female voices a hair more forward and shimmery.

Treble Region ​

The D-Fi also has the more detail focused sound up top. It has a pinch more treble punch where the Cadenza is a bit smoother and less vivacious in the treble region. The D-Fi seems to offer a slight bit more of a rise in the treble despite how closely aligned the graphs are. I would assume the D-Fi’s last little peak around 9-10k does add some luminance and that last little bit of vibrancy but in truth these two sets are very similar. That says a lot about the pedigree of the D-fi if it can hang with a set like the Cadenza which was almost universally praised. Extension on the D-Fi into the highest of highs is about the same to my ears. They are basically hand in hand in that regard.

Two dope sets​

So, like I mentioned, the detail retrieval of the D-Fi is certainly better to my ears between the two sets. Now, the Cadenza wasn’t exactly praised for its ability to bring to life the tiny minutia within a track. In the same breath I don’t think that detail retrieval is the D-Fi’s strength either. That said, both sets aren’t bad by any stretch. Soundstage is about the same on both sets, roughly average and not different enough to point out. I’d like to note that just because I have stated that one seems better in one area then the other does not mean it is inherently “better”. This leaves out all of the nuance and intangibles that each set offers. Truth be told, I couldn’t pick which one I like better.

Is it worth the asking price?​

Is this a trick question that I’m asking myself? Um…Yeah, this set is most certainly worth the asking price. Listen, the build is really exceptional at this price. Where in the world are you going to find an all-metal shell that is this well put together, this seamless, this slick looking, with tuning switches and is actually a maturely tuned iem…all for $30!? I’ll answer this for you…you don’t see that…anywhere.

The D-Fi is the newest attempt by KZ to capture the budget crown and by most accounts I’d say that they may have done so. Obviously, this all depends on what type of sound signature that you enjoy. I really shouldn’t speak in generalities like that but… c’mon folks! The D-Fi is very well balanced and very musical. No, it isn’t going to out-duel $100 iems, but it most certainly will have a huge advantage against anything in its price bracket, and maybe a price bracket higher.

Not for everyone​

The D-Fi will be the exact opposite of those sentiments to anyone who enjoys a very thick and rich and warm experience. Yes, it is true, not everything is meant for everyone. There will be those who don’t appreciate this “close to neutral” style tuning and that is understandable. For those who dig a bigger and deeper bass region I’d say that you should look elsewhere. Even trebleheads may want to look past this set as well. For everyone else I’d say that it is hard to go wrong here for the money. I am thrilled that everyone has a chance to get really good fidelity at almost every price. Scratch that, you CAN find good earphones at every price point and the D-Fi is a shining example of that. So yes, the KZ D-Fi (Tuning Version) is most definitely worth the asking price.

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Ratings (0-10)​

Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles. In the case of the D-Fi, that would be any iem in the $15-$35 price point.

Aesthetic ​

-Build Quality: 10.0

-Design: 9.9

-Accessories: 8.8

Overall: 9.6

Sound Rating​

-Timbre: 9.7

-Bass: 9.7

-Midrange: 9.3

-Treble: 8.9

-Technicalities: 9.0

-P2P: 10.0 (Price to Performance)

Overall: 9.4

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Conclusion​

First things first, I have to again share my gratitude to the good people at KZ as well as Tyvan Lam for providing the KZ D-Fi for a fair and completely impartial review. I can respect any company willing to subject their product to the scrutiny of a review. Know this, KZ has never once even slightly uttered a word to me about what they would like me to say or how they’d like their products presented. Never. They live with the end result. Also, if a company did ask me to skew my words than that would be the last time I ever deal with them. So that is worth mentioning. Thank you, KZ.

Please, seek out other thoughts on any product that you may be interested in. We are all very much different friends. We have different hearing abilities, different sources and gear, different likes and dislikes, different music libraries and we all haven’t been down the same audio journey (probably the most important). Listen to, watch, or read other opinions as it will help you to gauge these devices better. With that, I finally want to thank you, the reader. It means a lot to me that you would click the link to this review, and I do hope it has helped. Thank you and please take care.
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Shanling MG600​

Intro​

Hello friends, today I am reviewing an iem which I have wanted to get my hands on for at least a little while, the Shanling MG600. The MG600 is Shanling’s mid-tier Single Dynamic Driver and has kind of flown “under the radar” for the most part. Coming in at $599 the MG600 is not cheap and tussles with some fantastic competition sitting in that $400-$700 price point.

I have enjoyed Shanling’s offerings in the past, from their budget tier to their higher priced sets and even Shanling’s wonderful digital audio players. In fact, I am using the Shanling M6 Ultra to conduct this review. Shanling has been around the audio hobby for many years and actually have made a name for themselves in the dap, portable dac/amp space while they sprinkle in a few well-conceived iems in the process. I realize most of you are very familiar with many of Shanling’s products, but the MG600 is simply one of their latest. With that, let’s get into the review of a beautiful iem, both inside and out. The Shanling MG600…

“MG” Line​

The MG600 is part of a new “MG” line of single Dynamic Driver iems which Shanling states will all use exotic materials for the drivers and with equally exotic Shell materials and designs. I think Shanling is just having fun. Shanling always stretches the boundaries of build quality per price point, but this new MG series seems to be taking that to another level. You’d be very hard pressed to find better looking iems. Of course, that is a very subjective thing for me to say. The point is, Shanling is trying something different, they stand out, they are unique, and I can respect the greater degree of imagination and creativity. Let’s take a closer look shall we.

Gear used​

–Moondrop Dawn 4.4
–Ifi Go Blu
–Qudelix 5k
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra

Full Review HERE

Packaging ​

What’s inside? ​

The MG600 comes packaged in a relatively large box that is fitting of flagship level iems (whatever that means). The outer sleeve has an electric blue coloring with “MG600 Dynamic Earphones” printed across the front and some letters in Chinese that I am clueless to know or understand. Pretty flashy and flamboyant but honestly… I don’t care even slightly about that stuff. Pull off the sleeve and you will see a more modest and classier inner box. Open that and you will be met with the bewitching and handsome MG600 earphones in a foam cutout with the equally fetching cable attached. Under that is a box which contains the eartips as well. Pull out that layer and you’ll find the rest of the accessories. Here you’ll see the rest of the eartips, the modular cable Jack’s, a nozzle tool and the carrying case. Honestly the entire package feels very premium and well laid out and put together.

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Cable​

The provided cable is a very girthy modular cable in a golden and bronze braid with beautiful stainless-steel fittings. Really, this one is a looker. Hefty in weight, which may be a con for some, and slightly stiff, the cable has a nice and thick quality to it that feels very durable. The modular connection is a simple process of pushing each jack on once you line them up.

The included cable is an octa-core consisting of six cores of high-purity single crystal copper and two cores of silver-plated copper. Each wire has Independant shielding as well as a corrosion resistant coating so that the cable can maintain the beautiful look. Within the packaging you also will receive three modular right-angled jack’s (2.5, 3.5, 4.4) which again, simply push on and have a very solid connection. Much unlike some cheaper modular cables. I adore this cable, the way it feels in hand and how it contrasts in color with the earphones themselves. It really is a striking pairing and a great design theme.

Eartips​

Included in the packaging you will also receive two pairs of Spinfit CP100 tips (Large, medium), three pairs of Bass tips, three pairs of Soundstage tips, three pairs of Vocal tips and two pairs of Balanced tips. Shanling actually indicates in the packaging that the MG600 sounds best with the CP100 Spinfits but I actually beg to differ. Eartips are so very personal, and each ear is different as well as not everyone has the same preferences so that was an odd indication. Anyways, all of the tips are of fantastic quality and are perfectly useful and each set does help to tune the MG600 in its own unique way.

That said, I of course by-passed all of the tips in the package and went with KBear 07 Large tips… at first anywyas. If anyone has followed me at all you already know that no other tip fits me so perfectly. Darn near all iems that I review will eventually have those yellow 07’s on them eventually. I did however circle back and check out the foam/silicone hybrid tips and I gotta tell ya, I am beginning to like those the most. You’ll notice most of my pictures actually have the hybrids on the MG600.

Carrying case​

The case which comes equipped within the packaging is a very charming darker green case with a flip top that stays shut with a magnet. It is all leather and very deluxe in its appearance with some very nice lighter green stitching and the company label adorned on its front. I love that it is just the right size internally for the MG600 to comfortably sit inside while the box has a slight border around it to keep them from falling straight out. I believe this carrying case is a very nice addition and goes right along with the upscale theme.

Build / Design / Internals / Fit / Drivability ​

Design​

Just exceptional! I could finish this entire section with those two words. Shanling quite literally carved the Shells from a solid chunk of stabilized maple wood. Weighing in at only 3.3 grams the Shells are very lightweight for prolonged long-term listening. The final design was completed using different resins, paint and dyes to formulate the marbled look. The design is simply gorgeous. I could also add a few more descriptive words like… exquisite, beautiful, pristine, elegant… shall I keep going? The artisans which hand painted and dyed the Shells obviously worked with the grain of the wood using deep blues, light electric blue and contrasting hues of orange with slices of yellows than coated with a fine gloss. Exquisite, beautiful, pristine, elegant, but really, they are… just exceptional.

Build​

The build is completely solid with almost unseen seams which are only visible due to the grain lines not matching the two shell halves. The Shells are rounded and unlike most iems which come across my desk. The shape is very nice for most ears as I can’t see how anyone would have a difficult time getting a decent fit. The nozzle is actually made of what appears to be brass and does extend a hair further than most. At the backside is a female mmcx cable connection which gives a very tight and well-constructed fit to the cable. When the cable is attached it is not even remotely loose at all. There is obvious quality in this set.

One of my favorite aspects of the design is the Faceplate area. The MG600 is actually a semi-open design which allows good airflow and normally provides a wider and deeper soundstage, which is an element of some psycho-acoustic trickery that actually works. More on that later. Anyways, the faceplates have a rounded back vent with an ornamental circular piece of wood on top of a beautiful metal mesh underneath. On the faceplate you’ll see the company logo as well as the inscription of “Shanling” imposed across the middle in a very sexy manner. I would have never thought to use this combo of colors but… I really dig the look of this set.

Internals​

Shanling chose to use some exotic materials for their new “MG” line of single Dynamic Driver earphones and the MG600 is not an exception. The MG600 has a 10mm Carbon/Graphite Composite Diaphragm with an Aluminum Magnesium Center Dome as well as a Japanese voice coil. Shanling went with N48 Neodymium magnets as well to further help with the tuning which offer a higher magnetic flux than other magnets.

Fit​

This may be a tricky one for some of you. The MG600 is almost in a globe shape. Now, it fits me like a glove but also, almost every iem fits me well. The nozzles are a hair longer than normal and it may take some fiddling in your ear but the MG600 nestle perfectly in mine. Of course, we are all very much different and no two of us are the same, but I have to imagine that the MG600 will fit most hobbyists just fine.

Isolation​

This is an area which surprised me quite a lot. I have found the MG600 to isolate outside noises very well. Obviously, they don’t compare to a set with actual ANC but for a semi-open back iem the MG600’s ability to isolate or attenuate the outside world is very well done. Let me put it this way. I didn’t hear any of my daughter’s ridiculously loud TV shows except for slightly muffled sounds. Isolation is great. On the flip side, as far as sound leakage is concerned, I’d say that Shanling produced a set that isn’t going to be an annoyance to others around you either. My wife says she can only very faintly hear Too $hort “Get In Where You Fit In” while he’s blaring in my ears. Nice!

Drivability​

The Shanling MG600 is rated at 22 ohms with a sensitivity of 105 db’s so they are pretty sensitive and can be driven fairly well from most any source. I don’t have any very weak sources to test this theory, but I am assuming this is the case. So, take it with a grain of salt my friends. However, using the IFi Go Blu or the Qudelix 5k on “Balanced” I had an awesome mobile solution out of both. What’s most awesome is that the MG600 synergizes well with both differing dac chip’s signatures.

Using the Moondrop Dawn 4.4 on High Gain mode really stepped up my audio. Something so special about the Dawn that it just devours any other dongle dac that I own in sound quality. Really one of the better price-to-performance dongle dacs out there. The MG600 takes the Dawn’s dynamic and crispy neutral flavor and just dances with it. Really a fine option for audio in this format. The Dawn uses a fully balanced CS43131 dac and really meshes well with the MG600 by tightening up the entire spectrum while adding some nice luminance to the sound up top.

More juice​

Moving onto the Shanling M6 Ultra with its ridiculously resolving and smooth Shanling sound suits the MG600 very well. The M6 Ultra uses the fantastic AK4493SEQ dac chip and packs a bunch of output power. The MG600 is something akin to heavenly, lush, detailed and ridiculously robust when paired with the M6 Ultra. Just as heavenly but slightly more on the neutral and snappy side of things is the iBasso DX240 which uses a ES9038Pro dac chip and is basically a more refined Dawn 4.4, but on steroids. I use the Amp8 MK2 module attached to the DX240, so there is a ton of output power and easily enough the MG600 can handle all of it. So, the MG600 doesn’t need more power, but really scales up well with additional juice.

For the majority of my critical listening, I used my DX240 or the M6 Ultra. On both Daps I used either “medium gain” or “high gain” but mostly high gain. There is a definite tightening of the bass region as well as some added density down low coupled with some greater grandeur in the soundstage with more power. That said, let me be clear, you certainly don’t need higher power and will be more than fine listening on a simple dongle dac. The fidelity is pretty nice on anything I tried.

Bite Sized Sound Impressions​

The Shanling MG600 presents a wholly rich and resolving sound which stretches the stage in all ways. I hear a slightly warm sound which hovers around neutral, yet very punchy and crisp throughout, and completely dynamic. The sound is mostly balanced throughout. The MG600 is a FULL and effervescent listen, it’s lively yet constantly controlled at all times. I find it very hard to nitpick on this set, though for $600 it may be the nitpicks that are a deciding factor for the buyer. With that said, this is a great single DD as the MG600 has a very clean, resolute and speedy sound while maintaining the affluent richness of its replay.

Each 3rd of the mix​

The bass region has a balanced emphasis which doesn’t overtake any other frequency. The sub-bass hits deep with no real perceived roll-off and great tactile rumble. The mid-bass slams with nice texture and decent speed as well as some lifelike timbre. The bass is not “basshead” at all, but it is strong and impactful and very tastefully done. It’s mature, if you will.

The midrange is engrossing. Not too far laid back and actually very present and clean. Males are “bodied-up” with nice weight to vocals and come across very resolute. Females sound so energetic, forward, sweet, yet powerful and vivid. Instruments have a nice timbre, but I will cover this all shortly. Possibly the pinna gain may be a turn off for some people, but I happen to adore it.

The treble has good energy and balances very well with the rest of the mix. Just the right amount of buoyancy and lift to the region. Extension is only okay up top. The treble is snappy enough with a nice and rapid treble punch while there is just enough bite in its note definition up top too.

The MG600 has great technical chops for a Mid-fi single DD. Details and micro-details are nicely perceived and brought to the forefront. The stage is large in all directions with a 3D like presentation.

Bass Region​

Sub-bass​

The sub-bass grumbles and rumbles in the deep my friends. Not at bass head levels but certainly at the level of those who enjoy good bass. I hear excellent texture to any notes which adds a certain depth to any track which it is tasked with replaying. In the track “Slowly Rivers Turn” by The Tallest Man on Earth, as the bassline kicks in (while listening with the MG600 of course) you can really feel that deep rolling rumble, as if the surface texture almost wraps the fundamental body of the notes… holding it all tight. There is a reverberant quality with a hard-edged attack and an atmospheric type of decay. The sub-bass adds a nice vitality to the low-end and works in tandem with the rest of the mix. Now, It isn’t the world’s deepest sub-bass and bass junkies may want more, but there is enough to satisfy the demands of any genre. The MG600 has nice haptic buzz and reverb when it is called upon to do so.

Quality over quantity​

The lowest of lows may not be a bass-boi’s perfect answer to their head bobbing desires, and no it isn’t going to tickle their ears in the type of reverberant density of some sets which are created for that type of bass. Despite that, the MG600 displays the sub-bass with a natural density which is emphasized enough to increase the macro-dynamics of a track while feeling less forced. There is more of an effortless prowess on display as the MG600 happily marries both guilty pleasure and faithful reproduction of my tunes. I seek out a rumbly sub-bass, yet I do so with good resolution in mind and I’d surely suffer my teenage-like wishes of accentuated resonant fun for a more organic and realistic type of a balance. Quality will always win my audio friends, and in the case of the MG600 I do believe that competence has been achieved for the price. At least it has to my meager understanding.

Mid-bass​

The mid-bass has a nice punch with layered texture, which adds some realism to my library of music with a sprinkling of fun. There is a fullness, or better said, a brute sturdiness to this region that is engrossing with the right songs. “Wolves” by Big Sean absolutely slays listening with the MG600. The song begins with an underlying bass buzz that drones very low in pitch. When the bass drops, friends… It hits like a hammer! Notes are rendered with this fluid roundness and effortless authority on the MG600. Furthermore, there is a definite slam sensation that hits fast with chiseled edges outlining those bass drops. “Rich Off Pain” by Lil Durk hits pretty hard too. With the MG600, what I get is a bouncy, gravelly, and bullish sounding slam that sets the tone for the rest of the track. The mid bass carries a fast attack with a tight leading edge and just like the sub-bass, it gives off an atmospheric and accurate sounding decay and sustain.

Bass guitar​

The bass guitar comes across with some meat, they mostly sound profuse in their edginess and can get downright growling listening with the MG600. Shanling seems to cover it all with this omnipresent dynamic balance across the mix. In the song “Redneck, Unread Hicks” by Adeem the Artist there is a slightly pervasive bass guitar grunt which runs deep and the MG600 does this track justice as the mid-bass is lifted just enough to add a gruff bite to this beloved instrument.

Dynamic balance​

I love good bass and I always need at least a small amount of emphasis down low to really enjoy my library of music. However, I don’t like 100% basshead iems all that much. I desire a good balance, yet within that balance I most enjoy some vigor, some pep, or some accentuated attempt at liveliness in each area of the mix. Basically, I want some musicality. I think the MG600 pulls this off quite well. The mid-bass echoes this claim with a slightly colored portrayal of a balanced tuning while also nicely counter balancing across each area of the frequency with equal accentuation.

The bass doesn’t really bleed at all into the mids but does add some warmth to male vocals. Not enough to add too much meat to fundamental frequencies of instruments and not at all muddy or veil inducing. Just enough I’d say. Some may want more, and some may want less, but I think Shanling tastefully emphasized this region.

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Midrange​

The midrange is musical, pretty well detailed and nuanced in its auditory expression. Melodic is a word which comes to mind. Just because a set plays music doesn’t make it musical or melodic. The MG600 on the other hand has nice timbre which comes across euphonious and harmonious. The midrange doesn’t sound recessed to me but also it doesn’t sound in your face either. There is a sense of air and of space between elements of the stage coming across more expansive than not. The core of this region is nicely organic and rhythmically inclined with touches of warmth that adds brushes of color to this mostly balanced midrange.

Male Vocals​

Male vocals have a nicely girthy weight to them and are slightly warm but also very resolving. They have an accurate portrayal of a man’s voice stretching from bass, to baritone and to tenors. Bass singers like Avi Kaplan sound great with a deep, smooth and resounding sound to his voice. In a track like “First Place I Go” his voice sounds booming and deep on the MG600. There is this resonant echo which stays in great control and stays smooth in body yet crisp at note edges. Higher pitch males like James Bay in “Hold Back the River” comes across both breathy and coarse depending on the undulations in his singing, just as his voice should sound. The MG600 presents males well, with energy and good presence and placement in an imaginary stage.

Females​

Females like Joss Stone in “No Regrets” have such an effervescent and all-encompassing type of vivaciousness. Yes, I said vivacious. Her voice just leans in with glowing resolve on the MG600. She is the type of singer that has up and down oscillations in her voice going from soft and breathy to a ballad style inflection which can occur within any one line of a song. The MG600 has just the right balance to not come across metallic or grainy or piercing, especially when Joss hits those power notes. Instead, she sounds silky when she’s silky, she sounds alluring and charming when she’s emotional. Her voice can be coarse at times yet also controlled, and the MG600 displays this measured ability with a saturated crispiness. I could do this for so many females, but I won’t bore you guys. Let’s just put it this way, female vocals are fantastic on the MG600.

Love good vocals​

I love good vocals friends. I love em. Just like I seek out good bass, I seek out something which can playback solid and alluring vocals. Do me a favor, or rather, do yourself a favor and check out “I Still Haven’t Found What I’m Looking For” by Home Free. You can thank me later. They are a very good acapella group and yes this is the remake of U2’s famous hit. This song has every type of male voice in perfect harmony and the MG600 replays it with a musicality that seems almost pregnant with resounding euphony. I say all this but I also will say that vocals are not the MG600’s specialty. Vocals on the MG600 are simply a benefactor of the tuning and capabilities of this driver. There are certainly sets which specialize in vocals within the price point of the MG600.

Instruments​

Instruments for the most part replay nicely due to the balance of the tuning in this area. Electric guitar sounds gritty, crunchy and abrasive while acoustic guitar sounds detailed and nicely weighted. Every little micro-detail pluck or finger slide is captured as if I’m right next to it. Piano sounds as it should, as does violin. Percussion, like the fundamental frequency of a cymbal strike has good body sounding organic and not too energetic. Snares have that nicely sharp but deft pang with whetted and honed-in edge lines and natural decay.

Issues​

The only thing which can be a bother is the MG600 can come across a bit sharp on some tracks. In my opinion, it doesn’t bother me at all, but I’m sure it may bother some warm/dark and smooth lovers out there. Somewhere in the upper mids to lower treble is a slight rise which can add a hair too much forwardness for some, I’m sure. However, what you won’t hear is any sibilance and nothing too grating. You won’t hear anything metallic and there isn’t any moments of odd tonality and timbre. There’s nothing grainy or veiled either. Instead, you’ll hear clean, clear and resolving sounds with smooth and detailed notes carried out in high-res quality.

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Treble Region​

To my great surprise the Shanling MG600 has an energetic and uplifted treble region which doesn’t push anything too far. The treble is pretty airy which is helped from the semi-open back structure of the build. Timbre and tonality are on the smoother side yet with a snappy enough attack to carve out a nicely detailed listen. There is a certain liveliness that is pretty upbeat and mildly illuminates the whole of the mix… affecting everything. I hear good separation as well in this area. You won’t hear anything shouty or piercing up top, nor will you hear any moments of tizzy timbre. Actually the treble here has some density and a contoured leading edge which doesn’t have sound glassy. Give the MG600 some juice and the treble region does react quite well depending on the source.

Secondary harmonics of a cymbal strike have an altogether natural release and decay which never encroaches into tizzy or splashy. What you have is a seemingly natural weight to instruments. Piano and flute both sound bold and raw, but also polished. Strings which are located in the upper areas of the mix seem to have good harmonics, which breathe life into my music and release in a wholesome fashion. Electric guitar never becomes shrieky, or too bright, or ear gouging, but has such a radical fundamental depth in their overtones which adds depth and authenticity.

Orderly Brilliance​

I enjoy the transition from midrange to treble as it seems there is no overlap, staying true to the Dynamic Driver cohesiveness and this can be heard in some females and instruments which cater to the upper-mid/lower treble areas. The detailed replay is evident as micro-details quite easily find my ears. There is a pretty structured and orderly brilliance in the treble region which does enhance the soundstage to a degree. However, extension into the highest of highs isn’t mind blowing on the MG600, but it also isn’t something I’d call a con either.

Check out “Bishop School” by Yusef Lateef. This track is absolutely lathered in blistering treble activity. You’ll hear the flute, congas, electric guitar, the trumpet and percussion all moving at a zippy pace. This is a nice track to test for separation, imaging, treble snap, peaks, transient response and a host of other attributes. The flute comes across ethereal, bright, silvery and rich. The trumpet sounds brassy with a controlled brilliance that isn’t harsh as the trumpet blare comes across like a saluting banner of volumous sound. The MG600 is able to keep up with this track which surprised me, for a single DD that is. Transients in the treble region stay tight but notes are outlined with a subtle soft snap to the sound.

You Betcha​

Note weight on the MG600 in the treble region comes across relatively weighted. I don’t hear anything dry and too analytical and certainly not thin. The MG600 is flexible in its playback whether it be tracks that have a featherier sound or tracks which display a more intricately clamorous and strident sound. The drivers inside of the MG600 are very capable and easily speedy enough to keep up with songs like “Ice Bridges” by the phenomenal Billy Strings. Listen to how well every rapid-fire banjo and guitar pluck is effortlessly picked up and every single note is accounted for. Is it perfect… No, nothing is perfect. Is it one of the better single DD’s that I’ve heard… you betcha.

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Technicalities​

Soundstage​

Listening with the MG600 you will notice the expanded stage which extends pretty wide with good height and depth within the field of sound. This is one area that I really enjoy about the MG600. Listening to the song “Hook” by Blues Traveler will hit your senses straight away as the sound is far and wide, with a symphony of sound cascading around you. Every instrument is so well captured as the harmonica sets the tone, dab smack right in the middle of the sound field. There is definite depth which offers very nice layering to the sound.

Obviously the MG600 is an iem and so expecting a stadium sized performance should not be expected, but I do think this set may surprise some people. The macro-dynamics of the MG600 are big and expressive, and the sound is very full across my mindscape.

Take a track like “Oil” by The Gorillaz featuring Stevie Nicks. My word FRIENDS! The sound envelopes me in this powerful, and vibrant, and stretched out stage that is mellifluous and so very deep in its presentation. The sound is simply big.

Separation / Imaging​

I found separation to be very well accomplished for a single Dynamic Driver. It’s amazing how well one driver can actually delineate each individual instrument so well. The MG600 does well to carve out each element of the stage with fine lined and localized pockets of sound surrounding instruments and voices. There are a few ridiculously chaotic tracks that can blend a bit with the MG600, but that shouldn’t surprise anyone. However, as far as single DD’s goes I have yet to hear anything far and away better than this set. Yes, there are multiple drivers sets and hybrids, heck even planars that will be able to keep up with more confusing songs. Nevertheless, that can also be at the expense of some of the qualities which make a set like the MG600 so nice. That is, the full sounding single DD cohesion and natural note dynamics as well as that DD timbre.

Still, the MG600 partitions off elements of a stage quite well, creating distinct and contained objects. The imaging ability follows suit with how well it can separate. The two attributes walk hand in hand. The MG600 quite easily paints the psycho-acoustic setting where elements of a stage are always where they should be. Left to right and front to back, the MG600 provides a nice mental image.

Details​

No this is not a detail king. Yes, there are most certainly better iems at picking up the subtleties and you can find them cheaper. I have quite a few of them too, but I would personally never be willing to give up the sheer musicality of this set for a few momentary tiny details. This set is made to playback music, and it does a great job at doing so. I say all of that to also say… The MG600 actually has some pretty nice detail retrieval, especially for what it is and for the way it was tuned. Key words… “for the way it was tuned”.

Details raise the bar of your music and bring it to life and the MG600 is able to do so very well. Stuff like finger slides and plucks, harmonics, the little intonations in a voice or even subtle background noise in your favorite live track are fairly well illuminated and brought to the forefront. The MG600 does have a smoother, richer and slightly lusher presentation, but that is not at the expense of its tight, controlled and clean dynamics. The little nuances within a song are picked up pretty well due to the agility of the driver and the balanced tuning along with the perceivably quicker transient attack, decay and sustain.

Comparison​

Note: I wish I had more to compare with but unfortunately this is the only other iem I have at the price point at the time of writing. Any comparison I perform is not a duel to the death but instead just a way for me to better describe the sound of the set I am reviewing.

Fiio FH9 ($599)​

The Fiio FH9 is a set that I have greatly enjoyed. Quite easily one of the better tuned iems in its price point. Depending of course on what one may like or not. Built like an absolute tank and gorgeous in design the Fiio FH9 will show off its pedigree every time I listen to it. Fiio used a huge 13.6 mm DLC Dynamic Driver along with six Knowles Balanced Armature Drivers. The FH9 also has interchangeable sound nozzles to further tune them to your liking and is accessorized to the nines. A fantastic iem, no doubt about it.

Check out my Fiio FH9 reviewHERE.

Differences

This is a seven-driver hybrid against a single DD. Maybe not the best comparison and possibly not fair on many fronts. However, the FH9 is a good measuring stick for a set like the MG600. Having said that, the raw cohesiveness of a well made and well tuned single DD may actually surprise you. There is a very good reason why single Dynamic drivers have been around so long. I won’t go into all the benefits, but I will try my best to describe some differences between the two sets in this comparison.

The first thing which comes to mind is the tightness and quantity of the bass response from the MG600 as it does have a hair more in volume than the FH9, believe it or not. You’d think the FH9 would slam harder and deeper with its massive driver and Fiio’s usual “House Sound” but the MG600 does have a crisper and punchier sound down low. I think a lot has to do with the contrast from the rise up top which helps distinguish the bass a bit more and add a more defined lead attack. The FH9 can thump with authority but the MG600 has a bit more in the tank. The difference is minimal. The MG600 may be a hair more compact but both sets really do well in the bass region.

Midrange​

Male vocals in the lower-mids sound fuller and warmer on the FH9 as there is a bit more mid-bass bleed into this area. The FH9 is more forward than the MG600. The MG600 comes across cleaner with equally good note definition. There is also a big difference in timbre and tonality as the MG600 is closer to neutral while the FH9 has a warmer replay. Both sets offer a great take on male vocals. Female vocals follow suit in almost every regard. The FH9 is more laid back, less energetic, but also lusher and more forward and fuller. The MG600 is flat-out cleaner but also more energetic and shimmery with a more open sound and with more air. Both sets have nice separation in this region and imaging and both sets have a nicely detailed midrange. The FH9 fares better in complicated tracks.

Treble Region​

I hear good snappiness and a nice leading-edge attack for both iems in the treble region. I’d say the FH9 carries better details and while it isn’t a bloodbath, I do think the additional drivers help tremendously in illuminating the finer details. However, I would also say that the overall character and timbre of the MG600 is much airier and present which adds nice clarity to sound as a whole and comes across more uplifted. Not that the FH9 has anything to feel ashamed about. Extension is probably a bit wider out on the FH9 as well, but it certainly isn’t a huge difference. I’d say the biggest difference in this region is the overall treble punch that the MG600 can have compared to the slightly softer side of the FH9. Again, two great sets which perform very well in the price point.

More differences​

Once again, the FH9 is more laid back, more non-offensive yet the overall tonality is mellower in non-veiled warmth. The MG600 is much closer to natural in my mind with a more effervescent and open sound. This is not to say that the FH9 doesn’t sound open either. The FH9 has its own charm which sets it apart as it is a highly resolving iem which will not become fatiguing. The MG600 on the other hand does have some pinna gain which may turn off those who are very sensitive to this area.

I personally have a hard time choosing which I enjoy more between the two of these. Both sets offer different high-level characteristics that make each a joy inducing experience. I suppose I reach for the MG600 quite a bit more as I do like a more neutral and clean sound though there are always times that a lush and warm sound will tick all the right boxes.

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Is the MG600 worth the asking price? ​

I can answer this question for myself with a resounding yes. I’ve grown very fond of its timbre, tonality, dynamism and just the overall musical and harmonious nature of the MG600. It’s punchy, deep, airy and sets a great dynamic balance in each 3rd of the mix. Basically, there isn’t a lot to complain about. A phenomenal iem with such a refined character while not leaving out the musical and melodic aspects within its tuning. The MG600 is absolutely stunning and is built so very well. The aged maple wood helps to create a distinct sound, and the use of the specialty drivers creates an immersive atmosphere to the music in my library.

Now, I cannot speak for the rest of you. Please trust me I have a hard time spending $600 on anything and if this was even two years ago I would have said you were out of your mind to buy an earphone for that much. I suppose that is the grip of the hobby. You learn more, enjoy more, and curiosity just calls on me like a siren. Anyways, I can’t answer for you if this $600 earphone is worth the price but compared to similar sets in the price point I couldn’t in good conscience say it isn’t worth it.

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Ratings (0-10)​

Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles. In the case of the MG600, that would be $500-$650 single DD’s.

Aesthetic ​

-Build Quality: 10.0

-Design: 9.9

-Accessories: 9.9

Overall: 9.9

Sound Rating​

-Timbre: 9.7

-Bass: 9.3

-Midrange: 9.5

-Treble: 8.9

-Technicalities: 8.9

Overall: 9.3

Conclusion​

To conclude my review of the Shanling MG600 I want to thank any of you willing to read any of my thoughts. I love to write about this hobby as it is completely cathartic and joy inducing for me. It is true that I spend an obscene amount of time on these reviews and so anyone who takes anything positive away from these write-ups… well…that's what this is all about.

I must also add in this and every review for that matter that… I do want you all to seek out other thoughts about the MG600. It will only benefit you to find out everything you can about this set before you shell over $599 for it. We all have different likes and dislikes, different libraries of music, we may have different gear, our hearing can be different, and we haven’t all been down the same journey in audio. Please listen to, read, or watch other perspectives and I know you will find the right audio gear for you. Thank you all so much and please take care and stay safe.

Hidizs MS5​

Intro​

Hello fellow audio enthusiasts, today I am reviewing the latest five driver hybrid iem from Hidizs, the Hidizs MS5. The MS5 comes to me with great thanks to Bella and to Hidizs themselves as I was one of the reviewers chosen to take part in this public review. Thank you so very much for providing the MS5 in exchange for a fair and honest opinion. I received the MS5 a around a month ago and have had quite a lot of time with them in my ears preparing for this review. I promise to give you my exact personal opinion and objectively subjective thoughts about this set. I’ll give you the good and the bad. I will try my best to answer the ultimate question… is the Hidizs MS5 worth the asking price? With that said, my friends, the Hidizs MS5…

Hidizs​

Hidizs has been around for quite some time with an array of dac/amps, daps, iem and similar audio devices. As a company they seem to always have quality in mind using materials that feel and look premium no matter if it’s entry level products or more expensive products. I have personally reviewed a couple Hidizs products in the past, the latest was the budget priced Hidizs MM2 (Review HERE). However, I have actually owned quite a few more and have enjoyed all of the sets that I’ve had the pleasure of owning. Today we look at a brand new five driver hybrid iem in the Mid-Fi price point that really brings quality to the forefront.

Dark Angel ​

The MS5 is affectionately referred to as the “Dark Angel”. Hidizs obviously went all-out in trying to create an earphone which embodied the name it was assigned. A “Dark Angel” is actually an angel who almost acts as a “special ops” soldier in God’s army. Much different from a “fallen angel” or “demon”. Dark Angel’s enforce the Will of God by any means necessary and…they don’t lose. This is the vein with which the MS5 Dark Angel is to be perceived. From the top class build to the ornate and gothic design, the MS5 perfectly embodies the overall motif or theme, and I am more than happy to publish my thoughts.

Love a good theme​

I love a theme to follow, especially a creative theme. Whether it be a mythos or a narrative, whether it be a story line or a plot, I love when visionary people mesh their artistry with technical skills to create something that the rest of us can understand and follow. Hidizs has done just that. They actually correlate each of the five drivers to “Angels in a Choir” which is a unique idea that I have yet to see in a set of earphones. “The hymn came, the chant rang out” is sort of a mantra which Hidizs uses to emphasize the design aesthetic and to build the overarching premise. Dark Angel wings embody the look of the MS5, and I have to admit…the design is bold, promethean, intricate, very original and simply… creative. Nice job Hidizs!

Full Review can be found HERE

Gear used​

–Ifi Go Blu

–Moondrop Dawn 4.4

–iBasso DX240 with Amp8 MK2

–Shanling M6 Ultra

Packaging​

The MS5 arrived at my door in a good sized rectangular black box which is kept mostly simple. There is a picture of one MS5 earphone on the cover along with different driver labels, the Hidizs branding and some specs for the MS5. I like the simpleness of the box and also the high-quality nature of the packaging itself. In fact, I’ll go a step further and say that the unboxing is one of the better that I have had within the price point. Similar to a Fiio type presentation yet with little accents to make it pop a bit more, or better.

Once you remove the top off the box, you’ll be met right away with the MS5 themselves and boy do they look stunning. The earphones sit comfortably in a cardboard/foam cut-out as if on display, as they should be. Next you lift off that layer only to be met with another layer where you’ll instantly see the gorgeous carrying case, the many eartips and the tuning nozzles. This package wreaks of guilty pleasure and screams premium quality and luxury. Inside the case you’ll also find that beefy cable but I’ll speak more on that later.

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Carrying Case​

To be honest, I never really use any case that I’ve received with a set of earphones. The case that Hidizs provides has me rethinking things. It is absolutely beautiful! Made entirely of a white PU Leather material that feels so rugged yet almost feels like an indulgence because of its classy design. I love the stainless-steel zipper which contrasts so perfectly the white PU-Leather. You’ll notice stitching on the top and bottom as well as along the sides of the carrying case which always adds a sense of exorbitant luxury. A delicacy for the eyes if you will. Also, I love the size. Thank you Hidizs for giving us a case which can actually hold the massive cable and earphones. Hidizs also promotes this case as being waterproof, I have not tested this claim.

Eartips​

Hidizs went along and added nine pairs of tips which is actually three sets of three different kinds of tips, and they are labeled according to their tuning purposes. I think all included tips are of very nice quality, they are firm at the flanges which is great for sealing purposes. The tips come packaged in a nicely organized foam tray with labels to each tips’ corresponding tuning. Again, I liken this packaging to an upscale Fiio presentation, just very nicely done.

You get three pairs (S, M, L) of a shallow fit and wide bore tips which Hidizs calls “Vocal Tips”. I didn’t use these tips, but I will at some point with something else. The next pair of tips are the “Bass Tips” (S, M, L) and these tips are a hair longer with more of a semi-wide bore which has a harder and more rigid stem and also has a firm flange. I did actually use these tips in some of my critical listening as they do well to level out and balance the treble activity a bit. The last set is the “Balanced Tips” (S, M, L) which actually feel very similar and look very similar (except the color) to the KBear 07 tips. If anyone has read anything from me, you’ll know that I am partial to the 07’s.

What I used​

However, besides the bass tips I quite literally tried about fifty different sets of tips. I did end up using the medium sized foam tips. I also found during the painstakingly long tip finding process that getting the deepest fit possible with the MS5 does wonders for the sound and so I had to go to a smaller size tip than usual. There are a handful of other tip choices which work great. I am partial to three different tips which I thought helps the MS5 sound at its best… the bass tips (in the packaging), Final E-tips, or the foam tips. For the most part, for myself, I find the Final tips or foams work the best. I realize in my pictures I have some wide bore tips but please disregard as I took those pictures before I went heavy with critical listening.

Cable​

My word this cable! What a beauty it is, and wow is it a thicky-thicky! The cable is fat y’all! Just a wonderful cable which conjures apex feelings of grandeur as it is so beefy and durable to the touch and a feast for the eyes which perfectly matches the colorway and aesthetic of the MS5. Hidizs design team decided on a beautiful cable that feels and looks premium.

The only thing I’d like to see is a modular cable, that would’ve been nice. Most companies provide a modular cable at this price. If I had one other complaint about the MS5 cable it would be the ear hooks and how ridiculously tight the turn is. It truly makes it a pain to get on. Rest assured I am able to get past my tiny complaint by forging ahead and twisting and turning and shifting and eye-rolling until they are on and not going anywhere. Moving on…

Cable construction ​

The cable itself is a 2-pin, .078, 3.5 single ended 504 wires of 6N single-crystal-copper which is Plated in silver wire along with 6N single crystal copper wires which comes out to be 8 strands in total. The cable has a very tight braid with a black and very soft plastic type sheath covering the braided wires which evokes a sense of durability and permanence. This thing is gorgeous my friends. It has a two-toned colorway. Brown coupled with dark gray along with a handsome looking gun-metal strain relief and a copper/gold plated jack. The Y-split is also that slick looking gun-metal color as well as the chin slider. You will see “Hidizs” written in that golden brass color at the strain relief with subtle golden accents here and there. Have I mentioned that the cable is beautiful yet?

It’s great but….

The only thing which may be a problem is also one of the strong points of this cable and that is its size. I could certainly see this cable being entirely too fat for some people or too heavy for long periods of listening. Not everyone wants a mammoth cable hanging from their neck adding weight. As for me I don’t mind it, I love a nice and thick cable. However, I’ve been in this hobby long enough to know that some will find the size cumbersome and annoying. Granted, that is a handful of people, but it should be noted. I think the vast majority of hobbyists will adore it for its durable feel and exquisite looks. Also, again, I wish it was a modular cable, or at the very least it would’ve been nice to have a choice of what jack we wanted. Fl

So, for balanced listening I looked for a cable that is good enough for the MS5 and can match the colors and that cable was the Kinera Leyding modular cable. It is the perfect side piece to the MS5 and looks like they were made for each other, truly. Less fat and beefy but perfectly suitable to use with the MS5. However, for any 3.5 single ended usage I of course went with the included cable. There aren’t many downsides and all things considered… Hidizs knocked this one out of the park!

Tuning Nozzles​

One of the huge benefits of the MS5 is the fact that you can further dial-in the tuning using the included tuning nozzles which can be screwed on and off rather easily. You get this cool little slab of aluminum which houses the nozzles themselves. You’ll see labels next to each female threaded set of holes labeled “Bass” & “Treble”. It should be assumed that the 3rd set is for “Balanced” listening. It seems the tuning nozzles only really affect the sound from around 5k-8k as far as sonics are concerned. More on that later.

Bass Nozzle it is…​

I do want to note that the majority of this review was completed using the “Bass” nozzle. I have gone back and forth with all three quite often. In fact, at first I strayed away from the bass nozzle thinking I wouldn’t want any more veil cast on the sound and so I simply didn’t give it a shot. However, I reluctantly did end up using the bass filter and low & behold… I never went back.

More balanced​

I hear a more organic type of replay using the bass nozzle and the treble seems to level out a bit. The sound simply is more balanced to my ears with this nozzle. I used the treble nozzle for quite a while, and it simply adds too much of a tinsley sheen to everything and it also throws off the rest of the mix a bit. Treble junkies may enjoy it but it is a bit too much for me. The balanced nozzle was the same issue but to a lesser degree and is my second favorite option. It was the bass nozzle which eventually stole my heart.


If I were you, I would take the time to dial in the sound to your liking. Hidizs has provided a multitude of ways to get the MS5 performing well to most preferences. From tip-rolling to nozzle swapping there is likely a way to make the sound work for you. So do your homework and take the time (I’m sure you will) to test every aspect of each combination. The MS5 is worth it. I will say that tips make an enormous difference with the MS5. I personally prefer a smaller bore tip and the bass nozzle, but you may want something more open and airier. Perhaps you are a true-blue treble junkie, if so, I promise the MS5 will work for you.

Good sized nozzles​

The nozzles are of a good size to where I can actually get my fingers on them. To me this is nice to see. I like not having to sweat trying to thread them off and on. Some sets which offer tuning nozzles are so darn small (cough-cough… Fiio FH9) that it is almost impossible to quickly take on and off. The MS5 nozzles are perfectly sized. The nozzle width is actually wider than most so bare that in mind when selecting 3rd party tips should you decide to do so.

The treble filter is a silver color, the balanced is a brass color and the bass nozzle is colored red. Each function pretty well and does slightly alter the sound. Now, you will notice it isn’t a drastic difference. You aren’t getting three different tunings here. Instead, you’re getting three slightly different versions of the same tuning. Again, for this review I used mostly the bass filter as it aligns with my preferences the best.

Build / Design / Internals / Fit / Drivability​

Build​

Boy oh boy, Hidizs looked at the standard builds out there in the ‘audioverse’ and must’ve laughed. Then they went ahead and absolutely obliterated the status quo. I hear the song “Whatever you can do I can do better…” replaying in my mind while thinking about the people creating the MS5. The Shell cavity was made from one piece of solid aluminum which helps keep the MS5 very light yet also extremely durable. The body is very smooth with an almost matte black color that looks pleasing next to the brass colored accents.

Next, we come to the Faceplate area which was actually formed with black resin and functions as a semi-open back design. Under the beautiful Faceplate you’ll notice a brass-colored metal mesh vent screen. I see one small threaded damper towards the rear as well. The nozzles reach pretty deep but nothing which creates discomfort, I’d say they are a hair longer than most. The shape of the MS5 is said to mimic that of the human ear and by my estimation I’d say that Hidizs did the legwork they needed to do to accomplish that. Of course, I don’t think this set is altogether much different in shape than many other sets out in the Audio-verse. All in all, the Hidizs MS5 is structurally built like a tank yet very light.

Hidizs Exclusive Soldering​

One thing to note is the Hidizs exclusive soldering process. This may not seem very important but in the overall structure of the earphones this presents a huge advantage. Hidizs actually uses a gold-tin soldering wire which doesn’t oxidize over time and also, it’s very stable in structure as well and helps to provide a stable electronic signal transmission. The stuff you don’t see is often times the very thing which can set something apart. It’s the small things my friends.

Design​

The overarching theme is very dark, but also very bold, and so the design must portray this. Hidizs paid close attention to the aesthetic and all the little intricate details and nuances which goes into the actual styling of the MS5. Like I mentioned earlier, Hidizs is working on a premise, or a theme which revolves around the “Dark Angel” epithet. A lot can be derived from such a name as far as tuning is concerned. More-so, Hidizs went all-out in their effort to use this theme to create the framework for the composition as well as the make-up and construction using different robust materials.

You’ll notice a very clever artistic expression put into the motif. I’ll be perfectly honest with you (as always), the MS5 is FLAT-OUT DOPE!!! Somebody shake the hand of the artists involved or maybe even a good fist bump, in fact, everyone gets a fist bump.

Dark Angel Wings​

The faceplates are where you’ll see the theme come to life as they are quite literally formed to depict Dark Angel wings. The whole of the faceplate is formed into the shape of a wing and each cut-out portion is done so to intricately mimic the feathers. Between each cut-out section you can see the brass-colored grill underneath which strikes a stark and visibly pleasing contrast against the black of the wing. Also around the black wings is a strip of brass colored border that really stands out and I think is a very well thought out design choice. C’mon folks, brass on black & premium materials with one of the most imaginative designs that my eyes have ever seen and you have yourself a STUD.

Dark Angel was a cool idea in an artistic way but does this theme correlate into actual tuning of this set? I will explain later how this semi-open structure helps the MS5 and how it may affect the sound, but right now we are only speaking of the design itself. I truly think that the MS5 is one of the more uniquely created iems in any price point and Hidizs oughta be proud of what they have created.

Internals​

Inside of the aluminum shells is a total of five drivers. The MS5 is a Hybrid setup consisting of one Dynamic Driver as well as four Balanced Armature Drivers. The Dynamic Driver is a 10mm in size using Liquid Silicone which is said to be made with a “sandwich injection molding process” which is very cool to see at this price point. I personally haven’t listened to a set with such a driver prior to this review. Not that I can remember anyways.

One layer of the Diaphragm is made of Kevlar with a thickness of only .03 mm with a .045 mm layer of liquid silicone injected in between. So basically, you have this Kevlar material acting as a house for the liquid silicone to be injected into. These materials are touted to have great elasticity, great sensitivity, and a quick transient response. The Kevlar is actually theorized to absorb much of the vibration which ultimately helps the sound to come across softer and smoother. We shall see.

Hidizs went with a fan favorite and used Sonion Balanced Armature Drivers to control the rest of the spectrum. They use a “17A003” low frequency BA which obviously is supposed to bolster the low-end bass by adding that BA snappiness and punch. Hidizs went with two “2389” mid-high frequency BA’s and a “E50DT” BA used for the high frequency. I personally love the choice of using Sonion drivers and adore the sound of them on most any set that is using them. Let’s put it this way, if I see “Sonion” used to promote any earphone… I’m interested.

Fit​

One thing which matters more than almost anything is that the fit an earphone has to be a good one. I do have a hard time telling people that “THE FIT IS GREAT” when in reality we are all very much different, at least to a small degree. However, the MS5 is so snug in my ears that it is worth noting.

One thing I did after playing around for a long time was finally reducing the size of the eartips that I was using and really pushing these bad boys inside my ears as deep as I could. The fit is so perfect, as if the MS5 grew there. So, will the MS5 fit you? I have no way of knowing, but what I will say with confidence is that they should fit the vast majority of people within the hobby. The shape of the MS5 is such that it is almost perfectly molded to my ears at least, which helps tremendously.

Isolation​

When I have the MS5 in my ears and I’m jamming out to my favorite tracks I of course hear nothing of the outside world. Now, does the outside world hear my favorite tracks? Kind of. My daughter could faintly pick up what I was listening to and she was sitting right next to me so… Faintly is my answer. As far as isolation goes, you have to understand that Hidizs didn’t exactly build these for perfect stage use. The MS5 are built for casual listening and enjoyment. That being said, the isolation isn’t bad for a set with a semi-open design. Still, the MS5 will not attenuate like some “Shure” type earphones for example. I do think that the MS5 is perfect for casually enjoying my music and that is all that matters to me.

Drivability​

How easy is it to properly drive the MS5 to it’s best fidelity and auditory enjoyment? With an impedance of only 5.3 ohms and a sensitivity of 104 dB’s I find the MS5 does need a bit more power to properly push them to its best sound. I suppose a good and powerful dongle dac would suffice, much like my Moondrop Dawn 4.4. This pairing is actually quite nice as the warmer sound of the MS5 exists nicely against the more neutral Dawn and I get no hiss, even with the more sensitive rating. Using the IFi Go Blu I had plenty of power listening on either single ended or balanced. Even the Qudelix 5k had more than enough output power for the MS5 and they actually sounded quite nice together.

I don’t think you need anything with Uber power. The MS5 is extremely sensitive. However, I have gathered that the MS5 opens up and adds so much with more power as dynamism and macro-dynamics increases as well.

Daps​

Moving into more powerful daps I obviously had no problem driving the MS5 whether on single ended or balanced. I basically split time going from balanced to single ended during my listening, and I also spent most of my time using my iBasso DX240 or my Shanling M6 Ultra. I personally found that using the 4.4 balanced Kinera Leyding cable was a step up to my ears with both devices.

Different sources​

One thing which is a must to touch on is how the MS5 reacts to different sources. There is a definite difference in how it sounded through my Shanling M6 Ultra and how it sounds through my iBasso DX240. This is normally the case with any iem and source however I think it is exaggerated a bit more on the MS5.

Synergy​

I began listening with my Shanling M6 Ultra as it is the DAP I use the most. The M6 Ultra uses the AK4493SEQ Dac chip which has that “velvet sound”. The sound comes across a hint more warm and slightly fuller in the low-end. When I switched to the iBasso DX240 which uses the amazing ES9038Pro chip created a nice difference. The sound is more open, a hair crisper, just as dynamic, but the timbre is slightly closer to organic. Not a world of difference, but it is large enough to speak on here and add to this review. However, either one of these two daps sounds nicely warm and resolving with a big stage.

Another nice option is something like the Moondrop Dawn 4.4 which really synergizes with the MS5. Of course, you’ll need a balanced 4.4 cable, but the sound is so crisp and vivid using the Dawn. In my opinion for $69 you simply cannot beat the sound of it, especially paired with the MS5 as it effects nice synergy. I do think that the MS5 does much better paired with a more neutral source to combat some of the overlaying warmth. However, I need to stress that no matter what source I used or how the MS5 reacted to those sources…the dynamism and fidelity remains very well achieved.

In a Nutshell Sound Impressions​

Note: All critical listening impressions were done using foam tips. It should also be noted that I used the “Bass” nozzle during my listening. I also used flac files stored on my devices.

U-shaped or L-shaped​

I’ve already stated this but the MS5 comes across very warm, lush and full with slight dashes of treble sheen and brightness. Warm down low with a smooth timbre and tonality yet crispy and bright from the upper-mids on-out which is affected by the brighter treble. I would consider the MS5 to be a U-shaped sounding set to even an L-shaped sound to my ears. I’ve listened to this set for a ton of hours, and I am still trying to confirm either U or L shape.

The MS5 is warmer than it is bright, and highly detailed. The MS5 has good note definition and comes across smoother down low and crisper up top. Tone and timbre are what I would call slightly “off-natural”. The MS5 timbre is not off-putting to me or too drastically colored to give bad marks for the way they sound. I feel the MS5 has good timbre, not organic but good, not completely natural but pleasing to listen to. The MS5 is a very highly resolving iem that has a holographic sound which reaches deep and wide with very good layering to my ears.

Burn-in​

By the way, I gave the MS5 over 200 hours of burn-in with multiple stops to check for improvements. I can say that without question the treble has leveled off a bit. Albeit, not completely, but they also sound much better balanced because of the time I took to burn-in. This is one set which pays off to be patient and wait out the burn-in or listen-in process before judgements. I’m sure many will listen without doing so and judge a bit too early.

Pint-sized overview​

The bass hits with CRAZY AUTHORITY and has a seismic impact while also having a great amount of haptic feel to the sub-bass. I get no sense of distortion down low as it mostly comes across nimble and clean.

The midrange replays slightly further back and not up in your face which contributes to the openness of the staging. Normally I wouldn’t like a stage such as this, however I find the MS5 does a good job with vocal distance. Not too forward and not too recessed. Most male singers have good note weight and females come across more svelte and thinner yet also more shimmery.

The treble region is where things can get pretty bright on the right tracks, and they do seem to affect the midrange quite a bit. We will cover that later. However, the treble is snappy and crisp and mature with a very detailed response.

The MS5 is technically a well accomplished iem with quicker drivers and good clarity for such a warm, lush and full sound. The MS5 has an uncanny ability to portray the macro-dynamics as profuse with a grand musicality while also being well adept to focus on the micro-dynamics leading to nice micro-details. But I’m getting ahead of myself. Let’s get into each 3rd of the mix.

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Bass Region​

The low-end of the MS5 “Dark Angel” is one of its greatest attributes. This is certainly an iem which requires the buyer to enjoy a bigger bass section and all which that entails. The bass is certainly emphasized with right around a 10db bass shelf give or take with a slight mid-bass priority. The low-end can flat out bang! In fact, I’m almost ready to call the graph a liar as I could’ve sworn the low-end had a few more db’s. Basically… she hits hard my friends! There is some very slight bleed into the midrange which is more of a benefit than it is a detriment as the upper parts of the frequency do add quite a bit of energy and so the offset works. The bass sets the tone for the whole frequency as a layer of warmth lays the groundwork for the final sound.

Sub-bass​

The sub-bass has a jarring rumble that stays clean and tight. I can quite easily hear every undulating rumbling drone in the song “Golden Child” by Lil Durk. The sub-bass has a reverberating and deep haptic energy that adds such a haunting character to this track. I think this song needs that sonorous growl to really help Lil Durk’s lyrics pop. Another track which displays this fantastic characteristic is “Rich Off Pain” by Lil Baby. The extension into the lowest of lows is evident here when you hear that first bass drop. My head bobs as though it’s on command listening on the MS5! I’m not kidding.

These are two songs which require that tactile vibration. They require that chasmic, seismic and bold sound to jar loose the funk from within, and the MS5 does so with ease. I’ll say that again… with ease! As though it’s effortless due to quality drivers and the MS5’s nimble transient attack and release.

Mid-bass​

There is a layered sharing of the bass region between mid & sub-bass. The mid-bass can boom with a hard impact which is perfect for bass slams adding unrelenting color and bone cracking boom to any track. The leading edge on attack has a bite to it, while decay/sustain evaporates quick enough to call it fast for its quantity yet slow enough to call it atmospheric.

The kick-drums in “Old Man Gillich” by Muscadine Bloodline are deft, round, solid and resounding. I love a good kick-drum and the MS5 seems to replay them nicely. Or “Billie Jean” by Weezer, the kick drum in that song is so booming. The MS5 is one of the more satisfying sets I’ve replayed that song on. It sounds very thunderous, but also tight, round, and tactile. It’s a great track to listen closely for note definition, authority and speed of a kick drum.

Bass guitar replays well too. In fact it can be downright gravely, guttural and gruff on the MS5. Kinda like in “All of it All” by Lukas Graham. Every finger slide and pluck are easily heard, quickly followed by a resonant and full bass guitar. I’m telling you; bass guitar can get downright nasty on this set.

Bass head?​

There is a certain fullness that not every iem can replay, and on the MS5 it is definitely a guilty pleasure type sound. There is such a nice texture to each track in my “Low-end Playlist” that I could hardly get myself out of it. The MS5 didn’t simply just “survive” my gauntlet of tracks, it celebrated them! The MS5 is so clean, so warm, so full, and so meaty, that anything within the lower 3rd of the spectrum is about to get an awakening.

Would I call the MS5 a basshead set? Umm…sure. However, this isn’t just a one trick pony, and while there are certainly issues that I hear across the mix, I can’t help but run through some good low-end tracks. The bass has layers, and details, and it’s bone-thick in its density and hard lined on its note edges. It’s certainly not one-noted and not even remotely muddy sounding while keeping great control. It’s a good one y’all.

Too much?​

Without question the MS5 will have too much low end for some. Still, that doesn’t make it bad, just not for those who don’t need a ton of bass. Also, calling this set “bass head” may give it the wrong stigma. This is a high-fidelity, high-resolution bass on the MS5. More like bass enhanced. Really, the bass is well layered with nice depth to the sound and great resolution to my ears. This is certainly a guilty pleasure type listen. Sure, it will be too much for neutral lovers, and not everyone has my taste, but seriously Hidizs, all I have to say is… Respect!

Respect!​

I think Hidizs did a phenomenal job in presenting a beefy low end which is deep and extended, yet also nimble and agile. Like a defensive tackle who runs a 4.5/40. It can hit hard, and with speed, and it can do so using any tuning nozzle. To go back to it though, yes, the MS5 will be too much down low for some. There is also some bleed into the lower midrange which in my opinion suits the overall MS5 timbre well. Especially since the treble region is so juiced up. Still, I’m saying it first (or not), not everyone will be a fan. Remember folks, this isn’t some cookie cutter tuning. It may take a bit to render your brain and listening ear to the beauty of the MS5, but when you do…you may say the same thing I did. Hey Hidizs… Respect!

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Midrange​

The midrange comes across relatively forward to the whole of the mix. It isn’t the type of forward which is presented “in your face” either, as the midrange expression and presence is more laid back yet it nicely refined. Resolution and clarity sound great and is very clean and believable with dense enough note weight. Note definition sounds very good both with voices and instrumentation. I do find that the excessive treble does make some females and even higher pitch tenors come across as slightly sharp depending on the track.

Low-mids​

Some male vocals have a softer edge to them which is pretty smooth as well as a very full sound, with ample vocal weight. They can be both lush and profuse, or sometimes even lean and dry, depending on the artist. For instance, “Blue Wall” by Noah Guthrie comes across very clean but not super robust in note weight. I say that but there is a nice density to his voice, or a sturdiness which sounds compact and not flat. There is also a smoothness to his vocal rendering. Noah’s voice comes across as accurate to life as far as the inflections in his voice and the density of his vocals are concerned. In louder passages of the song, I do hear some “sizz” surfacing his note outlines. Nothing that I pay much attention to but it should be added to this review.

Very satisfying​

I hear a more thick and robust quality in males such as Lewis Capaldi in “Maybe“. His voice mostly hangs a titch lower in the mix and holds onto some of the huskiness from the low-end. Then you look at tenors like The Avett Brothers in the track “Morning Song (Demo)“. They sound very clear and very transparent with a detailed display of the lead singer’s voice, which is sharp sounding and also very exact, while sounding a hint thinner in weight. I actually really enjoy the way it sounds. Perhaps a bit different than we are used to.

“Any Love” by Dermot Kennedy is more of a contemporary pop track with an emotional tilted theme and his voice is mostly singled out during the course of the song. His light baritone voice has a boldness to it, or a brogue type accentuation which carries a melodic roughness to it. Listening on the MS5 he sounds gruff, warm, distinct, and sharply defined, with clean edges rendered more forward than usual. Bass voices like Avi Kaplan sound great. His deep and resonant voice pulls from the low-end with very nice definition, which is very satisfying to listen to on the MS5.

Baritones/Bass singers like Josh Turner in “Your Man” or even “Would You Go With Me” have a guttural deepness that comes across very canorous in its amplitude and rotund in weight. Especially when Josh drops his voice into the bass region, as it is something that he does in most of his tracks. The MS5 emphasizes the sound of the bass in his voice, and it comes across great with a softer leading edge on attack.

Upper-Midrange​

Females can be vibrant, clean, and they can even have a luminance to them. In rare times they can be a touch shrill (depending on the track), but mostly they are svelte, silvery and unblemished. It’s actually not the most simple thing to explain. Based on the graph you’d think that females would be withdrawn, and laid back, but the lift in the treble region adds some bright timbre to females which is nice to my ears, but not 100% organic in timbre either. They have a nice tone color and texture. I don’t get that “BA timbre”or that “metallic timbre” from the MS5, which I’m sure is helped by using quality Sonion drivers. Certainly, this is an area which may be a point of contention for some who are used to more conventional tunings. This is also not your run-of-the-mill Harman sound my friends.

Females​

Gabrielle Aplin’s voice is rendered a bit more forward in the mix. Her voice comes across sharper than on other sets, but also, she sounds more highlighted as though the focus is on her. A spotlight I suppose. In “Half in Half Out” there is an almost forthcoming sense of emotion that the MS5 replays very well. This is sort of a softball type song, as most sets can at least minimally pull this off. However, what the MS5 does better is… it does so in a very resolute way, with a crispness which is sweet, articulate, delicate and defined, rather than coarse and grainy. The MS5 is simply a different take and tuning on a library of music that I know very well, and from a set that I am enjoying getting used to.

Also in “Breathing Song” by Samia, again we see a more sharp but focused presentation. There is this edgy sweetness to her voice with very nice energy and enhanced with shimmery harmonics as the rolling intonations and fluctuations in her vocals are very well executed. The softness within her head voice echoes with supple and soft emotion and the MS5 captures this performance well. Again, resolution is very nice as her voice is brought into the spotlight and I hear a very natural sounding note weight.

Small issues​

Now, can the MS5 become too sharp? You bet. There are moments that sound more shrill, shriek or hissy. They are few but they come around. Rarely with the bass nozzle and foam tips I should add, and more so with the other nozzles in my experience. “Good 4 You” by Olivia Rodrigo gets a bit HOT during the chorus of the song. You will also hear some sibilance in S and Z’s at times as there is almost a static note decay which can come and go before you even recognize it, unless you are paying attention to it and listening for it. However, the benefits and strong suits of the MS5 far outweigh the problem areas. If you even want to call them that.

I just want to be 100% transparent. I’ve spent a multitude of hours dissecting the sound, listening to tracks I’ve heard a thousand times before. The songs I use aren’t even necessarily tracks that I would usually enjoy, but they are simply good for testing. I promise, this is not at all a bad set. The midrange is very detailed and very transparent, and resolution is very well accomplished on the MS5. This is most definitely a mid-fi experience which ranks up there with the big boys of the price point.

A nice mental image​

In the song “Unstoppable” by Sia she comes across very bold and melodically raspy as her voice is very well separated from the surrounding melody and chaos of this song. Really this track has a lot going on, and the MS5 delineates her voice like a surgeon with a fine lined note edge and a powerful sound. The MS5 does a very nice job at capturing her sharper rasp in both the calmer beginning moments of the song and into the more ballad style chorus section. Instrumentation around her is very well bordered and easy to mentally picture, as the MS5 literally puts me 10 rows back in my mind. The transient agility is obvious on this set. I hear great macro-dynamics which simply have a fullness that is great, and it shows in a track such as this.

The upper-mids is the area which carries the fundamental frequency of a cymbal strike, and one thing is for sure, the treble adds new and different life to them. The body of a cymbal strike on most tracks comes across vivid enough and energized with a solid quality to them. Strings are well captured, yet do come across a hair thin, or possibly a bit brighter than I am used to, but they still have a solid rebound and consistency. Snares pang a hue brighter too but do so with sunstantial enough body. This makes for a very fun and engaging listen. No, it isn’t 100% accurate but there is a high degree of transparency, with a very detail-oriented sound which still holds onto the dynamics of most instrumentation.

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Treble Region​

The treble is very resolving, mature, crisp and energetic with a very detailed approach up top. You can quite easily see how the MS5 shows off its pedigree compared to more budget sets.

Depending on your nozzle choice it really will impact the sense of brightness and overall luster up top. Like I said, I use the bass nozzle which slightly levels off some of the peaks up top, and balances the entire mix for me. Now, the treble is not the most organic in timbre which seems to be a running theme. Still the other “running theme” is that it doesn’t come across as completely unnatural either. I quite like it actually. Also, please give me your best shot at explaining what “natural” is. Everything is subjective my friends. The point is, the MS5 is a slightly different spin then I am used to but still very nice to my ears.

Instruments​

Instruments in this region have a definite and decisive snappiness to them which adds a lot to the overall tonality of this set. This type of treble adds a certain validity and depth to my music, or a more realistic feel I suppose. Violin has an energetic glow and a nicely waning decay to my ears. Secondary harmonics of a cymbal strike can sound a hint tizzy but it’s a short-lived issue as there is an immediacy to notes within the treble.

I hear good treble punch, which in my mind gives a sense of depth to many recordings. This is a high fidelity and high accuracy type of treble, with a certain exactness to the sound. Like I said, the treble can be nice and snappy, adding a nice “icing on the cake” type of replay up top. I do believe that this region (treble emphasis) cascades into many areas of the mix and adds that lighter and brighter hue to other areas. For instance, females have that thinner yet bodied shine to them, which is certainly aided by the upper parts of the frequency.

Slight Issues​

Now, there are some issues which can arise. One being that the treble may be a tad too much for anyone treble sensitive, or for anyone who appreciates a more warm, smooth, and dialed back treble. Personally, I don’t have this issue and I don’t consider the treble to be too bright, but I could easily see how one would. Certainly, when I used the treble nozzles, they added some peaky behavior to the sound. Another issue is the sibilance which rears its ugly head in tracks which are prone to it. I hear slight sibilance using the treble nozzle and even with the balanced nozzle for that matter, as they exaggerate the S & Z sounds which can be a problem for some. However, I do believe that treble lovers will likely enjoy this presentation quite a lot.

The MS5’s treble is definitely highly resolving, almost an analytical type treble, and able to pick up the tiniest of minutia within a track which resolves any slight issues I may have. To be honest, the MS5 is perfectly justified in the upper 3rd of the mix for a mid-fi type sound. Great separation up top, a nice sense of texture, great pace and timing, and a nice contrast to the low-end.

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Technicalities ​

Soundstage​

The sound of the MS5 is dynamic and boisterous all the way to the outer edges of the sound field. We have good extension both ways which aids in an above average stage width. Height is pretty good as well. Something which I was impressed by is the perceived depth within the imaginary stage which does well to layer everything that I hear from front to back. Obviously the semi-open back structure helps in giving the MS5 a sense of air and space, but I don’t know how open the mesh on the faceplate truly is.

All in all, the size of the stage is pretty darn nice, yet you shouldn’t expect a stadium sized expanse of acoustic joy. These are iems after all. However, the psycho-acoustic perception of the stage size is very satisfying to me. I can say with certainty that the stage does NOT feel closed in, or cramped, or congested at all. The MS5 is fun sounding, with a big and dynamic auditory expression which should please most listeners.

Separation / Imaging​

Separation is one of the MS5’s “Pros” in my mind. I can hear each element of a stage (instruments/vocals) are nicely separated without any congestion. Another strong suit of the Hidizs MS5 is its ability to create a precise image of the stage. I should remind you that any earphone within this price segment should be able to do so. Some sets are better than others, but a clean and separated and well partitioned off stage should at least be moderately well done on any set in the price point. Separation and imaging should be a foregone conclusion. Thankfully the MS5 excels at this.

I use different tracks in my “congested” Playlist using flac files stored on my devices. For example, “I’m Not Okay” by My Chemical Romance gets pretty blistery, and the MS5 keeps right up with the chaotic mess of sound. With its clean delivery, pacing, resolution, and due to the use of good drivers, the MS5 is very well accomplished.

Details​

I think I’ve already spelled this out for you, but details are very well illuminated and defined within most any track and in most any genre within my music library. Each 3rd of the frequency (Bass, mids, treble) the MS5 is able to draw out the subtleties. I wouldn’t call the MS5 an absolute “detail king” but I will say that it performs much better than expected when listening with my sources and to my music library. The MS5 does very well in the details arena. The breath in a vocal, the finger slides of guitar strings, the little secondary harmonics of different instruments all adds a certain life to my music.

The only time there is any type of overshadowing happening is in busy tracks with a lot of low-end activity. However, the bass is honestly fast enough, clean enough, and separated enough from the rest of the mix that it is hardly an issue. Or, at the very least, it isn’t something that I see as a problem at all.

Ratings (0-10)​

Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets (that I’ve actually heard) or with similar driver implementations or styles. In the case of the MS5 that would be $300-$400 iems in any configuration. Keep in mind, a “5.0” is exactly average within the parameters that I’ve stated.

Aesthetic ​

-Build Quality: 10.0

-Design: 9.8

-Accessories: 9.5

–Overall: 9.8

Sound Rating​

-Timbre: 8.7

-Bass: 9.7

-Midrange: 8.8

-Treble: 9.0

-Technicalities: 9.8

Overall: 9.2

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Is it worth the asking price?​

This is always a tough question to answer and even more tough to answer for the collective of hobbyists. Let me explain. The Hidizs MS5 is a very well imagined, well implemented, well designed, and well packaged iem which has a tuning befitting a Mif-Fi priced iem. No doubt about it. However, the tuning is not the run-of-the-mill type of tuning. It’s different.

The asking price of $499 is quite a lot for the average consumer and most people are looking for their “totl” set at this price. Not everyone has $400-$500 burning a hole in their wallets. Most people will be looking for a refined version of sets that they are used to. Better said, they will likely be in the market for a Mid-Fi “escalated and enhanced” version of typical tunings they know and understand. With that said, I absolutely think the asking price is fair, as the MS5 can stand in the midst of the big boys in the price point. I have seen worse iems that are priced much more than the MS5, in fact, a lot more. To be perfectly, unabashedly, and completely honest… I adore the sound of the MS5!! I love it. For me, without question the MS5 is worth the asking price.

No doubt about it​

I also adore the look and the build as well as all accessories. Other than the exclusion of a modular cable. It is the market trend and is an easy addition which should’ve come with the packaging in my opinion. However, everything else screams high-end in my opinion. Hidizs went the extra mile to add the finishing touches, and made sure to release the MS5 when it was ready to be released. Are there flaws? Absolutely there is. Does every iem have flaws? 100% they do. Is there enough great qualities to the MS5 to recommend such an earphone? Absolutely there is. Does the MS5 perform well against its peers within the price point? No doubt about it.

Loaded field… ​

Ya know, you start looking at the field of earphones in this loaded price point ($400-$500). There are so many safely tuned, repeated and regurgitated sets. Obviously there are also some bona-fide beasts which are simply phenomenal too. The Hidizs MS5 fights for relevancy in this loaded market, and I’d say that Hidizs went an interesting and genius route to gain that market share. I love the fact that they created an iem which can only bolster a collection by adding a set that isn’t the cookie cutter type. In addition to your safe earphones which you’ve collected and enjoy, you can also have the new MS5 which will give you an excellent and refined earphone which bucks the tuning trend, if you will.

Personally, I have had the joy of being able to go through my huge library of music, listening to my favorite tracks the “MS5 way”. A slightly different take on my music, but wonderfully detailed, punchy & deep, warm, lush and very resolute. I say that, but I will also say that the MS5 will not be for everyone. Like everything, not everyone will enjoy this type of sound. Which is fine. That is what makes this hobby a great one. For me though, the first sentence of this paragraph says it all. I enjoy the sound and welcome Hidizs take on a true Mid-fi caliber iem. It is totally worth it, especially at the introductory price of $379.

Full Review can be found HERE

​

Conclusion​

To conclude this review, I have to once again thank Bella for her timely and informative messages as well as Hidizs for choosing me to be one of the reviewers for the brand new Hidizs MS5. Thank you so very much. I have not been asked to skew my words. I have not been asked to go against my integrity at all and for that I thank Hidizs. They took a wild chance in this little venture and by all accounts I do believe their “chance” will pay off. Hidizs stands behind their product. Simple as that. They let the merits of their creation (MS5) do the talking and that is something which is respectable. Obviously, a lot of work, energy, thought and time has been put into this earphone, so I want to say… Great job!

Please take in other views of the Hidizs MS5. Listen, read or watch other perspectives as we all have different likes and dislikes, we all have different hearing abilities, we can have different gear and we all haven’t been down the same audio journey. I believe it will be a huge help for you to do so. Also, thank you for reading and clicking on the link. I truly enjoy writing my little blurbs about the hobby that we all love. Please take good care and do your best to stay safe.

Simgot EA500 ($79)​

Intro ​

Today I am reviewing the Simgot EA500 which has undergone an inordinate amount of hype and praise over the last couple months. I can only liken it to the Blon BL03 madness of a few years ago or possibly the Olina craze last year. I think the difference is that the community now is smarter than in those Blon 03 days. We aren’t comparing the EA500 to $1000 sets like some did with the BL03. Thread after thread and in multiple Facebook Groups and even in different platforms we see my friends and fellow hobbyists gleefully showing off their new EA500 to the rest of us. I’ve seen many modifications already and many various tuning nozzle choices. What’s the deal? Is there any truth to the splendor of this new phenom? All I can do is give you my take and hope it helps someone to make a purchasing decision.

Simgot​

Simgot is not the most well-known of Chinese brands, but they have had their fair share of notoriety with some decent to good iems since their genesis. Sets like the Simgot EN700 Pro (among others) reached some pretty notorious acclaim but it’s the newer sets which have gotten the hobbyists reeling nowadays. Starting off with the lower budget tier with the set I’m reviewing today, the EA500, and going up in price to the EN1000 and the EA2000. We have seen quite a bit of solid substantiated buzz and truthfully for anyone that has had their finger on the pulse of the hobby of late, I’m not telling you anything you don’t know. The point is, Simgot is on to something special with ridiculously good build quality, designs and most importantly the sound quality within their latest line of iems.

Brouhaha? ​

This hobby is inundated with a constant churning of hysteria, fanfare, puffing, some people even call it “flimflam” and “brouhaha”… believe it or not. Of course, those people were probably born in upstate New York in the early 1920’s, but I digress. The word which is used most to describe this phenomenon is… “HYPE”. Some people carry some great disdain for those who hype a product. They roll their eyes. They raise their audiophile noses to the sky and look down in disgust. Perhaps they have forgotten the joy that this hobby brings. I get it through; you don’t want people to mislead out of pre-hype honeymoon auditory bliss.

Seriously though, this is where I insert the “take it like a grain of salt” reference. Also, what’s true to one person may not be true to the next, let’s try to remember that. You may not think this blurb has anything to do with the iem I am reviewing but I beg to differ. This set ‘was’ and ‘is’ hyped to the moon, flim-flam was spread far and wide.

Everyone is always right​

I have a different take and it all revolves around the fact that in this hobby everyone is always right. These “gushing posts” are kind of like personal testimonies if you will. The truth to their claims is only true to themselves. Whether you are a seasoned reviewer with audiophile understanding and endless audio knowledge or you are a newbie, fresh in the hobby. Neither are wrong. Today we are looking at and examining the latest of the hype trains and I hope to relay my truth to all of you.

I have to be honest, I waited much longer than usual to pick this set up. I wanted to get outside of the hype bubble and try to look at it from a different lens. Waiting and waiting with constant voices from relentless audio groups and threads gushing with childlike fervor and passion. Which is great! Passion for the hobby is what it is about. Relentless is the wheel which constantly turns in this audio game, dropping set after set, leaving reviewers and hobbyists clamoring to get the word out first. Hence my waiting. Anyways…

All Hype?​

I thought for sure it was all “hype”. Like, what could this set possibly be that we haven’t seen or heard before? Have we not heard it all? Every style, every tuning, what could possibly surprise folks nowadays. The people within this hobby have never been more knowledgeable in this audio game and they’ve seen the push from companies and reviewers. Basically, we’ve done this “hype” thing many times before. So, what is so special about this under $100 budget set that has so many people rushing to speak on it.

Could the EA500 stand a chance against the likes of the Tripowin Olina OG (filter. Mod) or Olina SE, Truthear Hexa, Fiio JD7, the Celeste Pandamon, Dunu Titan S or Bqeyz Topaz? These are some of the sets which sit nicely within my top under $100. Each has its place with me, and each is special in its own way. In truth I could expound quite a bit and add a handful of other sets (ie: Moondrop Aria, Hidizs MM2, Hidizs MS2 etc.) which really do well under $100. I know there are plenty more I haven’t named. This is the vein with which I am judging the EA500. I want to know, is the EA500 at or near the top, for me.

We shall see…​

Not all hype trains are merely hype my friends. Sometimes the hype carries a semblance of justification, and sometimes… it’s flat-out justified! The EA500 certainly has some big shoes to fill if it is going to usurp some of the best. The Simgot EA500 everyone…

Please visit mobilaudiophile.com and check out Mahir’s thoughts on the Simgot EA500 HERE.

Gear used ​

–Moondrop Dawn 4.4

–Ifi Go Blu

–iBasso DX240 with Amp8 MK2

–Shanling M6 Ultra

Later Comparisons: Moondrop Aria / Tripowin Olina (Filter Mod) / BQEYZ Topaz

The full review can be found HERE

Packaging​

The EA500 arrived in a medium sized box with a pretty understated and minimalist design on the cover which I can appreciate very much. Just a black box with a dreamy rectangular picture of the colorful night sky and some brand writing and the brand name, nothing too crazy. Good job Simgot. On the back is a couple frequency graphs per nozzle as well as a bunch of writing that I don’t understand at all. I like every little artistic touch that Simgot added and while I’d be perfectly happy with a simple brown box, I must admit that a well laid out and designed unboxing is always a small & short little treat.

Open the box and you’ll notice a little flap which says “Don’t try to add more years to your life. Better add more life to your years“. I have to imagine that Simgot correlates the wonderful sound of this set to adding joy and life to your days. I can’t say I disagree, now I don’t know how much an earphone helps in this venture but, it’s a nice saying. Open the flap and the beautiful EA500 is staring back at you. Below the earphones is a box which contains the carrying case and the cable. Another box which sits under the EA500 has the eartips inside. I do appreciate the simple packaging, yet I can also appreciate the class with which it is put together.

Cable​

The cable that Simgot chose to include with this $79 product is actually quite nice. It’s a 2-pin, 2 core, white OFC silver plated cable with a more rigid feel to it. There is absolutely nothing wrong with the cable provided but I did switch out cables for balanced sources and used the KBear Chord cable for those purposes. The cable that Simgot provides is decently pliable and isn’t microphonic and I really don’t see any issues with it. Basically, I don’t think you will need to upgrade cables unless you are choosing to listen on a balanced source, as I normally do. Also, the EA500 does capitalize on giving this set a bit more power and a balanced source will ‘usually’ do just that.

Carrying case​

The case provided is a good sized oval black zipper case not unlike many others I’ve gotten throughout the years. It has almost an imitation leather covering it and is mostly utilitarian in its look. Nothing to get excited about but nice to have. I normally don’t use the cases provided with any earphones, however if I would use a case such as this one, I’d say it is of good enough size. I do believe you have just about enough room for the EA500 plus a small dongle dac. Not bad by any means, the case is a nice addition.

Eartips​

The eartips which come with the EA500 are decent in build and pretty useful. Simgot provides three pairs of opaque white tips (S, M, L). They are semi-wide bore with a moderately firm flange. Of course, I couldn’t use the included tips in my ears, I just don’t get that good seal.

One thing I’ve noticed is that the EA500 simply are marvelous at reacting to different tips. As with every earphone I’ve ever put in my ears I must go through every eartips that I own. I have gone through every type of tip you could imagine. Wide-bore shallow, medium-bore KBear 07 types, narrow-bore Final E’s, Spinfits and everything in between. I finally ended up using (subject to change) a pair of Hybrid silicone/foam tips with a medium-bore and Final E-tips. The upper-midrange glare is slightly leveled off a bit using both of these different sets of tips, while the dynamism, stage width, and extension that I enjoy with the EA500 remains. So, play around, everyone is different. One thing I can promise is that you will see a variety of changes based upon the tips you do choose.

Build / Design / Internals / Fit ​

Build​

The Shells are made of all metal alloy by way of melting and casting and then polished to a mirror finish and capped off with CNC engraving of the logo on the faceplate area. It appears that one screw holds two halves together which is a nice touch. Simgot added female threads as well so that the tuning nozzles may be screwed on or off to suit your taste and tuning preferences.

Something you will notice the second you pick up the EA500 is the awesome feel of this set. Something just screams “premium” with the EA500. All metal builds are nothing new and we have seen plenty in the budget arena but there is something which sets the EA500 apart from the rest. Maybe the design has a lot to do with that, but the build is absolutely fantastic. Holding the EA500 in hand it is easy to assume there is great durability here. The only slight negative which goes along with a mirror finish is fingerprints. I suppose it’s not really an issue but a minor annoyance. Actually, it doesn’t bother me at all but I assume it may bothersome.

Design​

The minimalist and sleek design is not unlike some other sets we’ve seen recently but most of those reside in higher price tiers. The look and feel of the EA500 is very nice for the price. It’s all class with a very unembellished and modest appearance which just so happens to be the beauty of it. There is an elegance that is simple yet refined, a tastefulness or a certain charm which comes with Simgot’s design of the EA500. I like a nice aesthetic and I feel the EA500 looks like it doesn’t belong in the under $100 crowd.

Actually, of late build quality has stepped up in the budget scene but I do think that the EA500 takes that a step further. A beautifully crafted set which takes artistry and an understanding of the market with a good eye for what looks… well… just dope. The EA500 is just that.

Tuning nozzles​

I love stuff like tuning nozzles as I’m naturally attracted to easy and simple modifications, even if it’s just a gimmick. In the case of the EA500, Simgot provides two different sets of tuning nozzles which provide two different target curves. To be honest there isn’t a world of difference but there are enough differences to justify the addition of the nozzles. Not just a gimmick here.

Red and Black​

Nozzle #1 is the “Red Nozzle” which is supposed to mimic the 2016 Harman curve. Nozzle #2 is the “Black Nozzle” which is supposed to get the EA500 closer to the Simgot house sound. The black nozzle actually has a piece of foam inside which softens some of the bite of the red nozzle. Simgot does say that they will continue to add different tuning nozzles in the future which should follow other popular target curves. If you ask me this is pretty neat and kind of extends the intrigue of the set past the usual short attention spans of hobbyists. To be perfectly honest, the life expectancy of a “hyped” budget set is normally not much longer than a few weeks but if we are going to be seeing different nozzles in the future… What a brilliant move.

The included nozzles are easy to screw off and install with threaded ends. The actual size of the nozzle piece is large enough to actually get your fingers on. This is actually a great thing. I can name a number of sets with tiny tuning nozzles which are next to impossible to simply and easily screw on and off without pulling one’s hair out.

Internals​

Simgot went with a quality 10mm Dual-Magnet Circuit and Dual Cavity structure using both internal and external N52 magnets and a 4th generation DLC (Diamond-Like-Carbon) Composite Diaphragm. We have come to know how well DLC drivers perform as they are very light but have strong rigidity which is theorized to enhance the transient capabilities of an earphone among other things. Many earphones use DLC drivers and every other driver material that one can imagine but in the end it all comes down to the tuning and implementation of those drivers. Simgot seems to have gotten it right and they should be proud of this set.

4th Generation DLC Composite Diaphragm
The DLC composite diaphragm of EA500 incorporates 3 kinds of different materials, which are used to build different parts. DLC is characterized by strong rigidity, high damping, and light-weight, and is used as a dome that determines the characteristics of treble.
Simgot Promotional

Click to expand...

Fit​

Fit is always something that I question in my reviews. Like, “Why am I adding this?” Seriously, not many people have the exact ear structure and to explain the fit to you doesn’t really make much sense to me. However, I must do my ridiculous due diligence. I think the fit can be slightly tricky. I do have to fiddle a hair to get the seal I want but it is easily attainable for me. Isolation turns out being pretty good with very slight sound leakage once you have the EA500 sealed well and sitting comfortably in your ears.

Drivability​

The EA500 is rated at 16 ohms and a sensitivity of 124 dB’s which make them pretty sensitive. It’s one of those sets which are very easy to drive from most any source but definitely scales up with added power and they scale to the “quality” of the source as well. The EA500 is very versatile and does a great job at mimicking the tonality of the source device as it adapts to anything I attach it to. Any different source flavor will be replayed through this special set. For instance, the Moondrop Dawn 4.4 has that snappy and near neutral sound which in turn makes the EA500 accentuate the Dawns tuning. It sounds fantastic. Going from low gain on the Dawn to high gain only adds a level of dynamism and energy to the sound yet without causing undue distortion or without exaggerating the peaks.

The same can be said of the more warm, smoother, and bodied sound of the IFi Go Blu. I find there is a slight boost in note thickness while note edges seem to flatten a bit and smooth over. Also, using the iBasso DX240, I had a similar reaction from the EA500 as when I used the Dawn. This time the EA500 just tightened up and became a bit more vibrant. On some songs there is an element of almost breaching into shouty territory but falls just short of that.

Best Combo​

Now, my favorite pairing is with the Shanling M6 Ultra with its velvet AK4493SEQ dac chip and powerful amp circuit. These two were meant for each other it seems. You can still reach a level of shoutiness but all in all the sound is very natural and coherent with a boost in the low-end and silky vocals. To go back to the question of “Drivability” I would like to think that almost anything can power this set to good fidelity, but if you can, get a nice Dongle Dac at the very least and enjoy.

Quick Sound Impressions​

What does the EA500 sound like? To me, the EA500 is like a working taser, just sparking, sputtering, zapping and flickering with energy. There is a controlled fervency which is kept in check while sounding enthusiastic yet clean. A mostly inoffensive vibrancy yet also a particularly enthralling earphone. Almost like it’s pent-up with lively vigor, though when released there is structure and order to it. Between the 20’s I hear a wonderfully cohesive and open sounding set, but is it worth all the brouhaha? I can only answer for myself, and I won’t beat around the bush friends. To me the EA500 is worth all of the hype.

Sound​

The EA500 has something closer to a U-shaped tuning, even teetering on a W-shape with a slight boost to the low-end as well as the upper-midrange and lower treble, then nice extension up top. I hear a warm-neutral leaning sound with great enthusiasm and a nice balance across the spectrum. As far as the tonal color… I picture the EA500 slightly leaning to the left, almost dragging its toes in some subtle and slight warmth. It walks this line between neutrality and warmth, lush and thin, smooth and crisp. A widespread field of sound that carries as much weight at the outskirts of its presentation as it does in the center of it. You could call it a wall of sound and you wouldn’t be wrong, but the wall created through the EA500 almost wraps me in a half circle of mellifluous musicality.

Quick Overview​

When I think of the EA500 I picture the bass, mids, and treble holding hands in harmony with each other. Each 3rd of the mix plays a supporting role to the others, and none truly takes the lead for me. Ya know, every earphone has its identity or point of emphasis, well most do anyways, but the EA500 has this uncanny ability to simply represent as a whole. I can’t help but think that this uniformity is instrumental in casting a wide reaching and harmonious scope of sound. I don’t want to get too far into praise and to dial it back I will say that the EA500 isn’t perfect and does have some drawbacks, but they are few and far in between.

The frequencies​

The bass region has good impact yet some claim it has a slightly tame bass response. I love some good bass and the EA500 is certainly enough for me but I’m positive that some may need a little more. I could use a bit more. Adding a filter to the front vent does help in this regard. I know because it is one of the first things I did upon receiving the EA500. However, this is a review of the original and authentic sound of this set, mods are for later.

The midrange is uplifted in soothing levity, it’s full & forward with females located a titch more forward than males. Vocals sound great, lush and smooth yet centered and defined with a nice presence. The treble is crispy, yet not grainy or tizzy, or sheened out, or too sharp. I hear decent body up top with equally decent extension into the upper parts of the frequency. The stage is above average in size and Imaging is very well drawn out with good separation. There are also some drawbacks to the EA500 but all in all this is a bona-fide STUD of a set in the under $100 price point. Heck, I’d even scale that up to $150.

Nozzles​

A quick note, I will mostly describe the sound of the “Red” nozzle as I simply enjoy the controlled vibrancy and openness and mostly prefer it a hair more. However, I do like the black nozzle as well. In truth, both nozzles don’t offer some huge “world of change”. Let’s put it this way, you aren’t getting two different sets in one using the different nozzles. There are certainly subtle differences which do flavor the sound, but these changes are very minor. Maybe the red nozzle is a hint more abrasive in the upper midrange on some tracks. Furthermore, it sounds more holographic, possibly more energetic yet it’s just as balanced. Perhaps the black nozzle will offer better details but that is definitely up for debate. I go back and forth between the two by the day and while both nozzles aren’t stark differences, they are nonetheless differences.

Bass Region​

The low-end of the EA500 comes with average quickness as the transient attack and decay has a nicely atmospheric replay but also, it’s very clean with nice density. On top of that I hear a thumpy and rounded boom on kick drums and bass drops for genres like hip-hop etc. It isn’t greatly escalated with emphasis but it’s good. For some the EA500 will not be enough to satisfy their bass head tenancies, and this is understandable as the low-end is ever so slightly held back. In truth this serves the EA500 very well as the surrounding frequencies seem to open up with a cleaner sound. The bass is rich and has nice surface texture. It’s not some “one-noted” type bass replay. It serves my library well and leaves me satisfied.

Sub-bass​

I hear a sonorous and deep enough haptic buzz down low as there is still a good and rumbly vibration. The sub-bass is moderate in its effective resonant droning hum, and it comes across as full bodied, full toned and rotund. While not Bass-Boi levels, the sub-bass doesn’t lack, it isn’t hollow or empty in its replay and it’s effective at stretching the field of sound with nice extension down low.

This shows itself very well in “Groove” by Ray Wylie Hubbard. The song begins with a deep bass riff that sets the tone for the song. This should be edgy and grizzly and just flat out dirty and the EA500 replays it with some girth down low. The surrounding melody is nicely separated with great timbre as it seems that each pluck of the guitar has its own ecosystem of sound, and each finger slide contrasts beautifully against the sub-bass backdrop. There is a rolling density and clean separation from the rest of the mix that is refreshing and adds nice depth.

The EA500 sub bass does exactly what the song tells it to do and faithfully replays with a thick layered tapestry of this guttural bassline. It sounds great my friends! Timbre is not bad here either. At least to my ears anyways. Of course, it’s been a while since I’ve sat “live” and listened to a track such as this. Still there is a naturalness down low that permeates everything on the EA500 which I find addicting.

Midbass​

The mid-bass is pretty nice too. Yes, there is that impactful and speedy slam which differentiates itself nicely from the sub-bass. Note definition and clarity are well done with a solid attack and note outline. I can’t help but notice the decently concentrated substance within the bass, packed tight as though it has solidity. Not the most elevated… but thick…and boldly structured enough for a faithful and fun playback which sounds great when listening to the EA500 as a whole.

Midbass cont…​

In “Home Sweet Highway” by Ashley Mcbryde the song starts right out the gate with a meaty bass line that extends all the way through the track. The EA500 booms with depth on this song. As though I hear actual texture and tactile imagery. I hear a warm and round and moderately deep grumble that has a pretty good slam to it. Again, the bass isn’t too far elevated. It is well textured and layered with depth and it does this without needing to be overdone or exaggerated. The bass sounds great. This is what I mean when I say natural. It isn’t hollow or soft or muddy. It isn’t digital sounding or plastic and certainly isn’t wooly which is a nice thing to hear. Plus, the mid-bass is pretty clean with defined note edges for the price point which helps the EA500 to have a decently detailed low-end.

Midrange​

The midrange is simply a musical delight to my ears. I love the natural note weight in this region which can play multiple styles and genres and represent each with a sophisticated versatility. Note weight isn’t necessarily thick, but there is a lushness in this region. I hear a near neutral sounding midrange which is articulate for the price. Both males and females share this space well as both are forward and highlighted.

Instrumentation simply has this unprocessed and nimble musicality which carries good resolution. Perhaps they could use a bit of blunted weight and a bit more of a robust emphasis on different instruments, but I can’t help enjoying the open sound with great imaging and separation. Perhaps the timbre isn’t completely perfectly spot-on either, but I don’t think it’s necessarily off at all. In fact, I really enjoy it. There is simply a vibrance added to the timbre which almost adds a glow. I realize that probably made no sense but… Let’s pretend it did.

Lower-midrange​

Male vocals are well represented and come across pretty clean yet at times they can sound a hint thin. At times they can even be a bit abrasive. Some higher register tenors can sound a bit sharp depending on the track and source, but this is where I will stop in my complaints.

Honestly, I enjoy most of the male vocals that I hear, especially on a song like “Broken Halos” by Chris Stapleton. His voice has great southern gusto and good presence with a distinctness and the EA500 does well to replay his naturally edgy vocal delivery. It does his voice great justice and displays Chris’s edgy, raspy, but distinct sound so very well. It sounds clean and just forward enough to illuminate the scratchy, strident and coarse southern richness of his voice while adding just enough boisterous underlying levity to the harmonics. The inflection in his voice is precise and timely as the accentuated wave like intonations that Chris sings with stays at the foreground of the melody and balances nicely with how I envision this recording was meant to be heard.

Males cont…​

Males on the EA500 can also sound reverberant with a rotund with bassy fullness when needed, like with Avi Kaplan in the song “First Place I go“. The EA500 has just enough help from the low end to bolster and display his baritone voice in a very round, poignant and emotional way. His voice can so easily be exaggerated and overly sonorous on many sets but the EA500 has this nice way of keeping the timbre and tonality in line. As if there is just enough warmth to contrast the overall lustrous neutrality of this tuning. This is not unprecedented in the budget space, but it is simply a nice attribute of the EA500. Of course, with the black filter his voice is a little richer but also without a certain liveliness that the red filter conveys. Both ways are great, red or black.

Lower-mids cont…​

The lower midrange may come across a hint thin with a hair too much vibrance and not everyone enjoys an energetic and lively sound. Some may prefer a smoother and more laid-back velvety sound. Still, once your brain adjusts, male vocals can be very nice. Again, this is where it may make sense to pull out the black nozzles which add a nice balance and smoothen out the coarseness that the red nozzles can have. Of course, there are other implications from this setup, but I could see many hobbyists enjoying the benefits of the foam filled black nozzles which mimic the Simgot “House Sound”.

Upper-Midrange​

Females come alive on the EA500. Truthfully, I love the way females sound on this set. The EA500 had me running through my library and seeking out solo acoustic performances or female led tracks. Whether the voice has a softer, whispery and breathy sound or a resounding and powerful ballad type female voice the EA500 just sounds clean and spacious. There is a lushness to females which never comes across too thick or weighted. They aren’t thin or lean either. I think the natural replay comes from females having a good presence and a certain sweetness. Of course, that good presence can also be accompanied by some pinna glare at times. Again, this may be a moment to check out the black nozzles which do help a bit. Or check out one of the many modifications that some really smart people have come up with. Look and you’ll find them.

“Mariana Trench” by Gabrielle Aplin is a song which highlights her breathy sweet voice. However, there is this underlying power in her vocals. The EA500 really shines and presents this song very vividly and with fantastic resolution. Or Noah Cyrus in “Unfinished” the EA500 does a good job at presenting her tense yet moving voice in a very astute and forward manner while steering clear of anything harsh or too edgy. This is awesome control for the price. Timbre is what I would call “off-natural” as it sounds organic yet with some resounding enthusiasm added in.

Instruments​

Instrumentation like strings have enough weight to produce a natural sounding pluck of a guitar string along with the finger slides which offer their own harmonics. Piano can be a hint too vibrant at times, but this really comes down to the recording. Percussion like the fundamental frequency of a cymbal strike sounds compact and not tizzy, they sound pretty well bodied and not splashy. The secondary harmonics of a cymbal strike located mostly in the treble region decay in a natural way as well. Snares pang with plenty of body and come across with the correct sharpness to my ears. Of course, all of this can be affected by what source you are using as well as the track being played.

Slight issues​

If I were to pick anything within the midrange to list as a possible con, I would have to say that there is an ever so slight sibilance which can rear its ugly head on some tracks. It’s very minimal and I really don’t even think about it until I’m listening for it. Not bad though. Also, there is some pinna gain energy which can become too sharp and glaring with the right track as well. Again, it doesn’t bother me too much, but it is there.

Many people have already begun modding their EA500’s with “Y3” Filters placed over the front vent or gone with different tips or even nozzle filters. The great thing is the flexibility the EA500 has with any modification or change. Timbre isn’t 100% natural either (off-natural) though because the sound is so resolute and clean it almost doesn’t matter to me. I think the sound fantastic on this set.

​

Treble Region​

The treble comes across energetic and airy, with nice pacing and timing and good transient behavior to my ears. The treble region has a very nice balance with the rest of the mix in my opinion. Note definition is on the cleaner side however those same note outlines can be spicy at times. Instrumentation in this region is well bodied and does have enough bite and adds a nice element to the sound. The treble is elevated enough to bring upon some levity to the entire mix with a nicely rendered slope through the upper-treble region showing good extension, or at least appropriate extension to my ears.

There is a snappiness to the sound here, almost a boldness as well in the attack on most notes. Texture is evident too from the lower treble to the highest of highs. In truth the EA500 does a superb job at this area of the mix. Details are very easy to discern as the balance is just right, the transients are great, and the resolution is very good. No one frequency topples over any other which leaves plenty of room for both macro and micro details.

Nice Energy​

The brilliance region of the treble has a lot of presence and is very detailed as well. There is a controlled sheen to this region which does well to add this vivacious liveliness to any recording which is an attribute I happen to really enjoy. It’s amazing how a good treble region can act as the “Icing on the cake” and we are seeing that on the EA500. Like I said, extension past 8k is nice and leaves no information lost into an attenuated abyss. It’s actually the contrary, as the EA500 manages to catch even subtle things that you may not pick up on with other sets.

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Technicalities​

Soundstage​

I find no faults with the psycho-acoustic stage size of the EA500. I hear very nice width with above average height and good depth to my music while listening with the EA500. There is this feeling of space and an open nature to the sound which creates this effortlessly wide dynamic. The depth of field spatial cues is really great for a single Dynamic Driver earphone. Soundstage is certainly a strength of the EA500 in my opinion.

Separation​

The EA500 has this uncanny ability to create nice layers within the imaginary stage that I hear. There is a sense of space, that’s for sure. However, inside that space is distinct and partitioned off elements of that stage which sound as though they are localized fixtures and sit isolated in their own little space. So, Separation is great, which brings us naturally to imaging.

Imaging​

Everything has its place in the stereo image. We like to overuse the words ‘pinpoint’ when describing imaging on some sets, but I can say for sure that the imaging on the EA500 is pinpoint in its ability to form each element of the stage, whether it be voices or instruments. The only time I have heard any issues in either of these areas is in very complicated music passages. Really complex tracks may trip up the EA500 a little bit but it’s nothing that comes across as a con. This is a single DD and as far as single DDs under $100 goes… It Is truly in the ratified air of the best of the field.

Details​

I’ve already covered the details earlier in this review, but I will quickly go over my thoughts again. The EA500 obviously has some good drivers, speedy transient attack and decay, a wide stereo image and fantastic clarity and resolution throughout while being tuned in a very nicely balanced way. This is all a perfect recipe for a detailed playback. I do think the black and red nozzles both fares well in the detail arena but the black nozzle for whatever reason seems a hair leaner up top along with being a tad drier in this region which leads to better micro details. Both nozzles perform well here so I certainly wouldn’t go nuts trying to spot the differences.

Comparisons​

Moondrop Aria ($79)​

The Moondrop Aria is quite possibly Moondrop’s most infamous earphone. Resting cool in the under $100 segment the Aria has been a class leader in overall enjoyment and euphoric price to performance. The Aria sports a 10mm Dual cavity single DD with an LCP Diaphragm. Just like the EA500 it has an all metal housing and that’s about where the similarities cut-off. The Aria is a solid choice for that Harman sound and does so almost to the tee.

Low-End​

Starting off with the bass, the Aria is much more elevated yet in that elevation there is a more pillowy attack edge while there is certainly more sub-bass quantity. The EA500 simply sound more realistic with a more controlled and speedier slam.

Midrange​

The midrange is more euphoric on the EA500 with a more forward nature and a thicker and more lush note weight while the Aria sounds much tamer in comparison. There is more vibrance on the EA500 and at the same time there is more shimmer too. The Aria has that nicely non-fatiguing and easy to listen to sound but between the two it’s the EA500 that sounds more organic and cleaner.

Highs​

The EA500 treble certainly has more of an attack bite in the treble region. I hear a more elevated treble section but also a better extended treble section. I’m quite positive that there will be more than a few who would enjoy the Aria’s more laid-back vibe. For the rest of us I think it is obvious that Simgot created a finely tuned set which trumps the Aria in many categories and certainly the treble is one of them.

Between the two the EA500 certainly has the more detailed and technically adept playback with a more lustrous and lush sound along with a much tighter and snappier replay as well. Soundstage goes to the EA500, imaging is pretty close to a draw between the two but the EA500 does edge out the Aria. Separation goes to the EA500.

Tripowin Olina (OG, Tanya Filter) ($99)​

Oh Olina, you amazing single DD. Before all others the Olina came first to absolutely crush a price point punch above its price. This is another comparison with a famous set that thousands have enjoyed, and which doesn’t get left off of many “best under $100” lists. The Olina has a single 10mm Carbon Nanotube Diaphragm Dynamic Driver which is famously used in the single DD “Crown Prince” the Tanchjim Oxygen. Or some variation of that driver. I absolutely adore the sound of the Olina OG, but I am comparing the EA500 against the modified version of the Olina with Tanchjim Tanya Filters replacing the stock filters at the nozzles. I know many of you have this exact setup so, sorry that it isn’t the stock Olina.

Differences (low-end) ​

When comparing these two the first thing I notice is that the EA500 is a little more on the bright or neutral side whereas the Olina is a slight bit warmer. The bass of the EA500 does carry about the same quantity of bass oomph and slam as the Olina but the EA500 seems as though it may hit with a titch more authority. I believe this is a deception though, due to the stark difference from the brighter contrast of the EA500 upper frequencies against the warmer and hearty bass, it simply sounds more authoritative. In fact, it sounds as though the EA500 has the more dynamic and energetic bass region because of this. In truth it is very hard to like one more than the other. Both hit plenty hard, and both represent the bass rather well for the price point.

Midrange​

As far as male vocals are concerned, the EA500 and the Olina both have roughly equal note weight but the EA500 seem to have a hint more presence. I do also think that the EA500 has the more natural timbre but again, this is debatable as “natural” is a subjective opinion. Female vocals sound a hint more forward than the Olina and with more shimmer in the upper midrange. Also, the Olina has a bit better control of this area and resolution is great on both sets. Again, hard to pick one over the other for me. Pick your poison I suppose. The Olina is a bit more reserved but highly resolute and packed with details while the same can be said of the EA500 yet with a slight bit more shimmer to the same songs.

I suppose the difference is the way these two are presented in the midrange. Certainly, one is not necessarily better than the other. The EA500 simply sound more vivacious and with more presence while the Olina are control freaks. The Olina has that tight and structured dynamism that is a bit better balanced as a whole than the EA500, which in turn lends the sound to be a bit less sprightly and bubbly. Again, pick your poison. I feel the Olina is a hair less captivating and engaging in its replay here.

Treble​

The EA500 sounds as though they have the lusher timbre in the treble region to the Olina’s more detailed and better controlled sheen up top. Note weight sounds the slimmest of hairs thinner on the Olina while also having a softer note attack in this area. Most certainly the EA500 has the brighter tonality here which does uplift the whole of the spectrum a bit more than Olina. The EA500 has a special treble region that has this engrossing and refined nature to it. The Olina is no slouch though, certainly the less fatiguing of the two and perhaps the more astute and timelier of the two. Basically, Olina is the responsible one, if that makes sense. Less enthusiastic in vibrancy and more disciplined in its delivery.

The EA500 just comes across with a more rapid snappiness that is more instant in attack but more atmospheric in decay/sustain. The Olina sounds a bit less sharp in attack and quicker to release.

Technicalities​

Details seem to be a bit more illuminated on the Olina but please don’t confuse my words… both sets bring upon macro and micro details very well. Soundstage goes to the EA500, without question. I hear matching widths and close in height with the EA500 sounding a bit taller and certainly deeper in its replay. The EA500 sounds more 3D, which is saying something because the Olina has a fantastic stage. Both imaging and separation is great on both sets.

Honestly this is a hard one for me, I suppose it depends on my mood which one I’d like better. It may be that one set ranks #1 and the other #1A. I guess that is the beauty of this hobby. If anything, I would say that the EA500 is the more musical of the two and simply more dynamically engaging and charismatic in its boisterousness. The Olina is the consummate professional who may sound a hair duller but it’s wise and steady and correct and detail oriented.

BQEYZ Topaz ($89) ​

Another set I adore, the BQEYZ Topaz. Somehow it comes in at under $100. Though I could say that about every set mentioned here. Anyways, the Topaz is a Hybrid 9-layer piezoelectric driver and one 13mm single Dynamic Driver. What a set! BQEYZ is one of those companies who seem to not ever get things wrong. They begin a project and run it until completion.

Differences​

The differences between these two, if I were to break it down, is the style and type of engagement that each set offers. Both are engaging and engrossing for different reasons. The EA500 has that energetic vibrancy with its holographic staging while the Topaz has this enthralling lush and juicy timbre that just sucks me in. At the beginning of this review, I characterized the EA500 as a working teaser just spattering with wild controlled energy. I stand by that, but on the flip side I think the Topaz has this warm and more emotionally pulling sound which can really perform at the peak of the under $100 price point.

Low-end ​

As far as the bass is concerned, the Topaz have quite a bit more in quantity with a deeper and fuller rumble and slam. The EA500 has a less colored low-end with a more speedy, punchy and organic sound. Both are quality for the type of bass as well as the emphasis each has down low. The Topaz effect the midrange a bit more while the EA500 stays in its lane and doesn’t disrupt anything. So, tight and clean, textured and punchy or boomy, full, resounding and impactful.

The Mids​

The midrange of both sets has their own charming qualities. The EA500 has the more forward mids with a more natural take on this region. The Topaz on the other hand is dense in lush tapestry with velvety cleanliness that has depth and weight. Shimmer and levity and resolution goes to the EA500 while the Topaz is completely in-offensive and completely smooth with lush timbre. The EA500 is more technical on almost all fronts and perhaps this is where we can start to see it pulling ahead for good.

Up Top​

The treble region of the Topaz is much more laid back but still it is fantastic for a warmer presentation. It has body and a nicely softened attack edge and bite while remaining non-fatiguing all the way through. Whereas the EA500 is all energy all the time with details popping up everywhere. The EA500 has depth to the treble region that we really shouldn’t ever expect at this price and there is great natural sounding levity with a boisterous and vivacious character.

Technicalities​

Again, technicalities easily go to the EA500. From details to separation to soundstage the EA500 takes all prizes in this regard. What it can’t do as well is the fun factor when it comes to massive bass drops and bass guitar riffs. It can’t draw the emotion from a woman’s breathy voice as well as the Topaz and males don’t have the same full-figured sound with that type of weight yet remaining clean and resolute. Two different types and two different styles of tuning. This hobby is the best my friends. The truth is, I love both of these sets for different reasons and in my collection, they complement each other perfectly.

Is it worth the asking price?​

I would be very hard pressed to find another iem under $100 which punches above its price point quite like the EA500 does, in my opinion. I’d say there are a couple sets which truly play above their segment, like the Olina’s of the world and a couple others. Yes, this set can duke it out with the best of the best in its price point and could even take on pricier sets, and I say that without batting an eye. This of course all depends on if you enjoy this type of sound signature. The return on your investment here is almost unprecedented in the hobby when it comes to actual auditory joy. Again, you have to enjoy this type of signature. This can’t go unsaid.

Not everyone will be a fan of the ultra-energetic neutral/bright sound signature. In fact, if I reviewed this even two years ago, I’d say that the EA500 isn’t worth the money. So, everything has its caveats. Everything! There isn’t any one thing which is for everyone, except maybe new socks. If you don’t enjoy new socks, then… Well…chances are you are some form of an alien or something, you definitely aren’t human, that’s for sure.

Worth every penny!​

Yes, yes, yes, the Simgot EA500 is worth every penny! It is a holographic, fundamentally sound, technically adept baddie which is lathered in joy-inducing musicality and doesn’t entirely skimp on low-end rumble. It’s tight, concise, engaging to the core, it’s wide and deep, and it’s about as open and clear to the ear as anything under $100. I could’ve paired it against quite a few other sets. I was going to include the Truthear Hexa, Fiio JD7, Hidizs MS2 among others, but I don’t think it would’ve helped anyone. Of course, I could always go back and edit this review and add some more comparisons if requested. Yes, the EA500 is a bona-fide STUD which in my opinion easily sits in my ‘top 3’ of best under $100. Simgot, you certainly outdid yourselves and you are single handedly upping the game of every company in the hobby by releasing iems at the caliber they are at in the price segment they are at. Great job.

The full review can be found HERE

Ratings (0-10)​

Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles. In the case of the EA500 I considered $50-$100 iems in any driver configuration.

Aesthetic ​

-Build Quality: 9.5

-Design: 9.5

-Accessories: 8.0

–Overall: 9.0

Sound Rating​

-Timbre: 9.5

-Bass: 9.0

-Midrange: 9.5

-Treble: 9.3

-Technicalities: 8.9

-P2P: 10.0 (Price to Performance)

Overall: 9.4

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Conclusion​

To conclude this lengthy review, I have to urge you all to try to get other perspectives of the EA500. I say it in every review that…we are all different, no two are perfectly the same. It is always good to seek out as many perspectives as possible. Everyone has different likes and dislikes, music libraries, hearing ability, and not everyone has been down the same journey as me. We are all different. I would seek out getting to know some reviewers that you feel you can trust and get to know their preferences. This will help greatly in a purchasing decision.

I have had such a great time during this review process. Personally, I feel that the EA500 could take on sets much pricier and is such a bargain at $79. Heck, the EA500 actually goes on sale from time to time as well. I honestly feel that you can’t go wrong here. Just a joy to have as part of my collection. Well, my friends, I want to thank anyone who has chosen to read my review here and I do hope it helps at least a few of you during your deciding process. Please try to take good care and stay safe.

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KZ ZVX ($18)​

Today I am reviewing one of the newest KZ iems, the KZ ZVX. I feel as though I review one KZ set after another and I’m okay with that. KZ has been upping the ante for all of the budget scenes for quite some time. I would almost say that KZ/CCA owns the budget space. They literally outdo themselves on a regular basis in the under $35 arena. Mobileaudiophile.com has reviewed a number of KZ/CCA iems and will continue to as long as they keep pushing them out. I want to thank KZ as well as Tyvan Lam for providing the ZVX in exchange for a feature on the website as well as a fair and honest review.

Once again KZ has stuck to their guns and kept the normal trend of naming their iems with random letters. I suppose it’s just something that we are going to always have to expect. I would like something a bit more personal and creative but, in the end it’s all about the music.

The ZVX comes in at around $18 and brings with it some newer tech with an all new “electric modulation technology”. I will explain more later but it’s pretty cool to see something new, especially in a set that almost anyone can purchase. I guess this is the beauty of a brand like KZ who brings affordable iems that truly compete at a high level in their respective price points. Another amazing quality of this set is the build quality and design, but I’m getting ahead of myself and will certainly cover everything later. So, without further ado… The KZ ZVX…

Full Review can be found HERE​

Gear Used ​

–Ifi Go Blu
–Moondrop Dawn 4.4
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra

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Packaging​

The packaging is completely utilitarian in all ways and only serves the function of transporting the ZVX from A-to-B. Really, KZ never has gone strong on their accessories game or their unboxing game. The box is quite literally the same ultra-budget box we’ve seen forever from KZ. This is not a complaint at all either. I love the fact that KZ decides that the money should all be put into the earphones themselves. With that said I suppose I can enlighten you on what you will receive upon purchasing the ZVX.

The box cover (sleeve) simply has a printed picture of the ZVX, as though it was hand drawn. There is some verbiage speaking about nanoscale tech and a few sentences in Chinese. Nothing to write home about. Take off the sleeve and you are met with the ZVX earphones sitting nicely in a couple cardboard cut-outs. Also in the box is another box which contains the 2-pin cable and the eartips. That’s about it, nothing too crazy to report.

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Cable​

The cable provided is the same KZ cable which comes with every set that you get from them. It has a QDC style 2 pin connection with a right angle 3.5 single ended jack. The cable itself is a high purity OFC (Oxygen Free Copper) cable. My unit does not have a mic and control button, but you can purchase this set with a mic’d up cable. Supposedly you can completely control playback using it. I wouldn’t know as I never use mics. The cable isn’t bad, it works, sounds fine. However, I did swap cables for my balanced sources to a Youkamoo 8 core silver plated copper cable. I will cover this later, but I do think it pays to add more power to the ZVX and a balanced cable was able to provide that.

Eartips​

Oddly enough, KZ went and added three pairs of foam tips with the packaging, and that’s it. Very strange. In my opinion the foam tips do not do this set justice. They are of decent quality and can be used for other earphones. I actually decided to use KBear 07 tips after I went through many other sets trying to find what tips best suited my preference. I think the 07 tips did a wonderful job of bringing the upper midrange a titch more forward and the bass seemed to hit with a little more slam.

Build / Design / Internals / Fit​

Build ​

It used to be unheard of to see an all alloy iem under $100. Well, now we are seeing this type of build material for under $50 quite regularly. I say that but rarely do you see an all-metal build of this quality under $20. That is what KZ did with the ZVX. The ZVX is a decently heavy lil guy as there is some weight to this solid feeling iem. The entire Shell is die-cast, CNC, grinded, polished, electroplated and lasered to clean up any of the rough stuff. This thing is a tough set at this price or any price. It’s a beast.

You will also notice the QDC style 2 pin connectors are actually angled in so to help with fit and to more naturally sit in one’s ear. All things considered it seems that KZ thinks of most everything anymore and it is cool to see the little stuff being added to make the consumer happier.

Design ​

The design is pretty cool as the shell takes on a normal iem shape, but KZ added a notch cut-out on the shell area which gives the ZVX an odd but also pretty slick look. The ZVX comes in either silver or black, obviously the set I was provided is all black version. The ZVX has a semi-open back structure with three parallel slots can be seen which are covered in metal mesh. The only thing I wish they wouldn’t have done was add writing on the Faceplate. KZ added “KZ Acoustics” and “Dynamic Tech” which I find a bit cheesy. Just leave it plain, leave it simple. You don’t have to add little messages on our earphones. Without the writing this is a very modern looking and slick looking set. I suppose I can get over it.

Internals​

The ZVX shells house a 10mm Dynamic Driver with what KZ refers to as a 4.8-micron thick diaphragm. This is said to improve vibration sensitivity without losing any finer details. I suppose that makes sense in theory. The ZVX does not use typical damping for the tuning of this set. Instead, they went with their new electronic frequency modulation technology, commonly referred to as a “Zobel Network” which helps the ZVX to not lose sensitivity due to typical tuning using dampers. KZ can fully control and adjust the output of the full frequency band. You see they are using an actual electronic circuitry which alters the impedance of the dynamic driver and thus tunes the entire full frequency. I don’t completely understand it and haven’t dived deep on the understanding of it, but I know it works… Very cool. KZ is doing some great things with even their most entry level iems.

Fit​

The fit is absolutely perfect for me. The design and build is very ergonomic. It was almost as if the design was done using my ears. The truth is, I have zero idea if this set will fit you at all but as for me it is wonderful. Of course, I find very few iems don’t fit me well. As far as isolation goes, it’s about the norm. It’s not like a Shure brand set or something similar which is designed for stage use and needs to attenuate outside noise. There are some sounds squeezing through and there is some sound leakage as well. I don’t think it’s so bad to annoy anyone unless they are quite literally right next to you.

Drivability ​

The ZVX can be easily driven from most any source. I was able to bring them to good volume simply from my IPad 6th gen. I wouldn’t call that ideal as it’s not a very great sounding unit, but I was able to. It’s best to actually reach for a decent Dongle Dac to power this set. I used my Moondrop Dawn 4.4, and it sounds fantastic with the ZVX, like it was built for it. Whatever source I used; I found the ZVX to have pretty good synergy with most of those sources.

I used the IFi Go Blu for an entire day out and about and I was in bliss with this set up. The slight warmth and dynamism of the Go Blu with the open sound of the ZVX struck a perfect symbiotic harmony that was great. Using the AK4493SEQ dac chip and the powerful amp circuit of the Shanling M6 Ultra however was once again the best way for me to listen. Something about those velvet chips with that undeniable amazing resolution I just felt like I was listening to a much more expensive set of iems.

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Quick Sound Impressions​

So you are all aware, I did burn the ZVX in for about four days of straight pink & white noise as well as different tones and I am pretty positive it helped quite a bit. I would recommend doing so. Of course, I half question whether it is just in my head as I was reviewing other sets in the meantime. Anyways, it never hurts.

The ZVX is a more open sounding Harmanish style tuning iem with nice energy throughout the spectrum and great balance across the spectrum. In fact, I am quite surprised to hear a KZ with such nice balance. What I found with the ZVX is fantastic timbre for a set which costs under $20 US. The bass is pretty tight with a nice attack while there is an atmospheric decay which is neither fast nor slow. The midrange comes across forward and melodic and not artificial at all. Note weight and clarity are really nice in instruments, as well as male and female vocals. The treble region is not too forward yet still having enough liveliness to lighten up the entire spectrum with good extension past 8k. I am very surprised at what I am hearing. A very well-tuned set that certainly trumps most any other set in the price point in my opinion.

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Bass Region​

The bass region of the KZ ZVX is certainly pronounced, and most of that emphasis is centered in the sub-bass. What I hear is a tight and transient quick sound down low with moderately definite note edges. Definitely not pillowy or hollow. The attack edge is slightly softened but still represents a great presence and natural energy. Surface texture is there with decent layering down low as well.

Sub-bass ​

The lowest of the lows comes across rumbly and colored but not to any detriment at all. I perceive the sub-bass as pretty quick, with a very realistic timbre and a deep enough rumble to represent most genres very well. Songs like “Groove” by Ray Wylie Hubbard is one track that I use to simply hear that guttural haptic buzz down low. Thankfully the ZVX doesn’t disappoint and gives the rolling bass riff a wonderful playback to my ears. It’s deep, it’s agile with great pacing as the transient attack/decay/sustain seem to keep stride and stay organic while doing it. The best part is the timbre is great and not overblown but still robust and weighty enough to give a good substance to the song.

Mid-bass​

The mid-bass is less elevated than the sub-bass with a pretty kempt, tight and clean slam while also providing only slight warmth to the midrange which in turn keeps the mids clean. Nothing is overdone on the ZVX, and this includes the mid-bass as the slam here has a moderate oomph to it. The mid-bass is nothing even close to basshead levels, yet it still provides enough of a robust sound to replay songs like “Heatwaves” by the Glass Animals. The bass drop comes quick and thus whatever you are listening with must entertain the speed or else the sound simply won’t be right and not nearly as satisfying. Good news because the ZVX does a fantastic job of rendering the bass here. There is a depth to the sound and some meat to it which is nice to hear.

The low end is not the most inordinately colossal in its quantity, yet it isn’t bass anemic either. It isn’t the most authoritative or boomy but in the same breath it isn’t wooly, pillowy or soft either. What it does have is a very nice timbre which comes across naturally with enough concrete texture and rumble while not cloaking the rest of the mix in mud. This is a well-tuned bass.

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Midrange​

The midrange on the ZVX is very well composed for a set costing under $20 US. What we have is a compelling liveliness that has a natural note weight and tonal structure. I’m not saying it’s the best thing I’ve ever heard but I am saying it’s pretty darn good when you pan out and look at the ZVX as a whole. The Mids are clean, resolution is great, and the imaging is spot on.

Low-mids​

The lower midrange is where the majority of male vocals are located in the frequency spectrum. For the most part males are forward in their presence and well-articulated. Vocal weight sounds correct to me, and timbre comes across organic and lifelike. “I’ll With Want” by The Avett Brothers comes across stark in transparency and cleanliness as the lead singer’s tenor sound shows off with good resolution listening with the ZVX. No weird timbrel issues and nothing metallic or Grainy. His voice has a soft crispness. Yes, those are two opposite descriptive words but is true, nonetheless.

Slightly deeper lead singers like the lead in The Steel Woods in a song like “Run on Ahead” comes across with textured imagery. His grizzly voice has an organic density to it while note weight is again… natural sounding. His voice can easily sound grainy and not very tailored around the rest if the instruments around him, but the ZVX seems to nail this.

High-mids​

The upper midrange comes across, you guessed it, naturally. There is sufficient weight yet at the same time there is a nice resolution that permeates this region. Females have a smidgen of shimmer to them as the sound is mostly neutral with just a pinch of luster. The sound is lush and smooth and very structured in its attack and release for an ultra-budget iem.

“High” by Caitlin Smith shows off the versatility of the ZVX as her voice is soft and subtle to begin the song but moves into a ballad type performance in the chorus section. The ZVX does this woman’s amazing voice great justice. What I found awesome was that the ZVX was able to keep up with the chaos in this chorus section and it didn’t just melt down into a veiled and blurry mess like most budget sets. “Everyone at this Party” by Camila Cabello is another that shows the transparent nature of this area. Her voice has that velvety rasp which actually comes across very smooth with note definition which is edgy and crisp. The emotion in her voice is captured nicely all the while keeping that neutral and organic sound.

Instrumentation within the mids​

Instrumentation and voices seem to have nice separation within a decent sized stage for this price point. Strings may sound a hint thin at times, but they are still nicely textured. Percussion such as snares have that pointed pang yet may also come across a hint thinner than perfectly natural. The fundamental meat within a cymbal strike has nice enough body but may sound a hint splashy. However, all things considered I have to remember that this set costs $18 and for that price it has a silly good performance. If I could add or take away anything I would like to see a bit more shine in the upper midrange. Not that the ZVX is lacking at all, however in a perfect world I’d like a hair more pep.

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Treble Region​

The treble comes across lifted and transparent with nicely manicured note outlines that are as snappy as they are smooth. Perhaps a bit thin but not without very nice pacing and timing. Transient attack edges are mostly clean and crisp as they seem to decay nicely as well. A lot depends on the recording of course, as well as the source but using the Shanling M6 Ultra I find the treble delivery very high in resolution with a nicely smooth yet still very detailed presentation.

For the most part the ZVX is a pretty non-offensive up top. Basically, you won’t get any of those really harsh peaks which have shown up regularly in the past. Times have changed and so has KZ as they have really begun to dial in what they put on market. The ZVX seems like the culmination of many years and many attempts by KZ to try to perfect their budget single DD treble areas. They strike a nice balance between lifted and airy treble as well as smoothly structured and forgiving treble. I have yet to hear anything that was grating or stinging to my ears on the ZVX. Possibly some may want a bit more of an analytical and dry treble with a bit more luster but in my opinion, I think that KZ did a fantastic job when I look at the sound all together.

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Technicalities​

Soundstage​

The stage size is about average to me. Left to right is panning is appropriately wide, as well as nice dimensions in height, but nothing colossal. Depth is nice and a bit better than most at this price. I look at the stage as a whole and what I get is a nicely presented stage that paints a nice mental picture. So, it isn’t some massive coliseum but seriously folks, these are iems. Very few iems give me that grand impression in stage size. Also, those iems are typically more expensive. What I absolutely need is a stage that makes sense and doesn’t feel cramped or lopsided as it has to sound appropriate to the recording. You can rest assured that the KZ ZVX doesn’t feel small or cramped at all and replays my music library very well.

Separation ​

One bright spot with the ZVX’s sound is its ability to partition off elements of the stage. Separation of instruments and voices is very well done using my gear. Many times, while listening I can pick out most everything within a track. The only issue I find the ZVX having is in very congested tracks, and I do mean VERY CONGESTED. Bad recordings can be an issue as well here. Other than that, separation of instruments and voices is great.

Imaging​

As far as imaging goes… the ZVX nails it. Left to right pans the sound image very well and the same goes for front to back. The stage may not be enormous, but the structure of the sound field is legit good for the price. I suppose we can chalk this up to the nice transient behavior with a speedier sounding driver as well as the more balanced neutral tuning etc. All in all, the ZVX does a nice job at creating a psycho-acoustic image that doesn’t take away from my listening sessions.

Details​

That balanced tuning which comes across cleaner and that warmish-neutral sound coloration does a good job leveling the playing field throughout the frequencies to illuminate some of the minutiae. Now, is the ZVX a detail king? The answer is no. I say that, but I am impressed at the ZVX’s ability to take a dynamic and fun sound and still bring some of the small stuff to the surface. I certainly wouldn’t say the ZVX is detail deficient. Let’s put it this way, I do think one of the “Pros” of the ZVX is its ability to render details. In fact, it’s probably better in this regard than most iems under $20. Still, there are some big hitters in this price point that specialize in their detailed performance.

Comparisons​

Note: Due to time restraints I was only able to complete one comparison at this time. I will add a few more in the coming days. Please forgive me. I will add the QKZ X-HBB as well as the 7HZ Salnotes Zero.

CCA Lyra​

The CCA Lyra was one of the pioneers within KZ/CCA’s voyage to really dial in their budget tunings. The Lyra is a single Dynamic Driver ultra-budget set that is easy on the eyes and tuned very well. I would say it is one of my favorites in this budget range. However, does it stack up to the ZVX?

Low-end​

Beginning with the bass, the Lyra and the ZVX have about the same emphasis in this region. To my ears it sounds as though the Lyra has a bit more of a sharp attack edge and just a small amount less in sub-bass haptic buzz. The Lyra offers the slightest bit harder slam as well. The ZVX is a pinch smoother in this area but really these two don’t sound much different from one another.

Midrange​

Both sets offer midrange performances that come across cleanly, but the ZVX does have the better resolution. I would say it’s a more refined version of almost the same exact tuning. There really isn’t much more to say about the midrange. If anything, I would say note weight is ever so slightly thicker on the ZVX and the Lyra has a bit more shimmer in the upper midrange. The ZVX has better note definition while the Lyra comes across a little Grainier. Please don’t confuse me, I am not saying that the Lyra is necessarily grainy either.

Treble​

As far as the highs go, the Lyra has a little more elevation in this area plus a hair better extension to my ears. The ZVX just sounds much cleaner overall with better body to instrumentation in the treble area. The ZVX is smoother and again it has better note definition. There isn’t some monumental difference, but the ZVX simply sounds like a proper upgrade which comes across very subtle. However, in the world of audio that might as well be a mile apart. Details do come across a bit better on the Lyra but again we are talking about miniscule discrepancies.

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Ratings (0-10) ​

*All ratings are judged by the price point as well as design style (bullet, hybrid, singleDD) listed above and all are very much subjective to my taste. Please keep in mind that a “5.0” is exactly average per the price point. In the case of the ZVX, the price point ranges from ($10-$25).

Aesthetic​

Build: 9.5 Build Quality per the price point

Design/Style: 9.0 Cosmetic/Aesthetic look & appeal

Overall: 9.3


Sonics

Timbre: 9.5 Timbre & tonality

Bass: 8.5 Bass quality per the price point

Midrange: 9.0 Midrange replay as a whole

Treble: 8.8 Treble replay as a whole

Technicalities: 8.5 Stage/details/Imaging/separation

P2P: 10.0 Price to performance

Overall: 9.0​

Is it worth the asking price?

The ZVX is certainly worth the $18 that KZ is asking for. In my opinion, up to this point, with the KZ sets that I’ve heard, I do believe the ZVX is one of the best sounding they’ve made. It is also built like a tank, durable, looks pretty cool and is comfortable. This is a no brainer for anyone who is in the market for a balanced and natural sounding iem who simply doesn’t have enough to go to the next price point.

I think KZ is on an upswing and trending in the right direction. Now, we don’t want to hype this product, but I must say that it is very well tuned, well composed and really a great value at only $18. I am not exaggerating when I say that I am impressed with the sound and have reached for the ZVX simply for the joy of hearing it in leisurely listening. Which is saying something. A very well imagined and well created ultra-budget iem that sits easily in the top of its class.

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Conclusion​

To conclude I have to thank KZ and Tyvan Lam for providing the KZ ZVX for a fair and honest review. I have to also say that receiving a product from a company in no way diminishes my integrity and my review will be exactly my own thoughts, nothing more and nothing less. I will always give a big kudos to any company brave enough to subject their products to the scrutiny of a review. It simply means that they believe in their product, and I think that’s great. So, thank you KZ.

Well, there you have it. Another KZ iem, another ultra-budget banger and another review is in the books. Please take in other thoughts about the ZVX from other reviewers with possibly other perspectives. I realize that $18 is cheap for most but in the same breath $18 could be the only gift one can purchase for an entire year. These are the people I want to help to get things right. They too should be able to hear the best audio possible for their dollars. Listen to, read or watch other reviews because not everyone likes what I like, has the same music library, has the same gear and not everyone has been down the same path I’ve been down in audio. We are all different and the more perspectives the better. With that I want to thank the reader for visiting the website. Each click of the link to our site means a lot to us. Please be safe and take good care.

KBear Storm ($16) ​

Intro​

Today I am reviewing KBear’s latest ultra-budget segment iem, the “KBear Storm”, courtesy of Keephifi. I’ve actually reviewed quite a few ultra-budget sets of late and was pleased to be asked to check out the Storm. I want to sincerely thank Keephifi for providing the Storm in return for a fair and honest review. Obviously, this doesn’t change any outcome of how I rate the Storm and I wasn’t provoked or coerced in any way to change my speach regarding the Storm. So, thank you. Okay, the KBear Storm…

KBear​

KBear is a constant in the “chifi” space. Earphone after earphone and advertisement after advertisement get displayed upon many Facebook group walls every week it seems. I have reviewed a few KBear iems of late, namely the Qinglong, Rosefinch, Dumpling, and the Ink among others and each has their own particular tuning. No two are very much the same. KBear does a great job of appealing to different tuning styles and they always seem to add their own stylish flare to their iems. The Storm for instance has a sleek design which would seem to attract a younger audience and I do feel they have done a good job seeking out fresh designs. With that said, let me put my reviewer hat on and try my best at explaining the KBear Storm…

Purchase the KBear Storm HERE from Keephifi.

Gear used​

–Ifi Go Blu

–Moondrop Dawn 4.4

–iBasso DX240 with Amp8 MK2

–Shanling M6 Ultra

Full Review can be found HERE

Packaging​

The box as well as the Contents of that box are a very simple and budget affair. For $16 you can rest assured that you will most likely be getting the bare minimum as far as accessories are concerned. Sure, enough this is the case here. The box is a very small one with an outer sleeve which has three different Storm iems in each of the different Storm colorways and each are imposed in line with each other. Take off the sleeve and you are met with the earphones themselves. Under the earphones are two baggies; one baggy is for the eartips and one for the cable. You also get some amazing reading material. That’s about it, pretty basic.

Eartips​

For $16 I think KBear went above and beyond what most companies provide with their ultra-budget sets. You are provided six pairs in total, both sets run in Large, Medium, and Small. The first set is a dark gray and fairly common in the industry. These tips have a narrower bore that I don’t think really helps the Storm as far as sonics are concerned. The next pair is a white shallow fit wide-bore set that I think does the Storm better justice. At times during this review, I did switch out for KBear’s own “KBear 07” tips but spent the majority of my time using the included wide bore tips. Both included tip sets have nice rigidity to the flanges and both seals pretty well.

Cable​

KBear added a 2-pin Litz braided, 3.5 single ended, 4 core silver cable which terminates with a 90-degree jack. Not a bad cable by any means. Surely it is better than what we used to get at these prices. There aren’t any microphonics that I can hear, and the cable is malleable and easy to deal with. I should add that for any balanced sources I did switch out the included cable with an Fdbro 16 core SPC cable. I found no great difference sonically from cable swapping, except the fact that more power through a balanced source does help.

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Build / Design / Internals / Fit ​

Build Quality ​

The Storm is a feather-light pair of universal iems made with a hard plastic material and are of a well-constructed budget quality. Plastic covers almost the entirety of the units from the 2 pin connectors all the way up to the nozzles. The nozzles themselves are actually made of brass which is a nice touch. They have a deeper fit with a taper at the base of the nozzle and comes off at an ergonomic angle for a deep fit. I actually had to go an eartip size under what I normally use. I see no misalignments, and everything is free of glue or discrepancies. Truthfully this set is about average in build per the price point. The 2-pin connector is a QDC style connection so if you are going to upgrade this is good info to have.

Size / Fit / Isolation ​

The Storm is very lightweight and feels like absolutely nothing in the ear. I also wouldn’t call them uncomfortable either as they aren’t too overly large in size. In fact, it’s actually the contrary in my opinion. I feel the Storm is very comfortable and offers no ear fatigue at all. To that, I received an excellent fit and seal with the Storm. I would say that they have an average ability to block out external noises and there is minimal sound leakage as well.

Design​

I quite like the look of the set that I was given. Mine is a smokey black colored set. KBear also sells the Storm in a few other colorways, deep purple, transparent purple and transparent smokey black. The Storm does have a sleek look that is completely transparent and so putting them under the light will reveal the Internals, like the driver and wiring. I suppose the Storm are not too flashy and are simpler aesthetically, but I think they are pretty cool looking.

Internals​

KBear chose to go with a single Dynamic Driver with a strong magnet using a PU+PEEK Composite Diaphragm. This driver promises a high-resolution listening experience with high level timbre. I don’t really know what a high level of timbre is, but I’m guessing that KBear believes that the Storm will provide a very natural and organic sound. I suppose we shall see.

Drivability​

The Storm is very easy to drive to a good fidelity and auditory joy. I’m quite positive that you will have zero issue driving this set from a simple cell phone. Rated at an impedance of 32-ohms and a sensitivity of 108 decibels, the Storm worked great from a decent Dongle Dac. Using either the IFi Go Blu or the Moondrop Dawn 4.4 on balanced actually did begin to open the Storm up. Separation increased, bass tightened up as well and the perceived stage size increased. The Storm seems to do well with more power, to a point. Using the IBasso DX240 or the Shanling M6 Ultra yielded the best results but anything past medium gain started to cause some issues. So, a decent Dongle Dac will suffice and even better if you have a balanced Dongle dac or dap to drive the Storm.

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Quick Sound Impressions ​

The KBear Storm has a warm tonality with a large emphasis in the mid-bass as well as the upper-mids/lower-treble with a roll-off occurring just past 8k with some sub-par info in the upper-treble. Most certainly we are looking at a fun V-shaped sound signature which is slightly darker sounding and laid back while it hits pretty hard down low.

The Storm has around a 10 dB bass shelf which peaks out in the mid-bass area and slowly rolls-off through the sub-bass. The lower-mids are forward and warm with decent energy but for the most part it does come across a bit veiled with a more laid-back upper midrange for female vocals. The treble is also more reserved, less energy and smooth with some peaks in the lower treble at times. The Storm is a mostly non-offensive set and great for genres like hip-hop, EDM, R&B, among others. Truthfully it does well on many genres.

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Bass Region​

The KBear Storm most certainly has an elevated low-end which center around the mid-bass and extends pretty far into the lower midrange. There is a slight roll-off of the sub-bass as well. From most graphs we are looking at around a 10 dB bass shelf which hits with deliberate impact. Close to basshead territory.

Sub Bass​

The sub-bass has a pretty deep growl and does give a good vibration though not at the level of the mid-bass. I hear a sonorous rumble that does well to bolster the low-end with certain genres which cater to a deeper sub-bass. All in all, it’s not bad. Not the quickest as there is a subtly lingering decay which creates a nice atmosphere. “Paradigm” by The Head and the Heart growls at me nicely.

Mid Bass​

The mid-bass is the focal point of the bass region. There is a healthy dose of slam as the Storm hits hard with satisfying bass drops. Kick drums boom with a nicely resounding thud. Honestly, I can’t find anything too troubling with the mid-bass other than it will likely be too much for some. This is a fun tuning and isn’t meant to appeal to audiophile appetites. “Cane Suga” by the Glass Animals begins with this light jingle but soon comes a heavy bass drop… and this is where the Storm shines. The sound is full, quick enough to not sound sloppy and there is enough authority in the sound to get my head bobbing. Leading edges to notes aren’t as concrete as I’d like but for the price I can deal with a layer of fuzz.

Midrange​

Lower-midrange ​

The midrange is mostly recessed. I also don’t hear much refinement in this area. Sure, male vocals have a warm nature to them from the spill over of the mid-bass, but they don’t have that resolute forward sound that draws me in. “I Walk Alone” by Chase Rice off his newest album, his voice does come across rather clean, but his voice is also pushed back in the field of music as there is a missing energy and fullness that I like to hear. Note weight is on the average side as well.

This is a V-shaped sound and so stuff like male vocals do take the backseat to the bass region. Does this make it bad? Absolutely not. Males simply aren’t very forward and pronounced and don’t carry an authoritative and resolute sound. I found that most tenors will react quite differently as some can come across sharp and more knife edged depending on the singer or track. So, there is a hint of more forward energy as you move up in pitch and tone. Instruments also share in this slightly tweaked sound with a hair more of a warm glaze over the sound.

Upper-midrange ​

Females come across more shimmery than males yet not shimmery in general. Females are also recessed but have a more defined note definition and more luster than males. “Everything I Didn’t Say” by Ella Henderson begins with her vocals out front and center and her voice should slightly resonate more forward in the sound field. Her voice should be rather melodic but also thick and textured with a hint of shine to it. She has a great voice. However, with the Storm her vocals simply sound further back than usual. Not an issue at all. She doesn’t sound bad on the Storm but simply a hint more attenuated. She comes across clean and with nice resolution but warmer and more laid back than many iems of late.

“Sensitive” by Meghan Trainor on the other hand shows how that pinna gain in the upper midrange might cause a bit of glare as well. Her voice has this knife edged and processed digital sound at the leading edge of her vocals, especially during the chorus. So you get either warm and laid back or mildly peaky and accentuated depending on the track and who’s doing the singing.

Preferences… ​

This is not a rebuke of the Storm at all, it is a nice sounding earphone, but it may not be everyone’s preference and I don’t think it fits all genres perfectly. This is a fun sounding, B-Boy style tuning with a penchant for big bass riffs, warm and heavy bass drops and an altogether hip-hop style. I think they did a nice job for what KBear was going for. Is it my favorite tuning? Um no. Does the world cater to me and what I like? Again… No.

Also, I don’t want to call the midrange veiled but there is a laid back and warm nature to the midrange which comes across as a veil or a haze over the region. Still, it isn’t bad at all. I love a more vocal centric iem with a nice rise in the bass region but clean and clear vocals. The Storm is not that. Again, is it a badly tuned midrange? For me it isn’t tuned very well. Perhaps not the most detailed and transient quick either and separation can lag a bit on some tracks.

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Treble region​

The treble region certainly is emphasized in the upper-mid and lower-treble area which can be a hint peaky on some tracks. Yet at the same time there is a slight early roll-off up top. All things considered there is enough of a rise to promote some macro details. The treble is thinner, yet it’s also warm and not as resounding and vibrant as I think it needs to be and gives the entirety of the Storm’s replay a warmer hue. Of course, this gets exaggerated on a warmer and smoother source. Using something like the Moondrop Dawn 4.4 did help offset the warm tuning to a degree.

Secondary harmonics of cymbals and hi-hats have a decent trail-off which proves the Storm does have decent extension past 8k. I simply hear a warmer sheen to such instruments. The treble does come across a bit dry, and thinner, while providing “acceptable” detail retrieval for “such a tuning”. I would like to think that anyone purchasing the KBear Storm wouldn’t exactly be seeking out details in their music. The Storm has a specific type tuning which does well for what it is and at the low cost of $16 you simply cannot go wrong. However, if you like a neutral climate with a more uplifted and lustery treble or a more analytical style than I have some other sets which fit that bill. The treble is certainly laid-back, at times a bit peaky (in the right situation) in the upper-mids & lower-treble, but for the most part is a non-offensive treble.

Technicalities ​

Soundstage​

The stage size of the Storm doesn’t exactly bring upon stadium sized visions but more like a small room. It’s warm, intimate and it’s about what I was expecting. We have seen some pretty impressive ultra-budget iems which do stretch the stage a bit but the Storm is not one of them. A titch below average width, average height as well and not a very deep stage. I don’t say this as a horrible thing either. Nothing about the Storm’s staging is out of whack or not appropriate to the music I am listening to. It simply isn’t as wide or deep as some others as it’s a little more intimate than average per the price point but not horrible.

Separation / Imaging ​

During the course of my listening with the Storm I noticed that its ability to separate elements in a stage is pretty good, to an extent. When listening to a more congested track the Storm did blend the sound quite a bit. This is not a surprise as most budget sets take on the same results. However, less intensive music will replay very nicely with a well partitioned off sound image.

Imaging kind of follows the same trajectory. Not bad but also not really great either. The depth of layering is not the vastest and the stage is a hair more confined and so naturally imaging and layering take a hit. Still, at the end of the day this is average. As it should be. You’d have to be paying attention to hear the difference and most likely anyone who picks this set up probably isn’t too worried about spatial cues.

Details​

The Storm has some issues when presenting details, namely the tuning. Like I said earlier, if you are purchasing the KBear Storm for its ability to present the subtleties within a track, well, I’d say you didn’t read any reviews. This is not that type of tuning. With that said, resolution is pretty nice, driver speed isn’t horrible either which does present a decently resolute replay within a warmer canvas. This translates to decent macro details. However, the really fine stuff, the finer details, the micro-details, the stuff that gets looked for in critical listening has a bit harder time being illuminated to the surface. This should not be a surprise. The Storm is tuned in a fun, bass emphasized and non-offensive way.

Is the Storm worth the asking price? ​

This is an easy yes. Of course, it is. This set costs $16 and is a good change of pace ultra-budget iem that can be used when you just want that BASS! For some people this set will be a no brainer and for others it will never find a place within their collection.

The Storm is truly a preference driven buy if you ask me. It is not balanced across the mix but what it gives a person is a colored head-bobbing listen that is great for the right situations and for some very popular genres nowadays. I realize that most of this review seems to contradict my resounding “yes” to the worth. That is because I have to put on my reviewer hat and judge this set on its auditory abilities across the board. However, I think that KBear was actually very successful in producing an earphone that does what it was supposed to do. If I was judging this set for its ability to make my toes tap… It would get some high marks for $16!!

Ratings per price point- ($10-$25)​

*All ratings are judged by the price point listed above and all are very much subjective to my taste. Please keep in mind that a “5.0” is exactly average per the price point.

Aesthetic​

• Build: 7.5
• Design/Style: 8.5
• Overall: 8.0

Sonics​

• Timbre: 7.3
• Bass: 8.5
• Midrange: 6.5
• Treble: 6.0
• Technicalities: 6.0
• P2P: 8.5 (Price to Performance)
• Overall: 7.1

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Conclusion​

Well, there you have it, I just reviewed a budget friendly iem that has its place amongst the loaded sea of budget iems. A 7.1 rating in the “Sonics” category isn’t horrible at all. Let me remind you that these are all my subjectively objective thoughts which may not align with your own. The whole point of these reviews is to help the buyer make a decision and to give me the opportunity to write about what I love.

One more thing, please read, listen to, or watch other reviews so you can make a better educated decision. Within the vastness of the audio’verse $16 is considered ultra-budget however, $16 may not be a lot to some people but to a whole lot of people that is a ton of money to spend on a hobby. Most people who are on hard times don’t have the luxury of “hobby” money. So, let’s try to get it right. Not everyone has the same likes and dislikes, audio gear for listening, hearing and not all of us have been down the same audio journey, which makes a huge difference in how we review a product.

I want to again thank Keephifi for providing this set to me, I am truly grateful. I also want to thank anyone who decided to read any word that I write about the Storm. Each and every review takes quite a bit of time and I do hope that it helps at least someone in making a purchasing decision. Thanks for reading, take care everyone and stay safe.

Soundpeats Capsule 3 Pro​

Soundpeats have surely come a long way. Not that they weren’t always a leader in the tws budget sector because they most assuredly have always had a nice stake to the budget pie. What I am noticing is that the quality is raising across the board with Soundpeats products to new levels, which really puts the noose around the necks of other tws manufacturers. Today I am reviewing the Soundpeats Capsule 3 Pro or “CP3” as I will call them. The CP3 comes equipped with many features, is dope looking and even sounds good too. I will obviously elaborate quite a bit more as we carry on with this review.

I want to take a moment to thank Soundpeats for their kindness in offering three different units for review at mobileaudiophile.com. Those being the Soundpeats Mini Pro HS, the Air3 Deluxe HS, and the set I am reviewing here, the Capsule 3 Pro. I do provide a link below for the purchase of the Soundpeats Capsule 3 pro, but I must add that I am in no way affiliated with Soundpeats and make no monetary gain in any way by reviewing this set. I’m simply glad to help out a company who was very kind and if posting a link helps, well …I’m happy to do it.

Amazon purchase link HERE

Early bird pricing below:

20% coupon plus 10% off code: QG6UCCG2

I have been a fan of Soundpeats for quite some time and have personally owned a number of their sets. One of my favorite tws iems at any price is the Soundpeats H1, which I still own. I was thrilled to be able to check out this newest Soundpeats tws iem and I will absolutely give my most honest impressions whether good or bad. Let’s get on with the review, the Soundpeats Capsule 3 pro everyone….

Packaging​

The CP3 (as I will call them) come in a smaller box which is pretty understated, which I have zero issue with. After all, I don’t listen to the box. Anyways, again, Soundpeats opted to put a young man on the sleeve cover who has obvious model features. Of course, this young man is completely expressionless with an almost annoyed look on his face. Soundpeats, please hire me to approve any designs for any new upcoming tws packaging, trust me, you will be glad you did. Just shooting my shot. Again, I don’t really care about the artistic expression of the box but… It does make me chuckle. Obviously, I am joking. So, the box has some good info on it relating to the performance and features of the CP3, but I will explain those things further later on. Plus, I realize not a soul on planet earth cares about the box. Also, just look at my pictures.

Take off the sleeve and you are met with a completely black flip top box. Open it up and the very nice-looking case will be staring back at you, wrapped in plastic. A small box above the case holds a very short and basically standard usb-c charging cable as well as the tips and both come in standard plastic baggies. Other than that, you will find some reading material, button layout instructions… some other really exhilarating stuff here. I was joking on that last statement by the way.

Eartips​

The provided tips are actually not of bad quality which is not the norm in the tws world. Most of the time the tips which come with tws iems are almost unusable. In this case they aren’t bad at all however I did find that the only size which worked in my ears were the largest pair. Unfortunately, these eartips are extremely shallow fit, so if the earbuds themselves don’t hug your ear perfectly than I’m afraid getting a seal may be hard for you as well. So, the provided tips are of great quality but in terms of use on the CP3 they may be a hindrance depending on your year’s anatomy.

What tips I used…​

One huge plus is that the case actually gives plenty of room for 3rd party eartips. Please trust me, this is fantastic and refreshing to see. 85% of tws cases within the hobby give little room for any tip changes which, quite frankly I cannot stand. I went through a number of tips. Kbear 07 tips did well, Final E-tips worked nicely but what I landed on was a set of ultra-wide bore shallow fit tips that are pretty common in the Chi Fi world. I have zero idea where I got these, but they have a very firm flange which makes for a fantastic seal on the ear opening. These tips seemed to open up the CP3 the best and brought the mid-bass a little closer to the ear while adding some depth to the sound to a degree. The included large size is good to but slightly less stable in my ear.

At first, during my tip journey I tried to find the longest tips. Due to the shallow fit of the CP3. I figured I’d find a pair that could really get in there. The Final E-tips and Fiio vocal tips from back in the day both were able to get further in there. Both are longer and extend further into the ear canal. However, one thing I noticed was that the bass all of a sudden was impacted. Greatly. It sounded as though the fundamental sound of the bass was much further back in the presentation. Like, way back. This was odd to me because normally it is the exact opposite conclusion. Anyways, switching over to some very short and shallow, firm flanged wide-bore tips brought everything closer. More dynamic, more open and more decisive in note delivery after I made this discovery. Just my experience but I do hope it helps.

Case​

The charging case which houses the CP3 is a great case at this price point. Really. First off, it is built really well. Nothing in it is flimsy and shoddy. Nothing is chinsy either. The case opens and closes nicely, with a quality hinge. The plastic used is pretty robust and great for the price of $69. It isn’t some ultra-premium feeling and ultra-premium looking case, but it is very nicely built and looks nice too.

Second, this case provides 52 hours of battery life. In case you didn’t know, that is fantastic. Not needing to worry about charging is a nice feeling. Just pop the CP3 in the case and they begin to charge relatively quickly.

Third, the case is a good size. I love the fact that the case slides right into the tiny jeans pocket that all blue jeans have. That is where I always store my tws iems and please trust, I go nowhere without them. The case is smooth and oval shaped and not too wide which enables it to simply slide right in. Lastly, the case looks nice. You have an indicator light on the front and a nice bronze colored Soundpeats logo placed on the back in a classy way. It’s all good.

Build / Design / Internals / Fit ​

Build Quality ​

Soundpeats chose a nice feeling plastic for this set. You know how some plastics feel of low quality, cheap, not durable? Well, this isn’t that. The CP3 feel sturdy, precision cut, molded to an exact form and done so in a class and bold manner. The CP3 feel solid. That is a great thing. The stems aren’t ridiculously long at 33mm in length. Also, the earphones are not heavy at all and actually feel very light in the ear. Truthfully, they are very comfortable. Soundpeats added three mics to each earpiece. One is a feed forward mic; another is a feedback mic as well as a mic for talking. These help for clear calls. All things considered the CP3 are built well for the price point.

Design​

What a catchy looking set of tws. I love the bronze-on-black two-toned colorway. On the stem is a bronze looking metal mesh that runs most of the way down the stem. The actual touch surface is the Soundpeats logo at the top of the unit. It has to be hard to design these tws iems as there is an ocean of them out there in the world and to come up with a fresh look is saying something. These are fresh. From the bronze mesh oval nozzle to the stems, the CP3 have a distinct and bold design language that is very well laid out.

Internals ​

The CP3 comes equipped with a massive Soundpeats custom made 12mm full frequency Bio-Diaphragm Driver. Also, Soundpeats opted for the quality SOC chipset WUQI-WQ7033AR. Which is actually an impressive chipset which is able to run Bluetooth 5.3 as well as audio output of 990 kbs using LDAC audio codec as well as quite a few other impressive specs. More on that later. The CP3 also house a good-sized battery as well as three AI ENC mics.

Fit​

The fit is a funny subject that will change between listeners. Truthfully, I don’t even know why I always add this to my reviews. For me, the fit is great. The main body of the CP3 sit perfectly within my ears and once I found tips that fit me, all the rest was history. I have zero idea how these will fit you, but the design is done in an ergonomic way.

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Features​

SOC Chipset / Audio Codecs​

Again, Soundpeats decided to use the WUQI-WQ7033AR SOC Chipset inside of the CP3. This is a fine chip which carries LDAC, AAC and SBC Codecs. So even Apple people will not feel left out. The CP3 can reach up to 990 kbs on LDAC which is as good as it gets for the most part. The CP3 can also replay at 24bit/96khz as well which is fantastic to see at $69. There was a time when LDAC within a set of tws was unheard of and thought to be impossible but now we have it in $69 earbuds. Awesome.

Hybrid ANC​

The CP3 do have a very well-done Hybrid ANC which is promoted to attenuate up to 43 db’s of sound. I can concur that the ANC is very well done. Now, I did have to update the firmware to achieve this ANC so I’m hoping that future sets will ship with this update intact. Anyways, the ANC really does a nice job of covering over sounds like the drone of an air conditioner. In fact, I am in my office right now with an AC running and I cannot hear it even slightly. Higher pitched sounds are simply dampened a bit, but they are not blocked out. Really any sound that is a low drone, the hum of an engine and very likely plane engines will be almost fully canceled with only the faintest of hum in the background. For $69 I am very impressed.

Transparency Mode (Pass-through) ​

The CP3 also comes equipped with a transparency mode which does a fine job. It isn’t perfect however as the sound is a hint tinny but for the most part is natural to the ear and works like a charm. You can toggle the ANC, Transparency mode, and Normal mode by simply holding down the left earpiece touch surface for a couple seconds.

Game Mode (Low Latency) ​

I was glad that Soundpeats added a game mode to the CP3 repertoire. Game mode is simply another way of saying low latency mode. Truthfully, I really haven’t had any lip-syncing or lag issues. Videos always seem to be spot on and even more so with game mode turned on. The toughest thing for tws to get right are games and more specifically first-person shooter type games which have plenty of action going on. The CP3 fares pretty well as I didn’t find gunshots to be too far off at all, even in the commotion of a battle scene. Soundpeats advertises the game mode to lag at as low as 70 ms, which if true, it is humanly impossible to notice any of that lag.

Soundpeats App​

The Soundpeats app (I use Android) has come a long way. Thankfully Soundpeats realizes how important a good app can be for us consumers. The app which correlates to the CP3 gives you many options. You can upgrade firmware through the app (don’t forget to do this right away). There is also a 10-band equalizer which is very effective at switching up the sound to your liking. Personally, I don’t use eq for reviews, but I did play around and the CP3 does very well in reaction to EQ. Soundpeats also offers 9 preset EQ settings as well as the custom user EQ. One huge plus is the fact that whatever setting you choose it will save to the buds themselves. You can also toggle between ANC, Transparency mode and Normal mode as well as toggle on or off game mode. Finally, you can check the battery status of each Earbud. It isn’t the most in depth app, but it is exactly what we need. Very nice.

[IMG alt="Soundpeats EQ
"]https://i0.wp.com/mobileaudiophile....dpeats-App-2.jpg?resize=1812,2176&ssl=1[/IMG]

Battery Life​

The CP3 have a lot going for them. The SOC chipset is really a great chip, in that, even though I am using LDAC, with ANC on, it is advertised to still give you 4-5 hrs. of battery. Without using these battery eaters, you get around 7-8 hrs. Each earbud has 35 Mah which is pretty good considering that the buds are not that large. Somehow Soundpeats cram a lot of tech inside these housings.

So, not only do you get decent battery life on the buds, but the case also has a 500 Mah battery which enables 52 extra hours. This is one area that will always be an issue with tws iems…Battery Life. The CP3 are pretty good considering that LDAC alone is a battery hog, couple that with ANC and you are still receiving 4-5 hrs.…not bad at all. Now, I haven’t tested this myself, I simply don’t have the wherewithal for that endeavor. I will confirm that listening for a full day in my office while periodically throwing the CP3 back in the case lasted days before I even thought about charging the case.

Call Quality​

This is one area that matters to me on a professional level as I do many Zoom meetings and calls. Thankfully I have buddies that I can ask about how my voice comes across and I have only heard that my voice sounds clear and clean and natural. Of course, I don’t think these people are critically listening trying to spot weaknesses in the sound quality, but I haven’t heard anything negative. I ask my wife the same, and again the quality was very nice.

Touch controls​

The CP3 did what I wish all tws manufacturers would do and that is make all controls available using either touch or push-button commands. You have complete control of music playback as well as full volume control, voice assistant and ANC/Transparency controls. The touch surface is very snappy to react albeit a bit sensitive. You may have a couple ghost taps every now and again. Personally, I like push button controls but as far as the implementation of the touch controls on the CP3, I have no complaints.

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Quick Sound Impressions ​

Note: I want to quickly make mention that I do not use EQ when reviewing tws iems. I may occasionally clue the reader in to how well a set reacts to EQ, but I want this to be an almost right out of the box review. I have a hard time not including what this set can sound like with some addition or subtraction of db’s at specific spots in the frequency. For the CP3 I used the “Soundpeats Classic” preset which is what is used out-the-box. Also, I listen using either Uapp or Poweramp using all stored music.

The CP3 has a warmer tonality which is pleasing and never harsh. Considering that the CP3 is $69 I’d say the sound quality is pretty darn nice. I do hear a V-shaped sound with a deep enough sub-bass response. The mid-bass drops off a hair early but still has ample weight to bass drops. The CP3 can bump Ya’ll. The midrange is mostly clean and clear and without any bass bleed which leaves the lower mids as close to pristine as a $69 tws can get you. Females have good energy and are certainly more forward sounding than males. The treble has decent body with enough energy to add some levity to the mix.

Each area of the spectrum has some minor flaws and most of those relate to the tws technology itself. Honestly, I enjoy when I’m out and about with some tunes jamming out in my ears as the CP3 does all the work. Really a fine set for the price.

Volume Level​

A few other things to make mention. One thing which drives me nuts is the low volume on 75% of tws. The CP3’s volume is not the highest, but I can still reach top volume with a pinch more headroom to spare. Using UAPP I normally have to listen at 95/100, which, I believe is a Uapp thing. Using Poweramp I am normally around 80/100. Another thing is the tonality has slight changes when toggling between ANC, Normal mode and Transparency. Keep in mind these aren’t major changes.

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Bass​

Sub-bass​

The sub-bass has a relatively sonorous and mildly deep haptic reverb that never overwhelms the mix. The leading edge is slightly on the softer side with less ‘Feel’ to the sub-bass rumble. However, it is a nice sub-bass section that comes across decently weighted. Alot depends on tips and positioning of the CP3 in your ears. Still, I am not missing anything at all in the lowest of lows as there is certainly more than enough for me and for most genres.

Ashley Monroe‘s track “Home Sweet Highway” begins with a deft and boomy bass drop that encompasses all of my head space normally. However, with the CP3 you get a good tactile texture yet without the rotund and growling meat down low. I don’t hear anything sloppy at all and nothing infringes on any other frequencies while at the same time I still hear a nicely weighted and clean delivery.

Mid-bass​

The mid-bass has a bass-tuck much like the Truthear X-Crinacle Zero or the QKZ X-HBB Khan. In fact, the CP3 follows both of those graphs almost perfectly in the lower regions. Thus, the mid-bass is not the beefiest that I’ve ever heard and reacts how the graph would Indicate. The bass-tuck takes away some of the dirty growl of a bass-guitar and the CP3 doesn’t have the most slam in this area. However, what it does have is a clean nature which stays in control mostly and never impedes on the midrange. Leading edges are snappy enough to represent many genres just fine. In my opinion the mid-bass does more well than it doesn’t. Also, again, this set is $69 and also…it’s a tws! When all is said and done, there is a very open feel in the bass region which comes across clean enough and hits with just enough authority.


I believe that bass heads may be on the fence here. It’s like the CP3 allllmost gets you there but is simply missing the fullness to the sound. The problem is, not on every track. Some tracks have that guttural and full sound that booms and others simply… Don’t. Basically, if a track calls for it than you will get just that out of the CP3. It is slightly colored but for the most part the CP3 will replay exactly what you give it. I love bass, I need good bass and for me I really am not missing anything. I suppose I always keep in mind that this is a set of tws and it’s under $100. Let’s Put it this way, compared to similarly priced tws I’d say the CP3 is doing just fine in the low-end. Also, the CP3 take to EQ very well as you could easily EQ this set into a basshead set if need be.

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Midrange​

Low-mids​

Male vocals come across in a crisp and tidy way while remaining warmer. Note weight isn’t anything to write home about but it isn’t deficient or brittle either. I’d say it’s sufficient but also males have a clean texture to them with a hard edge to notes. I’d also say that for a tws the resolution is decent in this price range. Males have a crispness like I mentioned which comes across fairly resolute to the ear. Male voices don’t have that rotund weight from the bass region like some sets, this of course is due to the bass-tuck or roll-off of the mid-bass. Still, what that tuck accomplishes is leaving the Mids very distinct, kempt and tidy with a nice tonality.

Upper-Midrange ​

Females have a nice shine to them and are very transparent. There is a thinness that I hear, but I am not calling them “overly thin” by any means, just a tad dry. Females are more forward than males and come across with almost a knife edged note outline. Resolution and clarity are nice in this area as well.

“Mariana Trench” by Gabrielle Aplin has a nice timbre to her voice. She does sound a hair thin, but her voice is melodic on the CP3. Using LDAC, female voices like Gabrielle’s are energetic enough while not coming across recessed or too veiled. Thankfully I did not hear any sharpness or glare as Soundpeats leveled off the upper mids before anything grating took place. While females aren’t the fullest or bodied, they are crisp and forward enough to highlight a woman’s voice nicely.

Instruments like strings, piano or the fundamental frequency of a cymbal crash for instance, are a hair less energetic and highlighted. I say that but I would also say that instruments come across pretty naturally. Overall, the midrange has a pleasing tonality which comes across pretty musical and earthy and not as processed as some tws iems.

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Treble​

The treble region has some nice lower treble energy and then seems to drop off a bit leaving a lot of info attenuated to a degree. The transition from upper mids to lower treble is a painless task for the CP3 and there is a nice and pretty natural rise in this area. However, there is a roll-off around the presence region which helps to create a non-offensive tuning.

Case in point, “In Bloom” by Nirvana. This song should be so full of energy that you should be ready to turn the volume down at a moment’s notice. Using the CP3 I find myself not needing to. In fact, I added a few dB’s using the EQ. The treble region (using Soundpeats Classic preset) sounds like it is behind everything else in this track. I personaly would like some more energy up top. I could really use a bit more bite to the trebleHowever, I suspect that many will enjoy the non-piercing behavior of the treble region. Crank it up all you want and the CP3 will stay pretty well in control for a set at this price range. Treble heads will certainly be left in wanting with the CP3, however.

Info Up Top​

There is a peak around 15k which adds a sense of extension to the mix and does help to draw out some of the technical stuff to a slight degree but mainly the treble up top feels somewhat attenuated. Detail retrieval is actually decent. Secondary harmonics of cymbals are easily distinguished yet are somewhat splashy as well, depending on the track. Obviously, EQ helps even more and again, the CP3 takes EQ well enough to point out within this review. Out the box the treble is not the most elevated or crisp, but it is great for long listening sessions without any agonizing peaks to disrupt your favorite tracks.

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Technicalities​

The stage size has pretty good width to my ear. Not enormous but it is good. Height is well established too and there is a slight bit of depth. I should add that this is an area where most tws suffer. The CP3 is certainly above average for the price point. Imaging is well done on the CP3 as positioning is well laid out to the music being replayed. Separation of elements within an imaginary stage are rendered pretty well providing that I am not listening to a congested track. Details actually aren’t that bad either, considering this is a fun and musical tuning. The CP3 will draw out some of the minutia within my music and for a tws they are actually pretty good. No, the CP3 aren’t detail kings but you won’t find yourself lacking at all if you choose to pick up a set.

Is the Soundpeats Capsule 3 pro worth the asking price? ​

This is an easy yes for me. Absolutely the CP3 surpassed my expectations. For this type of build quality, this design, features and sound quality, all for only $69, please trust me… you should be paying more. I’ve tested too many sets to list and please understand that the CP3 are well worth the asking price. Just for features alone the CP3 is worth the asking price. Take a class leading ANC and couple that with very good build quality, call quality and a fantastic transparency mode and what you are left with is one of the better deals out there under $100. Soundpeats has been doing this for a long time and have really dialed in the budget models to compete with pricier sets. Especially when you look at the product as a whole, features, design, sound and price-to-performance.

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Conclusion​

To conclude my review of the Soundpeats Capsule 3 pro I again have to thank Ellen and Soundpeats for being as kind as they have been in sending out this set for review. Soundpeats never asked me to skew my words to upsell their units and they never put words in my mouth. They simply sent this pair for a fair and honest review and to me that takes believing in your product and is nice to see. Thank you so very much.

Please do not just take my word for it though. Please read, listen to or watch other reviews of the CP3. We all have different gear, hearing and even different likes and dislikes and so it only makes sense to gather other perspectives. With that, I thank you (the reader) so very much. I do hope this review helps you in at least a small way. Please take care and be well.

Rating (0-10)​

Build/Design- 9.5

Bass- 8.4

Midrange- 8.0

Treble- 6.5

Technicalities- 7.5

Features- 9.5

Overall Rating- 8.2

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Say hello to the TRN MT4. Thankfully I received this set from TRN themselves in exchange for a fair and honest review. Thank you very much for your kindness. I wrote a review some time last year of the MT4’s predecessor the TRN MT3. I quite enjoyed the MT3. It was a stand-out iem at an ultra-budget price and while there were some small issues, I couldn’t help but give it pretty high marks for how well it was tuned. Well now I have a chance to do the same with the MT4 and I gotta say, I quite like this set.

TRN is a mainstay in the Chi-Fi scene. A direct competitor to the likes of KZ, KBear and so on. If I’m being perfectly honest, I have really enjoyed the last few iems that I’ve had the chance to listen to from TRN. I absolutely adored the TA1 Max and still feel it ranks very highly in my “Best under $50” list (which I haven’t made). The ST5 is another set from TRN that I enjoy which is also a more recent set which made its rounds. I can only speak on what I have heard though, and I am somewhat limited in the amount of TRN gear that I’ve tested, but thus far I like what I hear. TRN represents price to Performance, and from what I’ve heard they really are dialing in the tuning of late. So, with that, let’s take a close look at the $16 TRN MT4…

Gear Used​

–Ifi Go Blu
–Moondrop Dawn 4.4
–iBasso DX240 with Amp8 Mk2
–Shanling M6 Ultra

Full review HERE

Packaging​

The box that the MT4 arrived in is a smaller box not much different from any TRN budget box. Just a graphic of the MT4 earphones on the cover with the name MT4 printed below. Pretty basic and not a lot of waste if you ask me. Inside the box you are first met with the MT4 earphones themselves as you normally do in this audio game. Under the Iems is a baggy for the cable and a baggy for the tips as well as some very compelling reading material. Not a lot to talk about or describe and I’m betting that not many people really care too much about this entire paragraph. Moving on…

Eartips​

TRN provides four sets of eartips altogether. You receive the normal TRN budget white tips in large, medium and small sizes. These tips are a narrow bore pair and honestly don’t really do the MT4 justice which kind of boggles my mind that these are the selected tips they hand out. Not saying they are bad tips as they are of good quality, they just don’t help the MT4 in very many ways. Oh well. TRN also adds one pair of their own eartips the TRN “T-Ear” tips in the medium size. I do like this set as well but I settled on my all-time favorite KBear KB07 tips that fit me like a charm and really bring a great sound to the MT4. I would advise using a wider bore or at the very least a semi-wide bore eartips on the MT4 as they feel less congested in staging as well as a bit more dynamically expressive to the ear.

Cable​

The included cable is actually pretty decent for an ultra-budget set. It is a 2-pin, white colored, braided, 4 core silver plated copper cable which terminates with a 3.5 single ended jack. Really it isn’t a bad cable at all, and I did use it for any single ended usage. However, I did swap cables for TRN’s very own modular cable which is almost identical to the included cable whenever I listened from my balanced sources. The modular cable I am using is very close to the included cable except it has a hint more girth. However, the included cable is not bad at all and a definitive upgrade from the likes of the KZ’s of the world.

Build / Design / Internals / Fit ​

Build Quality ​

I don’t see how you couldn’t be impressed with the build quality of the MT4. First off, you have a crystal-clear resin shell which perfectly shows the inner workings of the earphones. You can easily see the drivers as well as the wiring and so forth and I think it’s nice for this price point. The Faceplate is made from (in my case) a shiny silver and polished zinc alloy which is perfectly aligned with the shell. No rough edges, no burrs, misalignments or anything. I’m telling you; TRN created a very well-built earphone for a very low price. Another thing which is not at all normal for $16 is the brass nozzle as well as the quality metal grill. Great work TRN! I thought the MT3 was built well and the MT4 is no different.

Design​

I’m sure you could already guess what I’m going to say about how the MT4 looks. Yes, they did a fantastic job in the design of the MT4. The faceplates have a very cool oval within an oval cast within the metal and it looks very classy and understated. Very confident looking set if you ask me. The MT4 comes in two colorways, shiny silver and black (obviously mine is the shiny silver). No, the MT4 won’t win any design awards and yes, we’ve seen this type of design before but the quality you feel when they are in hand is undeniable. Very well-done TRN.

Internals​

TRN chose to go with the trending driver layout of adding two dynamic drivers. We have seen these many times over the last year in sets like the Truthear Zero, QKZ X-HBB Khan etc. It is only fitting that TRN decided they should do the same… but do it cheaper, and even use some nice materials. They went with one 10mm Dual Magnet Beryllium coated Woofer along with another 6mm Dynamic Driver for the upper frequencies. So, since beryllium was used, we should expect at least a subtle bit better response with a bit more tightness in transients. However, if you’ve been in the hobby long enough than you know that beryllium coated drivers at the cheaper levels rarely live up to the promise. Let’s hope TRN delivers.

Fit​

TRN did a very nice job at creating a very ergonomic shell of medium size which should fit most ears. As for me I get an absolutely bonkers good seal as the MT4 seat very well in my ears. I cannot say how the MT4 will fit you, but I’d venture to say that they will fit most very well. Isolation is great too as outside noises are somewhat attenuated and there is very small sound leakage. Again, well done for an earphone in this price tier.

Quick Sound Impressions ​

*Note: Understand that I am judging this set per its price tier. Basically from $10 – $35. I will use words like “great” and “excellent” or even the opposite of those terms and I will use them within the context of the price point as well as other iems within that price point. My ratings at the end should be looked at in that vein. We are looking at ultra-budget here people, this set in no way takes on pricier sets ($50+) and guess what… it shouldn’t be possible anyways. Sorry, I had to get that out.

When I first listened to the MT4 I have to be honest, I wasn’t very impressed. I heard a pretty congested stage that sounded narrower to my ears, and I was instantly not too thrilled. It sounded almost too dampened, slightly veiled and not that crisp. Bass had an almost semi-dense pillowy attack as well. I wrote a Facebook post describing that they were basically…Okay-ish.

Being that the driver material is coated with beryllium I knew that the sound would change with some time in usage through burn-in or listen-in. Sure enough, after a 48-hr. burn-in it did seem to help. Less congestion, less veil, tighter and gripper bass region. No, it didn’t sound like a completely different earphone, but the change did make a difference in how it will be reviewed, that’s for sure. So, take my advice and burn these in, or at least keep from judging them too harshly before they log some playing time under their belts.

So, what do they sound like? ​

Okay, on to the sound. The MT4 comes across as a slight V-shaped sound, just left of neutral. Call it warm/neutral maybe. There is a decent sense of musicality here for an iem costing under $20. The bass is pretty dynamic and deep but not quite bass head levels. The MT4 comes close to it though, with a tighter reverb that doesn’t sound too sloppy to me.

The midrange to me is neither forward nor too recessed. Males come across husky and warmer with a natural type of timbre. Definitely they have good weight. Female vocal energy has nice form, but I wouldn’t call them thick, they are simply good. There is a slight semblance of shimmer to a female which comes across in my music on certain tracks.

The treble region could use a bit more energy for me, but I would not call it lacking. There is a subtle amount of bite in the treble and even decent extension. Technicalities like detail retrieval are actually decent as well. Stage size is very nice compared to previous models and all together the MT4 has a nicely represented sound in my opinion…For the price that is.

Drivability​

The MT4 comes in rated with a 22-ohm impedance and a sensitivity of 115 dbs. so it can be driven to good volumes and fidelity by almost any source. Of course, I should state that I haven’t tried to drive the MT4 from a cellphone due to the fact that I don’t have a cellphone with a 3.5 jack. However, I don’t think it’s an issue.

Synergy​

I did notice that the MT4 doesn’t get along with all sources. The Ifi Go Blu did not have that synergy that we strive for. For instance, the overall sound became very confined, and a lot of air was sucked out of the replay. However, using the Moondrop Dawn 4.4 the MT4 just came alive and really jived with the Dawn’s CS43131 Dac Chip. Much of this review was written using the Dawn actually. The Dawn is very crisp and closer to neutral and certainly counters the MT4’s warmer and smoother sound signature. Using a better source will certainly make a difference.

With either the iBasso DX240 or the Shanling M6 Ultra, I was pleased with how the MT4 paired with each. The DX240 did however present the more open sound as it uses an ES9038 Pro Dac Chip which is one of my favorites within a Dap. For iem’s with a slightly warmer and smoother tonality this pair is awesome. The DX240 is like a much more refined and dynamic Dawn 4.4 in my opinion. So, for anyone interested in the MT4 I would probably make sure that you aren’t using a source which is on the warmer side of the aisle. Also, I’d imagine that as far as power goes, using a decent dongle dac would be perfectly fine.

Bass Region​

The bass is as I’ve already described; deft, full and pretty darn close to basshead levels. However, I do stop just short of that delineation. The bass is fun, relatively textured, and quick for the quantity. To be honest I like the sound here as the bass hits with a nice and compact form for an elevated bass region. For a set at this price the bass has some roundness, the timbre isn’t out of whack, and I hear a satisfactory haptic rumble down low.

Sub-bass​

“Groove” by Ray Willie Hubbard begins with a guttural bass guitar riff that’s meaty and grizzly. Coincidently the MT4 also sounds guttural, meaty and grizzly replaying it. Definitely juddering enough to feel it and the pitch is deep and growling. Good extension too. No, it isn’t going to rumble your eyeballs loose, but it does come across with a nice tactile and textured vibration. Sub-bass on the MT4 is not a hollow resonance only affair, there is a sense of matter, or a sense of density. At least enough for me to enjoy.

Mid-bass ​

“Heat Waves” by the Glass Animals comes across as it should on this set. There is a nice note edge in attack which is perceived to be rather tight for the amount of emphasis that TRN tuned the MT4 with. This song begins with a little studio jingle which all of a sudden abruptly drops the bass on you and the MT4 handles it very well. The leading edge of the bass is pretty coarse and defined as the fundamental bass-note definition is rotund and full. “Elevators (Me & You)” by Outkast is another nice replay. I’ve heard this song a thousand times and I like how the MT4 sounds appropriate to the song in that there is that compact boom that you should hear during this legendary bassline.

Bass guitar comes across forward, full, sometimes gravely and growling depending on the track. We see enough of a mid-bass rise and sub-bass depth to provide a sonorous enough and tactile sounding bass guitar. Kick drums have a decent roundness with an echoed thud that can boom when called upon. Snares have a decent bodied “pang” as well. Baritones have that deep resonance for the most part as well. I’m not saying that the bass down low is life changing, we are talking about an iem which is under $20. Still, there is a nice rise which is done so well for the price.

In a nutshell…​

All in all, the bass is good for a fun tuning. I don’t hear anything even remotely soft or pillowy by $17 standards. The mid-bass does bleed into the midrange a bit, but I don’t think it has an adverse effect on the mids at all. Of course, some are used to the more common bass tuck nowadays will notice that the low-mids may not be as clean as the replay on other 2DD sets which are tuned to separate these frequencies a bit more.

Honestly, I think the MT4 sounds just fine and could easily be considered “bass head” by many people, I’m sure. For me it’s close… but not quite. The bass is elevated to a nice level that makes for a fun sound. What the bass doesn’t do is muddy up the whole of the mix in a frequency wide blanket of murky veil. I think it adds just enough warmth and heft to add-to certain frequencies. Just enough to thicken up some vocals and add body to certain instruments.

[IMG alt="TRN MT4
"]https://i0.wp.com/mobileaudiophile....MT4-Pics-1-22.jpg?resize=1024,768&ssl=1[/IMG]

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Midrange​

The midrange has a decent warmth to it with average clarity compared to sets around its price. No these aren’t tuned to have crystal clear and ultra-resolute vocals, but they do come across not too recessed and with good note weight and average resolution. They certainly aren’t drab, dim or clouded in auditory haze. The MT4 is tuned fun with accentuated lows and highs but they in no way left out the midrange. The mids are a mostly non-fatiguing affair with a smoother replay to my ears. Note definition is not bad at all either. There is a certain transparency, and nothing comes across too veiled to me. Fundamental frequency of a cymbal crash is nicely bodied, piano sounds a touch less vibrant than natural, strings come across pretty natural too.

Low-Mids ​

Male vocals have a warm tilt without sounding too muffled or drowned out by the bass. In fact, I like what the bass adds to males from baritone to tenor as they have decent authority while still coming across weighted and fuller in body. Resolution could be better, and it isn’t the cleanest delivery ever but for $16-$17 the MT4 sound perfectly fine for my music library. “Where I Find God” by Larry Fleet comes across sharp as his voice naturally has an edginess to it which counters the MT4’s warmer & smoother sound. In fact, most males come across very nicely as the MT4 does well to provide a sense of mass or a nice heartiness to males. Again, resolution isn’t the best I’ve ever heard but timbre sounds just fine to me.

Upper-Mids​

Females sound a bit more forward to the ear then males with good energy. I hear nothing piercing or grating in this area as TRN stopped just short. Females actually have a sense of shimmer at times with good clarity and resolution for the price. For instance, Ella Henderson in “Everything I Didn’t Say” have a forward nature that highlights the inflection and cadence to her voice. Honestly her voice has an alluring quality listening on the MT4 with good coherence. “Skeletons” by Suzannah sounds nice on the MT4 as well. Her soft and silky voice seems to just ride the wave of the melody surrounding her vocals and the MT4 captures this. Shoot, this whole song resonates on the MT4 so well.

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Treble Region​

Could use a bit more air​

It seems the treble is more of a supporting role. Slightly dull while adding just enough energy to bring some sort of levity to the overall sound of the MT4. Not necessarily veiled but simply a bit lackluster. Also, if I’m being honest…I’m being very-very picky over a set at this price point. Maybe I should add that I don’t believe these comments are hard ‘cons’ but rather a way of explaining what the MT4 sounds like. In the same breath, I’m pretty positive that some will look at this as a con.

Not good, not bad​

The treble is on the softer side and transient attack and decay isn’t overly rapid or anything. I would probably call the treble ‘slightly laid back’ but with just enough of an emphasis to at least add some sort of levity. I suppose I’d also say that the treble isn’t forced like some chifi sets of the past to add false resolution. Of course, still not enough to bring on a huge sense of air. Songs like “A Love Song, Played Slow” by Rachael & Vilray show this softer note outline but with a pretty nice timbre. Instrumentation has decent body and doesn’t come across thin or dry. Also, the MT4 does have pretty decent extension past 8k so as not to leave out a ton of information.

Also, detail retrieval isn’t completely abysmal either as the treble is clean enough to highlight some of the macro minutiae within a track. Certainly, this isn’t a budget detail king like some of the sets within the price bracket but the MT4 isn’t abysmal. The MT4 is just not tuned in such a way. It’s fun, V-shaped, bigger bass and not exactly meant for analyzing your favorite live tracks.

​

Technicalities ​

Soundstage ​

The stage size is actually quite nice as the MT4 does well to fill my mind space with a pretty wide layout. Height is a bit above average, and I do hear some depth to the music. Nothing groundbreaking or anything but better than average as a whole. Honestly it is also better than I thought. The MT4 does present a nicely contoured and round field of sound that I wasn’t expecting to hear.

Separation / Imaging ​

Separation is not the MT4’s strong suit as its tuning simply doesn’t cater to it. I would call this area if the MT4’s repertoire was about average. Not horrible but nothing that stands out. Imaging fares a bit better as for the most part the psycho-acoustic rendering of elements within a stage are placed well. Left to right delineation is easy to discern. This all may not sound like a ringing endorsement of the MT4, but we should also put things into perspective as well. This set is $17! I am not reviewing this set or judging this set by higher standards than the budget suggests.

Details​

Again, as I stated earlier in the review, the MT4 is not a master class in detail retrieval. The tuning simply is not one to draw out the subtleties within a track. The bass is a bit bigger, the mids aren’t ultra resolute and the treble does not have that controlled sheen that enables details to be perfectly loud and clear. This is not to say that it is bad either. Honestly, I like the MT4 as it is. I wouldn’t want a more dry and analytical tuning just to hear a more highlighted finger scrape on a guitar string. I’d much rather a set be tuned with a sense of musicality, which the MT4 happens to do just that. I think the biggest drawback is the fact that congested tracks sound pretty congested and blended. With that said, for $17 the MT4 is able to do pretty well in the detail department.

​

Comparisons​

*Note: Any comparison that I complete is not a duel to the death. I really try to simply point out differences so as to explain the device which is being reviewed. I don’t always succeed at that. One more thing, I will only use quick and vague explanations to quickly point out differences because taking the time to break everything down would make this review ridiculously long and drawn out. It is already a long read. So, I do hope it helps. Remember, these are only my opinions, and you know what they say about opinions. Each comparison takes about 45 minutes to an hour depending on how closely aligned they are, probably closer to the former.

TRN MT3 ($15)​

The TRN MT3 release last year was one of those which took on a life of its own. I’m sure many of you in the Facebook Groups can recall the constant borage postings debating the auditory abilities of this ultra-budget set. I completed a review last year and I was up and down with this one. I can recap for you in a couple words… ‘Mixed feelings’. Some thought it wasn’t all that great while some adored it, some even modified it to fit their personal preferences, but one thing was pretty common at the end of the day… The MT3 is a good set for such a low price.

The MT3 comes fitted with a Titanium-coated Dynamic Driver and built to last. I have zero idea how TRN keeps costs down because the MT3 is a sweet looking set. Full metal zinc alloy, black, cool shell design and tuned pretty darn well.

Low-end​

Beginning with the low end I can tell you that these two sets are very similar in quantity, but it does seem that the newer MT4 is a bit of an upgrade. The MT4 has a slight bit more sub-bass judder but the difference is minimal. What stands out is the timbre and that the MT4 has a much more crisp and clean note definition and is more forward and dense. The mid-bass slam of the MT4 is also a bit more in quantity and cleanliness. Perhaps we are seeing the fruits of using beryllium as the driver coating. The MT4 hits harder, rounder, deeper and a bit more refined.

Midrange​

The midrange differences are pretty stark between these two sets. The MT4 is easily a step up from the earlier version. It is a hair warmer with more exact note outlines. The MT4 has the more forward midrange in both lower and upper mids as the MT3 is a bit more recessed. The MT4 has the weightier male vocal delivery as they come across more robust and fuller. Between the two, I would probably say the MT3 has the more convincing and natural timbre though. Females sound livelier on the MT4 while the MT3 comes across a bit thin and more distant.

Treble Region​

The theme persists from the upper mids through the treble region. The MT4 is fuller in note weight. Also, energy in the lower treble sounds as though the MT4 has a bit more luster. Now, neither is a treble Heads paradise and both could use some shine up top, but between the two the MT4 has the snappier sound. There is better energy listening with the MT4 as it simply sounds more fixed, exact and richer in sound.

All things considered…​

The MT4 has the larger field of sound, with a wider and deeper stage as a clear upgrade from the MT3. The MT4 has better layering abilities as well as better separation while both image pretty well for the price point. However, as far as small details are concerned, I think the MT4 reveals them a bit better. Neither set is detail deficient but the MT4 is just cleaner throughout and the livelier between the two. The MT3 is a bit flatter in sound and less round in presentation. The MT4 is the more fun set and is simply an upgrade across the board for me.

7hz Salnotes Zero ($20)​

The Zero was an absolute monster last year as it quite literally took the budget sector of the ChiFi scene by storm. 7hz chose a 10mm single Dynamic Driver for the Zero and it is one of obvious quality. Known for its clean and detailed delivery the Zero has been loved by many enthusiasts in the hobby. One could call it the benchmark at its price point for its neutral and high-resolution sound. This comparison will certainly be a preference battle between the two as they are different in more ways than they are similar.

Low-end​

The first thing you’ll notice right away is that the MT4 is tuned to be much more of a fun earphone with bigger bass in both the sub-bass through the mid-bass. It hits much harder, it’s more sonorous and easily the boomier of the two. However, that doesn’t make it better. The Zero has a much tighter and snappier bass region with a more tonally accurate replay while also having a hint more pillowy surface texture. That said, the MT4 is much punchier and deliberate in note delivery while the Zero has the faster attack & decay. The Zero handles the bass region in a cleaner way which keeps the midrange squeaky clean with decent texture accommodating more of a supportive role. Still, for its size and amount the MT4 isn’t exactly a muddy mess, it is very well done for a fun signature which emphasizes the bass. Two different deliveries and sound signatures. Preference battle.

Midrange​

Note weight across the mix has more heft in the MT4 while the Zero comes across leaner but with better resolution and smoother with a cleaner sound and tighter transient attack. Male vocals have more warmth on the MT4 and have more fullness to them. Listening with the Zero I hear an openness that the MT4 doesn’t have, albeit with less body, but also more natural to the ear and better detailed. Females follow the same trajectory. The MT4 is more forward, full and with a hint more shimmer while the smoother and cleaner Zero is more resolute and open sounding.

Treble region​

The treble of the MT4 comes across less neutral/bright than the Zero up top. I feel the MT4 could certainly use a bit more energy here while the Zero keeps it livelier. However, the MT4 has a smoother sound with more body in the treble region with just as good of extension as the Zero.

The Zero is dry, analytical, bright and with good technical ability for the price with air up top whereas the MT4 goes for the completely non-fatiguing playback. The MT4 isn’t completely lacking however, and while the Zero lacks bass, the MT4 lacks energy in the treble. I say that but on a small counter to that, stuff like secondary harmonics of cymbals is a bit splashy on the Zero with a tizzy and brittle nature while the MT4 they come across a bit fuller in sound. There are pluses and minuses on both sets, but I certainly think the Zero has the more sparkly and airy presentation. Again, this doesn’t mean it’s better. Some may definitely prefer a more laid-back approach like on TRN’s model, but we already know an ocean of people love the Zero. This is not a duel to the death here people, we all are different, just showing some differences.

All things considered…​

Boy are these two polar opposites or what? The MT4 is a fun, robust and a pinch warmer sounding iem while the Zero is neutral/bright, analytical, drier and more detailed. Both have their places in the hobby, and both compete well within their relative price points per their relative sound signatures. The MT4 seem to have a bit more depth in sound with a rounder approach at the sculpting of a stage and are certainly the more satisfying set if you enjoy a more colored sound. Again, the Zero have much better resolution and clarity, they are much better technically and really do jump price tiers for these attributes.

Is the MT4 worth the asking price? ​

This is an easy answer for me as I do believe that the MT4 is well worth the asking price. When you think about the price, the good build, the nice look, the fit and the musical sound of the MT4 it is an easy recommendation. TRN is doing good things with their budget lineup and certainly there is more to come. I think if a fun signature is what you are after at the under $20 price point than the MT4 is one to consider.

On the flip side, if you are after a more technically savvy replay with a neutral balanced sound than maybe the MT4 is not for you. Also, I should add that there are some absolutely fantastic sounding iems in this price bracket as well. That said, the MT4 certainly have their place within some of the better sounding iems in that same bracket. I think TRN created a nice sounding ultra-budget set in the MT4.

Ratings per price point ($10-$35)​

*Ratings range from 0 to 10

Build/Design: 9.0

Bass: 8.8

Midrange: 7.7

Treble: 6.5

Musicality: 7.8

Technicalities: 6.5

Overall: 7.7

[IMG width="625px" height="351px" alt="TRN MT4
"]https://i0.wp.com/mobileaudiophile....MT4-Pics-1-33.jpg?resize=1024,577&ssl=1[/IMG]

Conclusion​

I want to thank TRN for providing the MT4 for a fair and honest review. To be clear, I want you all to know that I was not provoked in any way to skew my review and have not been asked to say anything against my true feelings. I keep my integrity in-tact at all times as that means far more to me than review samples and keeping companies happy with me.

To that point, I want to give a round of applause to TRN for having the guts to put their product out there for an honest look. A review can go either way, good or… Not so good. I didn’t give an absolutely rave review, but I do believe it was ultimately a positive one. Of course, there are minor issues with the MT4, but all things considered it is a good set that I can rec. Also, to be fair, I shouldn’t really call the problems that I hear as “issues”, as the things I’d like to see changed are really subjective matters which are personal to me. The MT4 could be perfect for you. What I like to do is showcase a product as best I can and try to give a fair and informative look at the product so to help you, the reader.

Check out other opinions​

Also, please check out other opinions and reviews of the MT4 as I want you guys to know exactly what you are buying. Other perspectives help tremendously when researching an audio device. No two of us are exactly alike. We all have different likes and dislikes, different gear, our hearing can be different, and we haven’t all been down the same audio journey. So please, check out some other views and opinions. I say this in every review and do so for good reason. With that, I want to thank you so very much for reading any word that I write, it truly means a lot. Please take good care and thank you for reading.
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Fiio FH15 ($229)​

Intro​

I recently purchased the Fiio FH15 from Amazon US for $229 for the purposes of a review as well as my unending curiosity for what is out there in the great Audioverse. I am a blind buyer and I do not advise anyone to do the same. It doesn’t always end positively. Anyways, about the FH15, it is another in a long line of ‘FH’ series of iems. Fiio uses the ‘H’ in the name to define that this particular set is part of their ‘Hybrid’ line of iems.

Well, we shall see how Fiio’s newest hybrid fares against the ever-growing sea of quality iems within the price point. In all truth, I wanted to find out if the FH15 could best even some within Fiio’s own lineup. I want to thank anyone who chooses to read my thoughts and I do hope this helps you in making a purchasing decision.

Fiio is now what you could call a “storied company” as they have been around long enough and are certainly more successful than most. As for me, I have owned many Fiio iems and audio devices. One thing you can count on with a Fiio set is the fact that they will always strive to go ‘over the top’ with their quality per the price. Most of the time their tuning is pretty spot on as well. They have had some ‘not so great’ sets but have also had quite a few fantastic sets as well. Fiio seems to always bring a premium vibe with great build quality and a striking appearance with the majority of their iems. In this case, the FH15 is no different. With that, let’s get into my full review of the Fiio FH15…



Later Comparisons: Fiio FH5 / Aful Performer 5
Review can also be found HERE

Gear Used​

–Shanling UA2
–Moondrop Dawn 4.4
–Ifi Go Blu
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra

Packaging ​

Oh Fiio…you just know what we like. We like stuff and stuff is what you give. Let’s start with the packaging. The box is a larger rectangular shaped black box. Upon the box you’ll notice there is a sleeve. On the sleeve is a graphic of the FH15 themselves as well as an intricate blueprint type drawing of the Internals within the FH15.

Slide off the sleeve and you get the actual box which has a flip top. Open the top and there is some reading material. Under the reading material you finally see the gorgeous FH15’s in plastic cut-outs. Pick that level up and you are met with the carrying case, nozzle tuning filters and a very nice plastic case full of tips. Inside the carrying case is the cable along with the connectors, nozzle brush & mmcx tool. The presentation is very well laid out. In fact, not many companies do it better.

Carrying case​

The case provided is the exact same case you’ve seen a thousand times from Fiio. I expected nothing else. The case is similar to the popular Pelican style cases. This one in particular is made of very hard plastic and is extremely durable and watertight. These actually are very nice cases to throw in a backpack as your iems will never get crushed and will be perfectly protected anywhere you go. Not much more on the case other than it is always a nice addition. Of course, I have about ten of them now and truthfully, I don’t use any of them.

Tuning Nozzles ​

I always love to see tuning nozzles. I don’t really have a good reason for that except that I love to switch up the sound to suit my desired taste at any moment. As for the tuning nozzles provided with the FH15 you get a nice little stainless-steel slab with four holes which are all screw tapped so that you have a place to store the nozzles themselves. The tuning nozzles are either “Bass”, “Balanced” or “Treble”.

What gives? ​

I have to comment on this; I own the Fiio FH9 (My FH9 Review) and I complained about the tuning nozzles that came with that set because they are FREAKING TINY!! Fiio what is the deal?! They are so miniscule that simply screwing them into the slab is like prepping for surgery. I’ve grown up fixing things, I was a pipefitter, steel worker, welder and finally a Mechanical Integrity Inspector and I fancy myself very mechanically inclined. However, these filters are so small it’s hard to even get your fingers on them, let alone having to actually align the threads on the filters with the tapped threads of the base! Seriously Fiio?! Why would you add filters that are so miniscule? Okay I’m done…Moving on.

Change or no change?​

Anyways, the filters don’t make the greatest difference in the world. Yes, the bass filter seems to add some sub-bass judder, and the treble filter slightly opens up the lower treble region, and yes, the balanced filter is somewhere in between. That said, the difference is very slight between them all. I choose the treble filter only because the bass isn’t affected, and it does help to give a teeny bit more air up top. I don’t foresee myself changing back to the other two for any reason.

Eartips​

Fiio is awesome. Name another brand that just throws quality tips at you the way they do. In total you get 16 pairs of eartips. Three pairs of “Vocal” tips, two pairs of bi-flange tips, three pairs of “Balanced” tips, two pairs of “Bass” tips (basically KBear 07’s), two pairs of memory-foam tips and three pairs of Fiio’s “HS18” Vocal tips. Phew…That’s a mouthful. Anyways, I won’t go into detail about the tips, but I will say that Fiio only provides quality tips which absolutely help to dial in the tuning of your earphones.

I actually decided to use a different set of tips which seemed to work best for me. I went with a shallow fit wide bore eartip of unknown origin. You see them all over the chi-fi world and its likely you may have a set like the tips I have pictured. Anything to bring down the low end a bit and open these bad boys up will help, in my opinion of course.

Cable​

I love a good cable and love when I don’t have to purchase an extra cable. I love even more when that nice cable is a modular cable. First off, the cable that Fiio provides is a 152 strand Silver-plated Monocrystalline Copper 8 core cable with a Litz braiding.

Fiio provides both a 3.5 single ended jack as well as a 4.4 balanced jack which gets pushed into the modular housing on the cable and then screwed tightly in place. It is actually a great system for a cable such as this. However…

Fiio chose to negate the 2.5 balanced which I suppose is in line with the industry but if I’m paying over $200 for a set of iems with a modular cable… just add the 2.5. As if 2.5 balanced connections do not exist anymore… Fiio?? How much are you saving by not including said 2.5 modular adapter? Anywhoo, not a big deal, unless of course your beloved balanced source is 2.5! Instead, you have to purchase a 2.5 male to 4.4 female adapter when the 2.5 adapter could have easily been added for a couple measly bucks, Fiio… Do better. Honestly people, I don’t really care at all…Lol.

Moving on, the cable is very nice, but I do have some small complaints. First, the jacket which covers the cable is that stiffer plasticky material, it isn’t very soft at all. The problem is that there is some microphonics which occurs very easily every time the cable rubs against your shirt. Obviously when music is playing the sound is muted to a small degree but, it’s still there. Another thing I don’t completely enjoy is when rolling up the cable for storage it does tend to have a mind of its own. Like a spring there are times it just doesn’t want to stay all nicely rolled up and almost “PINGS” out of shape. That’s it. Those are my complaints. In truth it’s a very nice cable.

Build / Design / Internals / Fit ​

Build​

The Fiio FH15 is very well constructed and typical to a Fiio set of iems. Built entirely out of five-axis CNC machined aluminum, the FH15 is a bona-fide STUD in the build quality arena. Of course, this is a common theme with Fiio products. The FH15 however is the culmination of four years of tinkering in the build, design, as well as the internals. As far as the build is concerned the FH15 has a very solid, yet smooth and premium feel when in hand. Fiio added female threads to the nozzle to screw on the different tuning nozzle filters which I spoke on earlier. Also, Fiio did add red and blue rings around the mmcx connectors to help in determining which side is which. I’m sure that will help some newbies who may need it.

Fit / Isolation​

Fiio’s build team did a wonderful job of creating an almost perfectly ergonomic shape which sits perfectly in my ear. The Fiio team machined this set perfectly smooth and comfortable for long listening sessions. The shape is much like some older Fiio iems; the Fiio F9 and F9 Pro and the FH1. The FH15 really does sit perfectly in the ear which aids in getting an appropriate seal, at least for me. This also aids in isolation from the outside environment as the passive noise isolation is very good. Sound leakage is not an issue either as very little can be heard from others as you jam away to your music. I also really enjoy how light the FH15 are. Honestly, once this set is in your ear you will forget about them as they feel like nothing at all.

Design​

The FH15 is a fantastic looking iem in my opinion. Incorporating a Dragon Scale theme carved into the faceplates gives the FH15 a very bold, very masculine and very bad-ass look. The FH15 are all black except one golden colored ring accent which circles the dragon scale faceplates. Very dope!

Internals​

Fiio decided upon a four-driver hybrid system. That is, one 10mm Carbon based diaphragm dynamic driver to cover the low-end. Fiio states that the material used is 9 times harder than steel and ¼ lighter than beryllium. Producing the midrange is one custom Knowles ED balanced armature, while the treble is using two Knowles RAD balanced armatures.

Fiio patented designs​

Fiio also opted to use their patented S-Turbo design for the DD. This was a work-around that Fiio designed to get away from using a LC Low-pass filtering circuit which takes up quite a bit of space. This design reduces frequency response overlap helping to better divide the spectrum cleanly. Another design choice was a custom-built notch filter system which uses a Helmholtz resonator in conjunction with the mid frequency Knowles ED driver. Think of blowing air across the top of an empty glass bottle. The basic principle is capturing the air resonance in an empty space. The notch filter system adopted by Fiio is similar to this understanding. Said to improve the 1k through 4k area of the mix by giving denser mids, richer vocals and is meant to add more of a realistic timbre and weight.

Drivability ​

The FH15 is not a difficult set to drive at 16 ohms with a sensitivity of 112 db’s. Using 3.5 single ended on the Shanling UA2 the FH15 sounded very well composed and I truthfully saw no real issue sonically. In fact, the FH15 sounds great with lesser power. Now I don’t have a phone with a 3.5 jack so I can’t report how the FH15 sounds using such a device. I can tell you this, if you feed the FH15 from a better and more sonically gifted source, the FH15 will reward you. From the Ifi Go Blu, to the Moondrop Dawn 4.4, to my daps, the iBasso DX240 and the Shanling M6 Ultra, the FH15 sounded highly dynamic. I would say the FH15 does seem to scale to the quality of the source and not necessarily the output power.

Source​

I do think that better source pairing of the FH15 will make a noticeable difference. The FH15 is warmer and lusher and so finding a source which has a tilt to the neutral or analytical side does help the sound quite a bit. For myself, I found the best synergy with the more neutral Moondrop Dawn 4.4 as well as the iBasso DX240. My Shanling M6 Ultra isn’t overly warm but it does have a more robust low-end and it shows itself even more when paired to the FH15. I would simply be aware of that if this is a set that you are looking to purchase.

Quick Sound Impressions ​

The words which spring to the tip of my tongue when describing the Fiio FH15’s auditory ability are rich, full and BOOM. The sound of the FH15 is simply full. However, if I am to break it down a little further, I would call the FH15 a very hearty sounding, but rather light V-shape to almost an L-shaped sound signature. There is very good coherence between all the drivers as they melt into each-other very well. I hear a more natural sound across the spectrum minus the more colored low-end.

The bass is a BANGER! The FH15 hits hard and does so with good authority. The midrange has a very rich and weighted timbre that is more forward than it isn’t. The treble rolls-off quicker than usual with decent body and comes across nice and smooth yet also isn’t deficient in the details arena. If you want a full-bodied representation of your music then I may have the iem for you, with one caveat… You can’t be scared of lil bass. There are definitely some subjective issues that I have but all things considered Fiio did a pretty good job here.

Fiio says that they took some cues from the legendary Fiio FH5, as the FH15 is supposed to be a follow-up. I honestly don’t see it completely, or, shall I say, hear it. That said, in some ways the newer FH15 is a step forward or possibly a step back depending on what it is that you prefer. I will compare the two later on. That said, let’s take a look at each 3rd of the spectrum.

​

Bass​

Fiio added about a 10 dB rise in the bass section and it shows. On paper the FH15 definitely has a sub-bass emphasis but really the sub & mid-bass do well to share the spotlight down low. No doubt this set hits with deliberate potency. I hesitate to call this set a basshead iem because of the immediate stigma attached to the mantra but… the FH15 can bang! There is this unpliable and rigid density to the bass region that comes across nicely separate from the mids and highs. This is where Fiio’s patented “S-Turbo” tubing design seems to show its worth. Of course, the FH15 is not very well balanced with the rise in the low end which skews everything and tilts the replay to the warm side of things. Personally, I would’ve liked to see a few db’s less in this region but… I’m not everyone else.

Either love it or hate it… ​

For those of you who enjoy a bigger bass, then I would say you’d be hard pressed to find many better at or around this price point. For the large quantity, the FH15 is well in control as the bass is pretty agile and clean. However, if you value a more balanced approach with tighter and snappier bass then I would assume the FH15 isn’t for you. I suppose I can begin to really enjoy the FH15 when I listen to it… for what it is.

Now, if I were to draw out my perfect tuning, I would like a hair less bass rise down low but since it’s there… It isn’t hard to enjoy. Nobody ever said that this audio game has to be one thing or one “audiophile” template which all others should aspire to. I simply want you (the reader) to be aware of what you are getting here.

Sub-bass​

The FH15 has substantial haptic vibration with good depth and weight. “Elevators (Me & You)” by none other than Outkast begins with that legendary bass line… the FH15 does its perfect justice. Each bass drop hits hard but comes and goes relatively quick. It’s clean for its purpose. Its tight for its size. The sub-bass is dense with a well-adjusted transient response to my ear… PER THE TUNING. I find the sub-bass rumble to be very rewarding for Hip-Hop, EDM, Metal, R&B and even Pop, but it doesn’t fit all genres perfectly.

The sub-bass is perceivably dexterous and nimble yet hard layered. Like in the jam “Never Left Memphis” by Austin Jenckes. I can feel the bassline judder and jive through the melody with good cadence for its size. Or “I Love” by Joyner Lucas. The sound is so deep in pitch, which adds this other dimension to the bass. Very hard and solidified with a guttural thrumming when called upon and with very nice extension for fans of deep bass.

Mid-bass​

The mid-bass follows the lead of the sub-bass and really has a nicely rounded slam that keeps it very well in control. In “Billie Jean” by Weezer the kick drum is pretty tight, and it booms with depth and fantastic tactile surface texture. Nothing even remotely fuzzy or pillowy on the surface while the fundamental frequency of the kick drum is flat out bulbous and water-logged with density. This song on the FH15 has a hard-edged cleanliness that not all iems can duplicate. This is why I always use this track for my reviews. The FH15 really does well with this one.

Another good example is the bass guitar riff which begins the song “John Wayne” by Whiskey Myers. The FH15 is flat out angry on this track as it growls with purpose. There is this robust & gravelly-grunt to the sound that grabs my attention. There’s a very gradual decline from the sub-bass to the mid-bass which leaves plenty of presence for instruments like bass guitars, kick drums, lower snares as well as deep baritones etc. etc. I possibly would have liked to see the mid bass begin its roll-off a hair sooner with slightly less rise in the sub-bass, but Fiio did a decent job at presenting a bigger than average bass which sounds very kempt, tight and clean for its size.

Acquired taste ​

There are some downsides as well though, I am 100% positive that many will think this is too much in quantity. In fact, it is a hair too much for me at times. The bass can be over-reaching and almost coat the rest of the mix in a very slightly weighted blanket of warmth. The warmth added from the bass section cascades throughout the whole of the spectrum and without a doubt carries the greatest emphasis. I would almost call the sound L-shaped, but I do think it stops just short of that. Not everyone enjoys a warmer and heavier sound, in fact, the FH15 has been an acquired taste for me. I can stretch my love of audio to many different sound signatures, but I don’t think that everyone will share my enthusiasm.




The whole of the midrange on the FH15 is pretty forward with an almost wet and lush presentation. There is great body to all voices as well as instruments whose fundamental frequencies live in this area of the mix. This is not the most detailed mid replays I’ve ever heard, but it is very clean with okay resolution. You won’t hear anything dry or analytical or thin and you won’t hear any annoying sibilance either. There isn’t anything shouty or anything which would be considered glaring and peaky as I hear a more gradual pinna rise. You will hear a non-fatiguing midrange that still has good energy and presence. Yes, there is a warmer hue to the delivery but there is a certain charm to the sound that I enjoy.

Lower-midrange ​

Male vocals are very well sculpted. From baritone to tenor the weight of each voice is evident with great texture to those voices. The note definition is decent with clean lines and a robust sound. “Travelin’ Soldier” by the acapella group Home Free presents every different pitch of the male voice (5-member band) and I just think the FH15 nails them all. It’s just like I wrote earlier, from deep baritone to tenor, there is a certain life-like weight to go along with a smoother and richer sound. The intonation of the different male voices rising and falling to the melody shows off on the FH15, as each voice is rendered distinct and separated from each other. The baritone has that clean and deep droning crispness to his voice while the higher pitched males sound more slender and airier with a nice, contoured note outline.

Upper-Midrange ​

The upper midrange is where most female vocals are heard and with the FH15 there is a very musical and full nature to female voices. “Mariana Trench” by Gabrielle Aplin sounds fantastic. Listening with the FH15 I hear that well-articulated melody within her sweet voice. There is a light shimmer in her harmonics that never goes overboard, always stays in control and is very resolute. The FH15 catches the softness and the smooth character and gives off a fully emotional sound with depth and musicality. I realize it seems I am just throwing out different “audio” words, but the truth is, I’m simply describing what I am hearing the best I know how. Lush, smooth, clean, musical… I suppose I could’ve ended this paragraph with only those words and saved some digital ink in the process. That said, females sound great on the FH15.

As a whole… ​

The midrange is not one which caters to the finest of details and in my opinion that is its strong suit. There isn’t that dryness and thinness which detail oriented iems seem to invoke. Instead, I hear a melodic & rhythmic midrange with a penchant for the dramatic from a pretty quick driver that handles this area with lush finesse. I am actually surprised at how well the ED Knowles BA takes care of the mids. You have that thicker timbre with a nice marriage of smooth and crisp that makes the FH15 pretty agile and easy to listen to.

I should add that Fiio didn’t completely negate the finer details within a song. They are there and some tracks display them better than others. More complicated songs with more moving parts and commotion will obviously stress these drivers a bit but that goes for any set short of some well-done Planar iems. Or songs which have more pronounced low-end activity, the FH15’s bass region might blanket some of the minutiae. The FH15’s midrange is actually quite good at illuminating some micro details, especially for how this set was tuned, which certainly wasn’t to be a technical marvel. Mostly macro but at times… there’s some micro too.




The treble area is very easy going. Fiio did not overly emphasize this part of the frequency and I’m sure for many this will be a point of contention. Definitely this will not appeal even remotely to any treble Heads. However, the treble does follow suit with the rest of the mix in that it is very smooth and full sounding. What I don’t hear is that nicely energetic treble which could offset the low-end a bit more to add some levity and more air to the sound. Part of my issue with the treble region revolves around the puzzling idea to begin the treble roll off around 6k-7k. However, the dissent is a very gradual slope which still adds info further out. Just not as energetic as I would like, and I am sure that many people will feel the same.

I say all of that, but I will also say that the FH15’s treble area isn’t devoid of details either, and there is still decent enough energy up top to not “totally derail” the FH15. Yes, it is more relaxed and attenuated from other sets within the Audioverse but it is also clean and pretty nimble. Fiio decided on using two RAD Knowles BAs to handle the treble and what they succeeded in was not giving off an incoherent, tinny, or metallic sound in this area.

Held Back​

“Don’t Say it’s Over” by Gaz Coombes has some treble activity which I feel could use a bit more vibrancy as those areas is supposed to support and enhance this track. What you get is a more subdued version of the song, or a more relaxed version. Understand I don’t think it is bad by any measure as what you do hear still has good body and isn’t grainy or flat and the timbre isn’t out of whack. It’s simply held back some and I feel that you lose out on some of the most important info. This is kind of a running theme, but it isn’t always the case on every track. I suppose much will be determined by what genre you mainly listen to.

Could use some air​

The secondary harmonics of cymbal strikes is again, a bit held back, but in the same breath those cymbals aren’t tizzy or unnatural which tilts the scales in the favor of the FH15 in my eyes. However, in tracks with a bit more commotion, those same cymbals will be quite attenuated. Obviously, this relaxed sound is more noticeable in tracks which have more activity in them from the low end but there is a number of songs in my test tracks where I don’t notice this as much. However, as a whole, the treble could most certainly use some air. This is something that I can at times overlook when I’m wrapped up in a casual listening session but I’m positive that others will not be able to overlook this.

What’s nice about this treble is that you won’t come across any sibilance or anything peaky. There aren’t any awful spikes, and nothing comes across as peculiar, or irregular, or completely unnatural. I don’t think that the treble is so relaxed that I would call the FH15 “Dark”, but it is warmer and that most definitely is in relation to the lack of rise in this area.

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Technicalities ​

Soundstage​

The soundstage is represented with very nice depth to the field of sound which adds to its ability to layer those sounds. The width isn’t the widest that Fiio has ever produced but I also don’t think it’s abnormally small or closed in, just not super wide. Height is about average and also isn’t overly enhanced. I say all that to say that the stage size comes together very well with an appropriate replay of my music.

Separation / Imaging ​

Separation of elements within the imaginary stage is actually quite good. Not perfect, but good. The separating of instruments and voices goes hand-in-hand with the FH15’s ability to image well. In fact, imaging is also pretty good, as it should be. Perceived driver speed, depth of stage, clarity, decent resolution and multiple drivers working in tandem help to achieve a nice psycho-acoustic image of a stage. However, I could argue that there is the slightest veil which impedes the FH15 from being even better.

Details​

I’ve partially covered this section throughout this review, but I will reiterate what I’ve said. The FH15 isn’t tuned to pick up every breath in a mic or hiccupping audience person 10 rows back in your favorite live jam. It simply isn’t tuned to take on the detail monsters within the audio world. Yet still, it isn’t bad at all. I can say without batting an eye that you can find much better in this area for far less money. However, that’s not why you would purchase this set though. You purchase the FH15 for the fun factor and whatever other descriptive words which describe auditory joy. You wouldn’t pick up this set because of its hi-res ability to capture micro-details. It’s about the fun factor, or the guilty pleasure for some of you audiophile folks.

Comparisons​

*Note: For the comparison portion of the review, I want you to know that these are never a duel to the death. I try to use other iems as a tool for explaining (to a degree) the set that I am reviewing. I hope by explaining some of the differences that it will help in this task. Also, I present some very general differences and will not go into great detail explaining myself. Most comparisons take me around an hour or more of constant back and forth A/B’ing between sets using the same source always.

Fiio FH5 ($150-$250)​

The Fiio FH5 was the first iem that I ever purchased for over $250. I absolutely adored the sound of this set and guess what, I still do. Yes, there are issues but what fun is an iem without issues? Don’t answer that, it was a very stupid question. Anyways, the FH5 comes equipped with a total of four drivers (why wouldn’t they name it FH4?). It has three Knowles Balanced Armature Drivers as well as one 10mm Polymer Nano-Composite Ferromagnetic Dynamic Driver. That was a mouthful. The FH5 is built like a tank, it’s beautiful and it still holds up. So how does it handle its much younger sibling?

Low-end​

Starting off with the bass region, the FH15 and the FH5 are very close in terms of quantity down low. I do feel the newer FH15 is perceivably tighter and sounds a hair more robust. The FH15 has much better texture with cleaner note definition. Granted, the FH5 sounds fantastic but this newer DD that Fiio is using (in the FH15) is flat out more precise with a speedier approach while slamming harder. No fuzz on the FH15 to slight fuzz on the FH5. That’s what almost five years of driver innovation and implementation gets you.

Mids​

Male vocals on the FH15 and the FH5 are very close in tonality but I do notice that there is a slight bit more of a full sound on the newer model. The leading edge on male vocals is a hint crisper on the FH15 but both come across clean and well bodied. The FH15 does sound a hair warmer as well. Female vocals on the FH5 are slightly thinner but a pinch more shimmery too. They sound just a little bit more resolute than on the FH15. However, the FH15 has a more emotional pull to the sound with a lusher presence. I like them both as they take a different approach to a slight degree. Both sets do very well in vocals, and I honestly feel this is a draw.

Treble​

The treble on the FH5 is more pronounced and slightly dryer to the relaxed and bodied playback of the FH15. Details are illuminated a bit better in the older model mostly due to having more energy in this area. Truthfully the note definition within the treble of the FH15 is just as good yet with a more subdued approach. That being said, the FH5 does add that last little bit of luster up top which changes the overall tonality of the mix to make it just a hair less warm and more vibrant.

All things considered… ​

Both sets are very well coherent, and both represent my library just fine. I feel the FH15 stands out a little bit by offering cleaner note outlines across the mix. It also has a more emotional sound with tighter and beefier bass drops and more grunt with bass guitars. It’s close though, as these two are not miles apart. I do like the overall tonal temperature of the FH5 and do wish that Fiio would’ve either dropped a few dB’s in the bass or elevated the upper-mids and treble a bit more on the newer FH15. So, these two are not tuned exactly the same and they don’t sound completely alike. I do not understand how Fiio can say that the FH15 was designed after the older model when there are apparent differences. Oh well, I like them both.

Aful Performer 5 ($219)​

What a set! The Aful Performer 5 or “P5” as I’ll call it Is a wonderfully tuned iem within the same price point as the FH15. The P5 is an almost neutral sounding U-shaped set with nice balance across the spectrum and honestly… the P5 is an over-achieving golden child in my book. Sorry FH15. However, it makes complete sense for me to add the P5 for comparison’s sake. Both sets are relevant and newer, both are around the same price point, and both are DD/BA hybrids. The P5 has 1 Dynamic Driver as well as four custom Balanced Armature Drivers. I still have yet to review the P5 but that will be coming soon. Please check out Mahir’s review of the Aful Performer 5 HERE.

Low-end ​

The FH15 comes with much more slam and definition in the bass region. The P5 in comparison is the slightest bit more pillowy while not “pillowy” persa. The FH15 has a cleaner sound on bass drops but also has a hint more in overall bass mass. I say that but the P5’s bass makes more sense to the whole of the mix whereas the FH15 almost adds too much warmth and gusto down low.

Midrange (Male vocals) ​

The P5 is simply more natural and organic replaying male vocals, which is saying something because I feel the FH15 does a commendable job at presenting male vocals. The FH15 has thicker note weight and is much lusher and fuller. Still the difference shows itself most in tonality and timbre of the P5. The P5 has better levity in the replay, and livelier energy with a more detailed midrange. Both sound great and both make an argument here but as far as my time goes during this comparison… The P5 sounds better to me most of the time. I did say most. There are some deeper male vocals that sound a pinch better to my ear on the FH15 but those are rare. However, as a whole I’d say that the P5 has the more balanced, detailed and natural sound here.

Female vocals​

Females are exactly the same story. The FH15 is richer, bolder and even has more of an emotional tilt. Still, there is shimmer on the P5 that the FH15 cannot replicate due to the treble roll-off. Now on some tracks the FH15 actually does fare better and that especially shows up on more acoustic style emotional songs. However, those are also few and far in between. The P5 has that natural and earthy controlled sheen that still has body as well as an easier time catering to the accentuation and cadence within a woman’s voice. It isn’t miles apart though, because the FH15 does vocals very well.

Treble​

This will be short. The P5 is simply better. The choice of Fiio to forget about the treble is a dagger to the heart when compared to a set like the P5. The P5 has a wonderfully smooth, organic, energetic and technically astute treble region. The FH15 has body, decent extension and pretty nice details and is 100% non-fatiguing but the P5 just does it better. Obviously not all genres and tracks use a ton of treble activity but for the most part just having the boost in the P5 up top helps other regions perk up a bit. Now, if you are one who loves and adores a warm, subdued, yet clean replay with a completely non-offensive sound then look no further than the FH15. Everyone else… the Performer 5.

All in all… ​

I knew what this comparison would look like the second I decided to compare the two. Maybe it wasn’t fair. Maybe I should’ve gone with the TRI I3 Pro instead, which is a warmer sound as well and would have been a relevant set to compare the FH15 to. Anyways, I suppose I could also simply Chalk this comparison up as a preference battle. They are far enough apart from each other tonality wise that it would all really come down to your preference anyways. Do you like Bassy, warm, lush, smooth and pretty clean. Or do you like neutrality, naturalness, resoluteness and details with effortless musicality? At any rate, I do hope it helps in comparing the two.

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Is the FH15 worth the asking price? ​

Absolutely the FH15 is worth the price…if…the description I’ve tried to lay out sounds like it fits your preferences. If you are a neutral lover or treble head then the FH15 should probably cost about $15, and that would only be because of build quality and accessories. However, if deep and penetrating bass that is just as clean and taught as it is big and robust sounds like a dream, well, I would say the FH15 is well worth the money. If a smooth, easy listening and non-offensive treble with some of the most rich and milky midrange vocals in its price point sounds appealing, I would say the FH15 is well worth the money. So, to answer my own question… Maybe.

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Conclusion​

I have to be honest, the FH15 juuust misses the mark for me. It isn’t that I don’t enjoy this set either, as I actually do enjoy it quite a bit. Ya know, for these reviews I really have to bend the scope of what it is that brings me enjoyment. I do so because no matter the product out there, somebody loves it. I really try to retrain my mind to find enjoyment in any sound signature. For all intents and purposes, I normally am able to do just that. It doesn’t hurt that my library of music is quite literally all over the place.

Truth be told, I had to do just that with the Fiio FH15. However, the FH15 is simply lacking that last bit of treble air for me. Can I enjoy the sound? You bet! A large chunk of my music sounds fantastic on the FH15. Also, I am sure that there are many of you who will absolutely adore the sound here. Keep in mind, when I say “miss the mark” it doesn’t mean that I think that the FH15 isn’t a good set. It is good. Maybe it isn’t perfect for me, but it will be to somebody.

To conclude this review, I want to first ask anyone reading to now go find another review of this set, and then another. I can promise that I give my absolute honest opinion and do the leg work every time I write a review, however, we are all different. We may have different gear, different likes and dislikes, different hearing abilities and we all haven’t been on the same audio journey. So please do yourself a favor and check out some other views. I can’t thank you all enough for spending your time reading anything that I take the time to write. The process is a long one but very rewarding and I do hope it helps even one person. So, thank you everyone, please take good care and stay safe.

Joyodio Shine ($80)​

I was recently asked to review the Joyodio Shine from the brand-new audio company “Joyodio” provided to me through Linsoul. This is the first time I’ve ever received a set through Linsoul, but I was not in any way asked to say anything or skew my thoughts in any direction so… Kudos to them and respect. Of course, I am more than happy to check this set out and give my most honest impressions. The moment I heard of the Shine I was immediately impressed with how advantageous this new company is to release their first iem with four tuning dipswitches on each earphone. I will obviously try my best to explain myself but options like dip switches always add to the job of a reviewer.

Light & Shadows​

In the promotional material it states that the Shine was inspired by the concept of “light” & “shadows”. I love a good idea to build around, or a theme if you will. I like to see companies which almost provide a ‘blueprint’ into how their product was conceived. The intention was to create an earphone which could provide a warmth, like from the sun, which represents light as well as a coolness in its tonality like the dark coolness of night. This is a fine concept which could dovetail into many more iems or audio devices which rally around this fundamental premise. Great job, it’s artistic, thoughtful and it’s creative. Now, does the design and tuning actually encompass this concept? Joyodio relates the idea of light within the shadows to the sunlight which cannot be seen or touched yet can still be felt. A tough premise, but a good one.

Before I move on, I want to thank you for checking out this review. Again, the Joyodio Shine was provided by Linsoul for a fair and honest review. I hate to say it, but I have to; just because I receive a product, it will never translate to me not providing my actual thoughts and opinions. Integrity is of the utmost importance to me always and I will always share my exact views on anything that I review. Good or bad. With that said, thanks again, and without further ado…The Joyodio Shine!

Gear used​

–Moondrop Dawn 4.4
–Ifi Go Blu
–Ibasso DX240 with Amp8 MK2
–Shanling M6 Ultra

Packaging​

I suppose if you’re gonna do it, you might as well do it right. Joyodio put together a nice package with better than decent accessories for the price point. Not a game changer or anything but I do suppose that Joyodio offered more than I expected. Or better said, Joyodio offers great quality accessories for the price.

In the box​

Upon receiving the Shine, I was greeted with a pretty large rectangular box. Around the box is a sleeve with a graphic of the earphones themselves as well as some verbiage. Take off the sleeve and the first thing you’ll see is a thin box with some reading material. Very important to grab the legend which shows what the switches do. Lift that out of the way and you’ll notice the Shine earphones encased in foam cutouts. Right below the earphones youll see the eartips provided with the Shine. To the left is another box which holds the case as well as the cable. There is a small metal needle tool used for the dip switches. Everything included is actually of good quality.

Carrying case​

I think the case which comes with the Shine is of very nice quality, durable and of good size. The case has a deep blue colorway with an easy-to-use zipper. The material which covers the case is most likely a faux leather. To the touch it has a premium type of feel. I have received earphones many times more expensive with much worse cases provided. I don’t use a case, for those who do, you will have a nice one to tote around your iems.

Eartips​

The eartips which came with the Shine are also of good quality. I received one pair of medium KZ Starlines tips which were on the Shine upon first removing them. You also get three pairs (L, M, S) of some white, shallow fit wide-bore tips with good flange thickness. The next set is a wide bore set of three (L, M, S) tips similar to Tenmak Whirlwind tips. Literally they are the same exact tips so, these are some nice ones to keep around. I did not go with any of the included tips as I stuck with my go to KBear 07 tips. For the price they are nice additions and can easily be used for another set of earphones if you don’t use them on the Shine.

Change it up… ​

One thing I did notice when going through different tips is how much the sound will differ with different tip selection. I have a cavern of old tips that I meticulously go through on every review. Oddly enough, I seem to always go back to the KBear 07’s or the nearly identical Fiio Bass tips. However, during my hour and a half venture through my tip collection I noticed that the Shine is pretty sensitive to this as I could switch up the bass, mids, and treble to my desired sound much more so than on other sets. Now this isn’t some anomaly as many iems react in such a way but when you add in the tuning switches it starts to become a hobbyist’s playground so-to-speak. You can change things up until your heart’s content.

Cable​

The included cable is a white in color, 2-pin QDC style braided 8 strand silver-plated copper cable which terminates with a 3.5 single ended jack. This is a solid cable folks. I would say it is of the same quality as a decent upgrade cable likely costing about $15 to $20. For any single ended use, I did use the included cable but for the greatest majority of my listening I used a QDC white 16 core Fedai balanced cable for use with my balanced sources. I really think that the Shine does well with more power and so to maximize the sound quality I made sure to go balanced.

Build / Design / Internals / Fit​

Build ​

For a first attempt within the IEM’Verse I am very impressed. The Shine is a very well-constructed iem using a shiny lightweight metal for the Faceplate while opting for a 3D-printed resin cavity for the shell body. The build is seamless and very robust in the hand. Along the backside of the Shine are the easily noticeable dip switches. Like I said earlier, there are a total of four switches on each earphone and they are very easy to move into your desired position. The Shine feels nice and lightweight but also dense enough to not feel fragile at all. The nozzles don’t extend too deeply and are of average length, capped off with a metal mesh screen.

Design​

Joyodio is off to a rockin’ start! What a cool design! The Shine that I received is a silver-on-black colorway, silver on the faceplate and the shell being semi-transparent black. The Faceplate has these almost curved lines which converge almost looking like blades of grass. Perhaps this is supposed to signify sun rays, who knows. What I do know is that it looks pretty sweet. The shape of the Shine is not unheard of or unseen but really it is a very good size for most any ear I would think. I love the uneven but wavy area where the faceplate meets the shell, it’s unorthodox but also unique.

The Shine is a terrific first attempt at breaking into the audio world and if looks were what we judged an iem by the Shine would be up there with the best. Also, compared to similarly priced iems this design does come across much more polished than many sets in the hobby.

Internals​

The Joyodio Shine is in a Hybrid setup consisting of one Dynamic Driver and two Balanced Armature Drivers. The Dynamic is what Joyodio calls a high-performance 7mm Dual Cavity / Dual Magnetic Driver. The Balanced Armatures used are ‘29689’ as well as ‘30019’. I don’t know the exact quality of the drivers but using a hybrid system has the potential to help on many fronts. We shall see.

Fit / Isolation ​

As far as fit goes, I did have to tip-roll to get a good seal. As I stated earlier, I used the KBear 07 Large sized tips and once I did that the fit was fantastic on the Shine for me. You may be completely opposite from me so obviously you may have a different outcome. Isolation is about average for an iem built mostly for casual listening. For the most part there is very minimal sound leakage as well as very minimal outside sounds distracting me while listening. To sum up; the fit isn’t bad once a seal is met, sound leakage is good, and isolation is where it should be.

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Drivability​

The Shine has an 11–31-ohm rating depending on what switches you have turned on or not, and a sensitivity of 106+-3db. Honestly the Shine is fairly easy to drive to good volume but does begin to come alive with greater amping. In fact, I feel that a decently powerful source is a must to bring out the best in this set. I used a very powerful and snappy source in the Moondrop Dawn 4.4. Obviously, this means that I am running on balanced, and the Shine seemed to synergize nicely. In fact, I’d say that the Shine made nice with everything used. The IFi Go Blu brought a nice dynamism to the Shine while also ushering a hair more warmth which is nice depending on how you have your switches.

More Juice​

Using the iBasso DX240 on medium gain with a balanced cable was a nice compliment to the Shine with the DX240’s ES9038 Pro dac chip. The DX240 has an almost neutral tonality with a hint of warmth while having an energetic sound with great transients. Then switching over to the Shanling M6 Ultra I found my favorite way of enjoying the Shine. The M6 Ultra has this almost velvet sound which countered the Shine’s edginess perfectly. The M6 Ultra uses an AK4493SEQ dac chip which takes a bit of the edge off of the Shine. I also ran the M6 Ultra on medium gain using a balanced cable as well which offered a nice sense of stage and life to the Shine.

Dongle will do​

When all is said and done the Shine will do perfectly fine with at least a decent Dongle Dac but can be passable on a lesser output source as well. However, the Shine does like some more power! Now I don’t think you need a powerful DAP to get the most out of the Shine, but a good and very clean source will do wonders. Obviously attaching the Shine to the DX240 or the M6 Ultra will yield good results for myself, after all, they are fantastic sounding Daps and the Shine scales to them and reacts well to the different sound signatures native to the devices. So, to sum it up, get a decently powered source which gives good and clean power and…enjoy.

Note: Before I dive into this sound portion, I do want to add that I did give the Shine about 100 hours of burn-in. Prior to burn-in there was a graininess to the sound or a certain coarse and jagged, almost fuzzy note definition with obvious BA timbre. Imaging was not the best; bass was pillowy and fuzzy and even slightly hollow and almost in the background. The treble was sheened out and metallic. Anyways, I do feel that the Shine made enough of an improvement for me to jot that info down in this review. In fact, every area that was an issue was helped at least to a degree. Also, tip changes and more juice do wonders as well.​

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Ambitious first attempt​

Many sets which offer dip switches don’t usually have as many in number, and the changes which take effect aren’t always as drastic. Obviously, there are some great exceptions, but those sets are normally quite a bit more expensive too. The Shine, at $79 is slinging dB’s around with each push of the needle tool as you can add or take away fairly easily. I am more than impressed and I want to make that clear, I believe that Joyodio is obviously a very forward-thinking young company who seeks to impress. Truth is, we could use more companies like this who are willing to take chances and willing to push the envelope, so to speak.

However, to make this easier for review purposes, I am mostly going to speak in general terms and mostly to my preferred listening style and switch arrangements and I will do so as best I can. You can imagine how long this review would be if I were to discuss each and every different setting.

Sixteen is a lot​

The Shine has a ridiculous amount of possible listening styles due to the four dipswitches, which I truthfully feel is ‘Possibly’ a bit much. Now, I am very impressed. Don’t get it twisted. I think it is very impressive and quite an achievement. There are sixteen total ways of changing up the sound. For a company in its beginning stages, this is quite an impressive iem to launch as your first product. A nicely advanced and advantageous set for sure.

It could be argued that reducing the number of switches and perfecting those ‘fewer’ settings with lesser variables would have been a better move. Maybe just optimize one particular base tuning with less switches to hone and polish. I say that but in the same breath, it’s pretty cool to have so many ways to alter or to switch up the sound to your liking. Furthermore, the sound does make pretty distinct and fairly recognizable changes with every switch orientation.

How do the switches work?​

The Shine uses the dip switches in a typical on/off method. You can literally go from neutral & flat, to slightly warm & dynamic, and almost every sound-sig and tonal temperature in between. However, generally the sound is closer to neutral with a slight tilt towards bright. Just grab the included metal needle tool and click on or off on the switches that suit you. The switches are labeled one through four with one being the low-end, two is the Highs, three is the ultra-highs and four is full frequency regulation which basically changes the sensitivity or impedance from what I understand.

Switches cont…​

I suppose the easiest way to show you (the reader) these values for the purpose of this review is to call “1/on” and “0/off”. For instance, 1111 is all switches “on”, and 0000 is all switches “off”. Personally, I enjoy either ‘1000’ or ‘1001’ or ‘1011’ the most. Of course, I haven’t had nearly enough time with each of the sixteen different sound changes to fully describe them all or to get a good understanding of each. That is up to you. Joyodio gives us five switch alignments which they describe and have labeled themselves. These are “Pop” (1111), “Classical” (0011), “R&B/Rock” (1001), “Hifi” (0001) and “Standard” (0000). Truthfully there are a number of different combinations to run through.

Sound Impressions​

I would generally call the Shine a mostly neutral sound to warm-neutral with a hint of some bright luster depending on what switch setting you have. I’d also say the Shine has a very slight V-shape to U-shaped sound-signature. The Shine is an energetic listen with a decently sized stage and above average details.

Generally speaking, the bass is either flat, held back a touch, or it can be fairly deep and moderately authoritative depending on the switch location. In any setting the transient response is perceptively on the tighter side. The midrange is not too recessed for me and actually comes across more forward, especially female vocals which stay in the upper-mids. Treble is decently detailed for the most part and can either sound laid-back or energized and lively. There are some issues with coherency at times, with a caveat; this isn’t as apparent with all dip switch orientations, yet it is still always there. There are some other issues which I will speak about later on as well but for the most part the Shine has an uplifted sound with plenty of sharp energy.

Bass​

It’s difficult to describe the bass section when there are so many variations to describe and how the switches affect the overall rendering of the bass area with those changes. I think the bass can be pretty effective at representing the lower 3rd of the frequency but it never truly comes together for me. Almost as though it is held back or as if it takes a backseat role.

There is some very slight pillowy behavior at times with different switch alignments. In any alignment though, I’m not hearing that concrete, hard and definitive punch. Believe me though, I’ve heard much worse. Now, this is helped a bit when I bring the low-end forward (1001 or 1000) using the first dip switch. These settings seem to have a less flat or hollow effect on the bass section but never truly takes away the fuzz to bass notes. I should also note that the bass does have enough fullness to not be completely lacking. As far as coherency, to my ear the best switch alignments are ‘1000’ or ‘1001’. It helps to bring the low end more forward to offset the highs a bit and that BA timbre.

Sub-bass​

The sub-bass can be felt but is moderate at best. It isn’t the deepest sub-bass rumble, but it isn’t devoid of rumbly bass either and there is decent texture to the rumble it does have. This will absolutely NOT attract bass heads who want something more fun and Bassy. The Shine simply isn’t tuned in such a way. However, when a track calls for it, the Shine can rise to the occasion.

“Paradigm” by The Head & the Heart for instance, begins with a very sonorous and guttural bassline which most any iem can playback with some shuddering oomph. In this recording the bass is really gravelly and is very resonant and deep. Kinda like some Billie Eilish tracks. Basically, any set will bring at least a little thunder. However, the Shine does so with decent authority and with very nice texture, maybe a little light, but the bass comes across cleanly. I would even go as far as to say it is mildly juddering with plenty of meat for this song. Certainly not lacking while carrying decent resolution.

Sub-bass cont… ​

“Heavy is the Ocean” by Bush is another that simply growls at you when the Shine is in the ‘1001’ arrangement. Honestly, it sounds pretty darn good. Definitely far underneath basshead territory but still very raucous & deep. In this track the loudness grows in a grungy and reverberating manner. Again, the Shine takes on this song well and is very satisfying to me. Also, the sub-bass is perceivably pretty forceful which is a requirement for this track. Of course, there is still a feeling of this area being held back a bit or distant. Almost reminiscent of BA bass where fullness or quantity is concerned, yet not as compact or punchy or speedy in comparison. Note definition isn’t bad either, not by any means, but it never truly becomes hard edged and solid or so defined that it gives any “Wow” effect. It’s simply…there.

Mid-bass​

The mid bass has okay slam, again I am relaying what I hear in the ‘1000’ settings or ‘1001’. Kick drums in the song “Billie Jean” by Weezer is a nice track to gauge how resounding a big kick drum boom can be, or for how slight or soft the impact is. On the Shine, no matter the arrangement, I don’t get that super authoritative punch. I don’t want to dissuade anyone though as there is an appropriate thud albeit it comes across slightly soft in timbre or tactile feel.

The Shine isn’t entirely at a loss though. Case in point, tracks which have very defined basslines, like “Deep Reverence” by Big Sean feat. Nipsey Hussle does well to inflict a nice bass drop and then double bassline. Or “Pristina” by Faith No More, the Shine does have that deeper, thrumming drone to it. So, the Shine can rise to the occasion when needed. Again, not elevated enough to be considered basshead but enough to represent most genres while never encroaching on the rest of the mix.

7mm Driver​

I think the 7mm driver comes across a bit differently than we would normally hear with a driver 10mm plus DD. There is a fullness that seems to not be as present on the smaller driver. I can’t blame it all on the driver size though as I have smaller drivers in my collection which hit with plenty of depth and fullness. I think it certainly doesn’t help the situation, if of course you are after a deeper low-end. I’m sure that many hobbyists will find the bass perfectly suitable, some will say it’s not enough and others will even say it’s too much.

Not bad at all… ​

When all is said and done, the bass is not bad at all. Yeah, it’s a slight bit plush and less concentrated and solid but it is pretty agile and seems to take multiple basslines or quicker bass tracks pretty good. Another thing, it is possible to render this bass almost flat if that is your thing. The versatility is a very nice addition to this price point. Also, there isn’t any great push over into the midrange which could muddy up the sound. There are some areas that could be thought of as issues, but the Shine does have some redeeming qualities as well.

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Midrange​

The midrange as a whole has decent energy, perhaps it is slightly recessed but still has good presence. The Shine does also have a livelier pinna-gain. Consequently, the Shine can get a little shouty with the right tracks and per which switches are turned on or off. The midrange has average note weight and density and comes across relatively naturally albeit a little grainy. I cannot quantify or measure this to you but to my ear this is what I hear.

Details aren’t lost in the midrange either and separation isn’t too bad unless you are listening to complicated tracks or obviously lesser quality files. The midrange is fairly musical in most any switch orientation but there is slight graininess. This also depends on the recording as well. The mids aren’t the cleanest I’ve ever heard but they do have pretty good resolution with nice vibrancy. Again, like I said earlier there is a problem with coherency between the dynamic driver and the balanced armatures as there is some BA timbre which clashes a bit with the DD. I was easily able to look past this and enjoy my jams though.

Lower midrange​

The lower mids have a mostly natural note weight, not too thick but also not too thin. At times there is a slight dryness but the low-mids do give the impression of a more natural sound. I would say that males have average thickness (whatever that means) and are relatively forward but don’t really stick out and grab my attention. I don’t hear that warm, full bodied and robust sound in male voices. Despite that, whether it be a baritone or tenor, males do sound nicely defined and realistic enough. For instance, “Plain to See Plainsman” by Colter Wall shows off his deep Southern voice with good energy and with a sharpness to the inflection in Colter’s vocals. Not really smooth but more knife edged and clear. It actually sounds great but don’t expect that guttural and deep resonance in a baritone.

I’d say the Shine does male vocals pretty well in their own way. A track like “Maybe” by Lewis Capaldi with his powerful Scottish brogue which comes across slightly coarse or even crisp and has good presence as the Shine seems to cater to such a voice. Or a song like “Wasted Time” by Vance Joy, the Shine is able to capture the soft stresses in his voice and the smoother cadence without a problem.

Instruments​

Instrumentation really takes on quite a few changes depending on the switches that you have on or off. On ‘1001’ most midrange instruments like percussion have a more robust snappiness to them like Tom’s, Kick Dums, Snares, cymbals/hi hats etc. The fundamental frequency of a cymbal strike is firm and has decent body. Strings are a little dry and somewhat thinned out but come across with pretty nice energy and detail. Remember, you can change the sound up in many ways with the dip switches and with tip changes as well.

Upper-Midrange ​

The upper midrange renders female vocals to have more of a crispness to them. For the most part females have nice liveliness and vitality. That said, depending on the track, the switch orientation, the volume and a few other variables, some females can have a hair too much of a glare to them. For instance, Megan Trainor (Stop laughing, it’s for science and only for review purposes…lol) in her new song “Sensitive” will make you want to turn the volume down at the chorus section. Just a bit too biting. This can be corrected marginally but probably not enough for some of the readers here. Using the first switch to bring up the low-end while dropping the last three to the off position is one way. Tip changes help a bit as well.

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Treble​

Overall, the treble can go from pretty laid back (1000) to almost flat (0000) to really energetic and bright (0111) and everywhere in between. This goes for the entire frequency and each switch orientation makes a difference. I hear the beginnings of some sibilance, but it isn’t so extensive that it is a real problem. Additionally, depending on your dip-switch settings the treble can be a little splashy. The flipside to that is the treble area is okay detailed, snappy, and crisp.

The Shine can keep up​

The treble is also adequately speedy and can keep up with complicated treble sections rather well. For instance, “Bishop School” by Yusef Lateef is literally littered with treble activity. The song plays along with rapid fire progression and a lot of it lands in the treble region. The Shine is in its element with this track as details are easily distinguished and discernable. It’s a weird freaking song but we are testing gear here. It’s almost as though, when the Shine is tested, and when good power is fed to it that it rises to the occasion. I didn’t notice timbre issues while replaying this track and all sounded decently natural.

“Concierto de Aranjuez” by Miles Davis plays beautifully with nice body to the piano. “The Sad Skinhead” by Faust is another track that is just smeared in treble activity, if your set can keep up and separate all elements of this track then… Bravo, they are keepers. With the Shine they do pretty well, it is your brain that has to maintain focus with this track. Imaging is okay, separation is nice, and all instruments can be heard and accounted for. I can only do a track like this once or twice because it’s just too caked in commotion.

Not bad​

All in all, the treble has some issues that mostly show up in the wrong dip switch setting so be advised that you may need to play around with them…check that… you WILL need to play around with them. The treble is pretty agile and while it is a hair dry, it is able to keep up to chaotic tracks pretty nicely. Maybe not up to planar levels but good, nonetheless. Bear in mind, the treble can certainly be over ambitious and have too much glare and sheen with the right track and the right settings but once again… switch it up.

Technicalities ​

Soundstage​

The stage size is about average all the way around in general. Small tweaks can be made in width, height and depth with the switches but for the most part the stage stays about average in each category. In truth, I don’t need a huge stage, never have needed it. I need my music to sound appropriate to the music which is playing and so long as the stage isn’t choked, closed in, and congested, I don’t have an issue with it. I do hear decent depth on the Shine which is always nice.

Separation / Imaging ​

Separation of elements within most tracks are separated pretty well except instances involving the midrange with really complicated tracks. For the most part separation isn’t a big issue. Imaging is the same but like I said earlier, the imaging was most certainly an issue upon first hearing the Shine. After extensive burn-in (100+ hrs.) the problem had begun to correct itself to an extent. I don’t see it as too big of an issue anymore except, once again, if I am playing a complicated track the mids seem to blur the mental image very slightly. Overall, most of my library is not so crazy and I don’t see separation and imaging as a huge deterrent. In fact, 85% of my library I don’t hear anything too stuffy or blurred.

Details​

Details really aren’t bad at all either. The treble does well to pick up some macro and even some micro details. You can enhance this by fiddling with the switches but just watch out because other issues can arise by doing so. For the most part the Shine does perfectly fine and even a bit better than the price point normally caters to. Finger glides on guitar strings come across well, and also the subtleties in the inflections within a voice are not missed. This really depends on the track too whether the Shine is going to illuminate the minutiae within a song. Acoustic stuff there is no issue, live recordings aren’t bad either. I think most of the problems stem from switch orientation and song choice. Sorry if that is vague but ya know what… So is the definition of “details” and “technicalities”.

Comparisons​

*Note: Any comparison that I complete is not a duel to the death. I really try to simply point out differences so as to explain the device which is being reviewed. I don’t always succeed at that. One more thing, I will only use quick and vague explanations to quickly point out differences because taking the time to break everything down would make this review ridiculously long and drawn out. They are already too long. So, I do hope it helps. Remember, these are only my opinions, and you know what they say about opinions. Each comparison takes about 45 minutes to an hour depending on how closely aligned they are, probably closer to the former.

Truthear Hexa ($79)​

The phenom is back. That price point breaking hybrid which represents the best the $50-$100 price point has to offer in hybrid form… in my humble opinion of course. The Hexa is a delightful iem which comes with one 10mm LCP Diaphragm Dynamic Driver and three Balanced Armature Drivers. What a set! Not the most fun but it’s detailed and musical and when I’m in a listening session with the Hexa I am always smiling. This was one of those sets which I really didn’t jive with at first, but it really grew on me. You can read my detailed review HERE.

Low-end​

The Hexa has a snappier and puncher low-end by a small margin. Possibly a quicker and better-defined bass with cleaner note edges as well. The Hexa has slightly deeper sub-bass rumble with a pinch more in quantity to the more rolled-off Shine. It is so very close though. The Shine (with switch 1 “on”) has a bit more in mid-bass levels with subtly more slam in this area. I still think the Hexa has better definition and clarity. Bass guitars have better, fuller growl and are more realistic on the Shine while the Hexa comes across light to my ears in comparison. The low-end of the Hexa is better detailed and comes with better layering as well.

Mids​

The Shine (1001) has a more lively and more forward midrange. The Hexa is drier and more analytical. Male vocals come across more energetic and thicker in note weight on the Shine. The Hexa carries a more detailed low-mid region and is simply cleaner overall, but I think I actually like the energy and presentation of the Shine here a bit more. As far as female vocals are concerned, the Shine are more forward again. That said, the Shine also has a better chance at glare while the Hexa has better resolution with better clarity to my ears. Both sets have minimal sibilance, so that is a wash. However, details on the Hexa (Hexa’s superpower) are easier to discern.

Treble ​

Both sets offer a pretty dry treble area, and both sets perform very well to my ears for the price point. However, the Shine seems to carry a bit more energy while the Hexa stays true to form and offers better details, resolution, and clarity by the slightest of margins. I would say that both sets do well with complicated tracks and both sets are well extended past 8k. I’d give the nod to the Hexa for keeping a bit better control and coherency with the Dynamic Driver.

The Shine has a bit larger stage to my ears, but it is very close. Honestly, both sets offer a perfectly fine stage. The Hexa however has better separation and better imaging as well as a more detailed listen. Between the two the Shine may have a more fun sound with more vibrancy. The Hexa is the more technically savvy iem of the two. Coherence is easier to digest on the Hexa and timbre as well. Both sets do very well within the price point though and both are priced very well for what they offer. Of course, I should make mention of the fact that the Hexa is about $30 more than the Shine, so, take that for what it’s worth.

Fiio FH3 ($129)​

The FH3 is one of those sets that just set the audio hobby on fire with opinions. Mostly those opinions were positive but there were some detractors. There are plenty of top 10 lists under $200 which have the FH3 placed somewhere within them. The FH3 is a three Driver hybrid iem with one 10mm Beryllium Plated Dynamic Driver and two Knowles Balanced Armature Drivers. I still break out the FH3 from time to time and I have always enjoyed this set. The FH3 has a great build and is designed just as well as it is built with a very nice tuning within its price segment.

Low-end ​

The FH3 has a deeper sub-bass judder yet has less of a mid-bass emphasis than the Shine…depending on switch alignment. The FH3 has the fuller sounding low-end and a tighter and more robust sound down low with less fuzzy note definition. Both the Shine and the FH3 have nice perceived speed concerning attack/decay/sustain. Timbre sounds more natural listening on the FH3 but of course that is simply my opinion.

Mids​

The FH3 is more forward in the midrange with thicker weight for male vocals. In comparison, the Shine is more laid back, thinner and not as forward sounding. Females on the FH3 sound more energetic than on the Shine. The FH3 has a warmer, easier, and smoother sound with better timbre overall and more obvious coherence between drivers. The Shine is a little coarser and crispier on vocals and instruments. Of course, it should be noted that the FH3 is also priced at $60 more than the Shine. I would hope that the FH3 renders better results.

Treble​

The treble on the Shine can be more pronounced and again, depending on where the switches are, the treble can be more piercing. The FH3 are nicely energetic with good body where the Shine is a hair dryer. In any switch setting the Shine has better extension while both sets offer decent to good detail retrieval.

The FH3 has a wider stage with a bit more depth and offer a more robust sound to my ears. Be that as it may, the price gap starts to show itself a bit when comparing in my estimation. However, I am not everyone. I’m quite positive there will be a number of people who desire the sound of the Shine in the setting of their choosing. For me though, I do like the FH3 a bit more. The Shine does a commendable job, but the drivers sound a bit more refined on the FH3.

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Is the Joyodio Shine worth the asking price? ​

Absolutely. Without question I think the asking price is more than generous for what is offered. In fact, the more I am listening to the Shine, the more I am enjoying this set. Yes, there are issues, but name me an iem that doesn’t have issues. Those issues are also only issues to those that they are issues to. Meaning, what I consider a problem, the next person may not, and this is sometimes lost on some of us reviewers. Like I stated earlier, the world doesn’t revolve around me and while I want to depict exactly what I hear, those thoughts are also my opinions formed from my taste and understanding.

The absolute truth is, the Shine is a very well-constructed iem which gives many different variations to your listening with simple and easy flicks of some switches. I strongly believe that more power helps quite a bit as well as some good and long usage or burn in before you judge them. For what you get this is a very nice set for the price. From packaging/accessories, the fantastic build and design to the multiple tuning options and nice sound quality. For the price I would be crazy to not think the Shine isn’t worth the $70 price tag. Even more so if you absolutely love the sound of this set.




Well, that is it. I again want to thank Joyodio and Linsoul for providing the Shine for my honest opinion as well as a feature at Mobileaudiophile.com. Overall, this is a valiant first effort with many upsides for such a daring first attempt. I’d say Joyodio has a bright future if they keep seeking to maximize price to performance, price to build and price to accessories and doing so in a progressive & aggressive manner. As an audio enthusiast how could I not like what I’m seeing. One thing that plagues me is that in reading this review it will sound like a rebuke of the Shine. This is simply not the case. The Shine does more well than any concerns or criticisms.

Other perspectives​

Please take in other thoughts of the Joyodio Shine. This set will have differing opinions and I can promise you that. So please read, listen or watch other reviews so you may get a better understanding of the sound of the Shine and how it fits your preferences. We are all different. Each one of us can have different hearing abilities, different likes and dislikes, different audio gear and the biggest thing is that we haven’t all gone down the same audio journey. So, take in other accounts of the Shine and don’t simply take my word for it. I want to thank anyone who reads this review, please stay safe and take care…God Bless.

Fiio FW5 ($149)​

Intro​

Upon receiving the news that Fiio was going to take another shot at a true wireless iem again I had to check this one out. So, of course I forked over $150 US to Amazon and had my new set of Fiio tws in a matter of about two days. True wireless is not my preferred listening method but when I am out and about you can trust that 100% of my life, I will have a set of tws in my jeans tiny extra pocket. Everywhere I go I have a method for listening to music or videos or podcasts. Lately that set has been the Fiio FW5 which I’ve faithfully carried around for about a month, or just under that. I will try my best to explain this new set and all it does well, and all it does…not so well. With that, let’s get on with it…

Inching closer… ​

True wireless is inching closer to its wired counterparts in overall fidelity and sound quality. However, to an audiophile or practicing audio fanatic this might as well be a mile away. True wireless is very convenient though. The convenience is unmatched in the Audio world. Now I have at least five different Bluetooth dac/amps (ie: IFI Go Blu, FIIO BTR7, Qudelix 5k, Fiio BTR5) which attach to wired iems as well as the Fiio UTWS3 & Fiio UTWS5 and yes, they replay better than any tws by a wide margin. However, I love being able to pop some tws in my ears and get pretty darn good sound quality in such a portable form.

Figuring it all out​

The reason I purchased the FW5 was to see if Fiio could actually make a set of tws iems which can buck the trend and sound… full, articulate, dynamic and not so compressed. Is the FW5 tuned in a traditional manner, or is the DSP (digital signal processing chip) doing the leg work, or maybe a little bit of both? Fiio has had plenty of time to figure out the obstacles and quandaries associated with wireless audio. Fiio actually has a very extensive list of wireless devices and I have personally owned a few of them…Fiio Lcbt2, Fiio Utws3, Fiio Utws5, Fiio Btr5, Fiio Btr7. If ever there was an audio company with the proper resources and advanced knowledge in the creation and tuning of wireless audio… It’s Fiio.

Now, tws will always sound a bit more compressed, smaller in stage, possibly less dynamically vivid and simply less refined than wired audio. It is in this vein which I am judging the FW5. I know where true wireless stands as far as the actual restraints of the technology is concerned. Through this lense I can gauge just how close Fiio has been able to come to my preferred wired iems. Also, I want to compare the FW5 against a few other true wireless iems concerning sound quality and a couple other metrics. Thank you so very much for reading, I hope this review helps… The Fiio FW5…

Gear used​

-Samsung Galaxy Z-Fold 4
-Shanling M6 Ultra

Full Review can be found here: Fiio FW5 Review

*Note: really quick before I begin, I’d like to preface this entire review by letting all my friends know that I do not use EQ in a review when judging tws. I may add mention of some adjustments within the review that I’ve made, but I do want you all to know, I use the base sound without manipulation of equalization. Also, I switched out tips to the KBear 07 Large tips. I will explain further in the review why that is. I used UAPP as my Android media/music player as well as Poweramp and listened mainly to Flac/WAV/Mp3 files stored on my device.

Packaging​

No matter the device, we can rest assured that Fiio will go above and beyond to give a small bounty of packaging and accessories. Now, accessories in a true wireless package are normally not very extensive. No nice cable… obviously, no nice zipper case etc. That said, Fiio understands the importance of a nice presentation. This is what you will get with the Fiio FW5.

Inside the box​

The FW5 arrived at my door in a larger than necessary rectangular black box. The box feels so sturdy as it is cardboard yet somehow has a plastic feel to it. There is a great looking picture imposed onto the cover of the FW5 and the case hovering over…water? Who knows. Anyways, it’s still pretty cool looking and actually feels neat as well.

The box is a flip-open style with a good magnet holding the flap. Open the flap and you are presented with the case on top as well as six sets of eartips. Below the eartips is a small box stuffed into a foam insert which holds the usb-c cable for charging. If you lift out the large foam insert there is one more box with some very compelling reading material, that is if warranty info and quick start guides are your thing. That’s about it. Also, you will find two nozzle cleaning tools and one of them comes with a pointed end and a magnetic end for removing Nozzle filters for cleaning. The other is a tiny brush. Not bad at all Fiio.

Charging Case​

The charging case is not the most robust in terms of build, yet it also isn’t the worst I’ve ever encountered. The case is just small enough to fit in my extra little jeans pocket. It is of good size in terms of portability and won’t stick out too far from the pocket looking weird or anything. You will notice four small lights on the front of the case indicating overall battery life of the case as well as some other info pertaining to the FW5.

One fantastic thing about the FW5’s case is the fact that it is deep enough to allow 3rd party tips to actually fit inside. This is a bigger deal than it should be. I have owned around 30-40 tws over the years and one of my biggest issues comes from inability to swap tips because the stupid case won’t allow these 3rd party tips to fit inside and actually close. Fiio! Great job!

Eartips​

Fiio added three pairs (L, M, S) of their own “HS18” Vocal tips. Truthfully, I don’t like these tips. They are very flimsy at the flanges, where the seal is made. It’s hard to even know if you have a good seal. However, these tips have their benefits. They have a medium-wide bore and do give off a more open sound, bigger stage, less low-end, they do well to accentuate vocals etc. Also provided in the package is three pairs (L, M, S) of Gray “Balanced” tips. I don’t know how these tips would give a balanced sound as they are narrow bore and a stiffer flange, more rigid stem. Neither are bad accessories but for me to get the most out of the FW5 I went directly to the KBear 07 tips. The sound opens up, tighter Bass and more of a crispy attack/decay.

Features​

Chips​

As far as features go, the FW5 is slim in some areas and very full in others. The FW5 are heavy in features which promote good fidelity and better sound quality. FW5 supports Snapdragon Sound with 96kHZ/24bit transmission and LHDC with up to 900KbPS bit rate, using Qualcomm flagship TWS SOC Chip QCC5141 + AKM independent DAC/Amp AK4332. The FW5 works off of Bluetooth 5.2 which gives a great connection and audible range from the source. At the moment the FW5 has Lhdc, Aptx, Aptx-Adaptive, AAC, SBC audio codes. Fiio has promised to upgrade to LDAC in the near future so I will edit this review when that does happen.

Guys & gals, this is almost unprecedented to have a true wireless with such an established on-board dac chip in the AK4332. Known for its dynamic yet velvet sound technology, a chip such as this would normally be included in a nice dongle dac. Along with this dac chip, I do know that it has its own amplification which really gives the FW5 some good volume and fullness. In fact, this set can get very loud. Fiio also uses this same dac chip within the Fiio UTWS5, however, the UTWS5 also has an independent amplifier.

Physical buttons​

The FW5 has four physical buttons, two on each earpiece. I love this, I will always enjoy physical push buttons rather than the easy to screw up touch controls. Plus, Fiio put them in a perfect place at the top of the FW5. Also, having those buttons up top leaves the Faceplate free of unwanted and accidental touches. Having been an owner of many tws iems with a touch surface, I can probably count on my hand the number of sets which can do it right. I have always preferred push button and I am personally glad that Fiio went this route.

Battery life​

Off the cuff, 7 hours doesn’t seem like a ton of battery life on a set of tws earphones in this day and age. However, let me just remind you of what is under the hood of this set so that you can recognize the feat here. We are working with a Velvet Sound AK4332 Dac/Amp Chip along with a beefy SOC Chip QCC5141. Both of these guzzle battery life like a fat… Never mind, I’ll just stop right here, you know what I mean.

The battery life is fantastic for having these onboard chips. Along with these chips is Snapdragon Sound which enables 24 bit/96 kHz transmission. All of these sound features normally equates to less actual listening time. I didn’t actually try to test out how long the battery can last in real-world testing, but I have used these all day in my office and have yet to come even close to a depleted battery.

Seven hours is not bad at all considering what lays underneath. Also, you will receive another 14 hours using the case which brings the total to 21 hours of battery life. I think it’s great. When I heard they’d actually use this particular dac chip, I thought for sure… 4 hours max… Pretty darn nice. Plus, who of you has these in your ears that long? Seriously people, how much do you need? Do any of you actually listen to seven hours of straight music… In your ears?

1PX4​

Along with some of the sound features, Fiio is adding IPX4 waterproofing to the earpieces themselves. This means there is a layer of protection using a light film over every gap on this set. This protects from droplets of rain or stray splashes. This is the least they could do for $150. To be honest I’d like to see a bit better rating but, sacrifices.

Box switch​

This is another feature which I like to see. This is a “box switch”. It is a fantastic feature but hardly recognized. It basically means that the second you put the earphones back into the case the FW5 will shut down. Also, whenever you open the case the FW5 will turn on and pair with the last device.

Multi-point connection​

Fiio also added multi-point connection to the FW5 in the most recent firmware upgrade. This simply means what the name implies, you can connect to two different devices at once. This is so very handy for me. I use it often with my Qudelix 5k. However, I have yet to actually try this feature out on the FW5. Mainly because I have to go through and figure out how to complete the task. Still, as far as the functionality of multi-point connection is concerned; you don’t know how great this feature is until you’ve gotten used to it and suddenly had to deal without it. I think this feature will become much more commonplace as the Bluetooth tech moves along. We are beginning to see this much more than even a year ago. I will edit this section when I have actually connected with two devices. Sorry.

Ambient Mode​

Fiio has promised within a future update to add ambient mode. I will surely edit this review and add it to the feature list as well as how it performs when this update takes place.

CVC Mics / Call quality​

Fiio also added four CVC microphones in total, two per earphone. I might as well add in the call quality into this little paragraph. Honestly, I haven’t had any issues answering calls and my voice has come through clean and clear to my wife and my kids. I even used the FW5 at my office and I have not heard any complaints. The mics do a decent job picking up voices and canceling out other noises during phone calls. I haven’t been in a crowded area making any phone calls so… sorry, I can’t speak on how well the FW5 cancels out noise in busy areas.

Game Mode​

Fiio describes this as “Game Mode”, but it can also be considered a low-latency mode as well. This makes gaming really nice on the FW5 and particularly good for watching videos as well. One thing I have noticed when this mode isn’t on is that latency isn’t perfect all the time. On YouTube for instance, sometimes I’ll have to pause the video and hit play a couple times before words are synced up correctly to what the screen is showing. With game mode toggled on this is not a problem at all. Please understand, this latency issue is barely recognizable, I am simply ridiculously petty about how voices sync up to lips. Also, this is rarely ever an issue, in fact this has only ever happened a couple times in about a month so… YMMV.

Independant Volume System​

Just like Fiio’s own UTWS5, the FW5 has its own unique volume system which enables up to #32 steps of volume which is much more than most Android or Apple systems allow. This is an independent volume system which gives the user a much more precise listening level and is handier than it sounds. Fiio does suggest that you crank your source volume all the way up and use the FW5 button volume controls to dial in your earphones so that you can acquire complete audio dynamics from the Bluetooth transmission process.

Fiio’s Apps​

One last thing I need to add is the two apps (“FIIO Control” & “Fiio Music”) which can be used to switch things up on the FW5. Inside you can do things like, read battery percentage, mess with the lights, toggle “Game Mode”, set your idle time clock. The app has a low-pass filter setting as well as volume controls for various functionality. In the app you can conduct firmware upgrades as well. It has been stated that in the next Fiio Control App and Fiio Music App update that they will add “PEQ functionality” to the FW5, um… how cool is that?

Build / Design / Internals / Fit​

Build​

Build quality is fantastic. Flat-out and hands-down. This set is built wonderfully. Of course, the FW5 is made out of hard plastics, but this isn’t any cheap feeling type of plastic. There is density to the feel of this set making it feel premium in hand. Almost like a certain sense of quality in the materials used to build the FW5. There is also a semi-open looking grill on the faceplate but I’m fairly positive that the FW5’s Faceplate grill is mostly ornamental being that there is a waterproof rating. There is one noticeable small vent near the nozzle stem as well.

The FW5 are rather large and do stick out a little bit from the ear but don’t look stupid or odd at all. The. FW5 won’t make you look like Frankenstein, with giant bolts sticking out of your ears like some tws iems. You’ll find the mics situated closest to your mouth at the bottom of the FW5. Also, you can see that the acoustic cavity is somewhat separate from the area under the Faceplate which houses the tech.

Full Review can be found here: Fiio FW5 Review​

Design​

The design is reminiscent of many Fiio iems. Namely, the Fiio FD7, FD5, JD7, FA7S, FDX and the FD3 as they all share the same common look of the round Faceplate and underlying grill, and all share the same basic shape. Truthfully, I think this is one of the most handsome looking tws sets out there at this price. It’s easy to get it wrong with tws. There is so much tech to cram inside of these things and trying to make a set to look like a traditional iem is not easy to do. In one word the FW5 looks… DOPE! There’s no other way to put it. Like I said in the build section, the FW5 has a premium design with nicely contoured lines and smooth edges.

In Fiio’s promotional ads they mention that the same team which created the fantastic Fiio FH9 (My FH9 Review HERE)is the same team which designed this set. I really like the Black color with the angled lines or ridges on the faceplate which are separated by a silver grill. Fiio managed to keep everything as compact as possible and as sleek and modern as can be without looking cheesy or overplayed. It is a minimalist design to a degree and also just damn cool to look at.

Internals​

Internally, there is quite a lot going on. First off, one thing Fiio set out to do was to actually tune the FW5 mostly through traditional means. Meaning, they aren’t simply relying on the DSP to digitally tune this set. There surely is an acoustic cavity and the FW5 is most certainly tuned as it would if it was a wired set. If you asked me, I would say it’s probably a little bit of both. Below is Fiio’s promotional material describing this tuning philosophy…

“As the first TWS earphones fully developed by FiiO,
for the FW5 we did not put our focus on features
such as active noise canceling (ANC). Instead, we
focused on bringing the ultimate in sound quality
in a fully integrated TWS earphone. And while it is
easy to adjust the frequency response curve via
DSP, we chose not to do so. We instead chose to
refine the physical design of the unit to reduce
distortion, retain the unique sound of the drivers –
to maximize the sound quality through good design
to fully respect the original music.”
Fiio Promotional

Click to expand...

Click to expand...

This is almost unprecedented in tws. Very few companies go the more difficult route of using traditional methods for their true wireless iems. Not only does it present an issue with size, as now you have to account for not only the acoustic cavity but also the dac chip, SOC chip and any other tech which would add space. Now, look at the FW5 and tell me that they didn’t do one HELL OF A JOB! I can think of a few other companies who went this route, one other is TinHifi with their latest true wireless the TinHifi Tin Buds 3. They too went the more traditional route. There are a handful of others, but they don’t cost under $300.

Internals cont… ​

Fiio went with a hybrid system of drivers in one Dynamic Driver and two Balanced Armature Drivers. The DD is a 10mm DLC Driver with a PU gasket while utilizing N50 Neodymium magnets. The DLC Dynamic takes care of the low-end and part of the midrange. Taking up the highs, Fiio decided to go with two Knowles Balanced Armatures. Fiio went all out trying to put forth a best effort in using good and quality drivers to assist the people tuning the FW5. I already mentioned the other tech crammed within the FW5.

Fit / Isolation​

As far as fit goes, these fit me perfectly. I have a fantastic seal every time I put these in my ears. I have absolutely zero idea how they will do in your ears. Thankfully God chose to create us uniquely and so this is obviously very subjective. What isn’t subjective is what happens when a good seal is achieved. Isolation is fantastic, especially for a set without any inboard ANC. Outside noises are attenuated very well as the passive noise isolation is one of the best I’ve seen, well… heard… in a tws to date. Who needs Active Noise Canceling anyways? Its way overrated.

Controls​

One great feature that I’ve slightly touched on was the button controls. I will always be partial to a button I can feel and push. In the case of the FW5 we have two buttons per earphone. Fiio went this route based on user feedback, adding a “primary button” and a raised dot “secondary button. Both buttons serve different functions, and both are very easy to distinguish between. The primary button is smooth while the secondary button has raised dots, almost like braille. As far as controls, thankfully Fiio gives us control of everything from the buds themselves. This is a bigger deal than I’m letting on. Most tws only offer some controls and many times they leave out volume controls, which… Sucks. Fiio fortunately did not negate this most basic and needed function. Obviously, these commands can change with firmware updates, so be aware.

Left side Primary Button​

Single click: Pause / Resume / Answer a call
Double click: Activate voice assistant
Long press for about 1s: Decline a call / Hang up
Long press for about 2s: Power on
Long press for about 5s: Power off

Left side Secondary Button​

Single click: Volume- / Answer a call
Long press for about 1s: Previous track/Decline a call / Hang up
Long press for about 8s: Reset

Right side Primary Button​

Single click: Pause / Resume / Answer a call
Double click: Activate voice assistant
Long press for about 1s: Decline a call / Hang up
Long press for about 2s: Power on
Long press for about 5s: Power off

Left side Secondary Button​

Single click: Volume+ / Answer a call
Long press for about 1s: Next track/Decline a call / Hang up
Long press for about 2s: Reset

Specs​

Before I go into the sound, I want to put up some specs for my friends here…
Model: FW5
Configuration: (QCC5141+AK4332
Acoustic setup: 1 Dynamic 2 BA
BA drivers: Knowles RAD
Dynamic driver: 10mm DLC diaphragm + PU gasket
Bluetooth: 5.2
Frequency response: 20-20kHz
Sensitivity: 106dB/mW (@1kHz)
Impedance: 320-+20% (@1kHz)
Charging time: For charging case about 1h40min
Battery life: About 7h (ear unit) +14h (charging case)
Battery capacity: Ear unit: 65mAh; Charging case: 380mAh
Ear unit weight: About 6.4g
Total weight: About 57.2g
Ear unit dimensions: About 28.4 x 22.9 x 22.6mm
Charging case dimensions: About 68.4 X 43.9X 32.3mm

Quick Sound Impressions ​

Finally, we can talk about the sound, which is normally why we are all here. It’s true the FW5 is not the most feature rich tws iems out there but I like that Fiio decided that sound quality is their measuring stick for this newest creation. They did well. It is noted that the FW5 do need to go through some usage or burn-in to perform at its peak. I normally do this anyway for every review to take this step out of the equation. The sound most certainly tightened up and there was some BA timbre which somehow is way dialed back from when I first received the FW5.

How does it sound??​

The FW5 has a slightly V-shaped sound signature with a definite rise in the bass region as well as the upper midrange. This is a more warm and smooth sound overall with the Independant AKM dac chip. The FW5 is a very musical tws iem and that is a quality which often lacks within many tws sets. I love how there is a definite balance at the peaks as not any area of the frequency takes on any serious precedence over another. Let’s call it a dynamically balanced V-shape…I suppose. If I could describe the sound of the FW5 in one word, it would be… Full. There is a definite profusion of richness which has its benefits but also can also cause some issues too.

I hear a pretty deep and linear sounding bass region with a very nice punch. The midrange is slightly recessed but with nice definition for a true wireless. The highs have nice extension and add good levity and even some details to the mix. All in all, the FW5 is a very fun sounding and clean sounding unit with great dynamic expression which not many tws iems can boast. Soundstage isn’t as hampered as most tws and technicalities are not lost on this one. Fiio did a great job in my opinion. There are slight issues, but they are mostly subjective to my likes and dislikes. The FW5 has a very nice transient response per the tuning with a smooth but pretty snappy sound.

Bass​

The bass region has nice elevation for genres which cater to a bigger bass section. With that said, the elevation is not too large to become a nuisance. The bass is deep & tight for the size with good texture and nicely linear as well. I can appreciate Fiio’s tuning of the bass as it isn’t overly bloated and doesn’t fall into the midrange to any horrible detriment. Yes, it bleeds over but more so just adds warmth and weight to the lower midrange.

The sub-bass has a rich and deep tactile rumble with nice haptic feedback. The mid-bass slams hard. This is a fun set after all, Fiio tuned it to be fun so take that into consideration. Honestly it just hits hard. Notes could use a hint more refined definition as there is the most subtle softness at note ends but the boom goes deep and sounds really great. Let’s put it this way, you won’t find many tws which have a hard edged and tight transient response while maintaining a bigger bass profile.

Bass guitar has some nice growl, something I always look for. There is a depth to the sound which shows itself very well in the bass region. “Thick” by Breland flat-out thumps on the FW5. However, along with thump you also get a clean bass, there is a roundness and fullness that hardly shows up on tws priced at $150. I would consider the FW5 to have a speedy bass for its size as well. It can handle faster passages of music and is pretty nimble. Remember, I am saying per the quantity of its bass it is agile and sonorous too.

Midrange​

The midrange is pretty lush and nicely energetic, it’s clear and pretty clean too. The low-mids have nicely rendered male vocals with natural enough sounding weight and inflection to male vocals. Like I stated earlier the bass does bleed over into the mids, yet I like the outcome of this. The FW5 sound more like a wired iem to me than they do a tws iem in this region. I hear a lucidity or clarity to the sound with decently separated instrumentation and voices that doesn’t come across muddy or tainted by grain & only rare instances of sibilance.

Females sound forward compared to their male counterparts with a touch of liveliness and even some shimmer. This is not some dark and veiled midrange at all. In fact, everything comes across very clear and with proper resolution. I always enjoy more forward vocals and to me the vocals here don’t sit too far back, and they aren’t overshadowed and really do have decent crispness and authority to the sound.

Not for Everyone​

If anything, they (FW5) could possibly be a bit more open sounding and an airier midrange, but we are also looking at a V-shaped tws with ample bass. I do also hear the slightest bit of BA timbre on some rare occasions and seems to show up in more busy tracks and in female vocals. Mostly this is done away with through burn-in or usage.

Obviously not everyone will enjoy this more “fun” style of tuning. Some will feel that the midrange isn’t detailed enough, not neutral enough, not enough air, too much bass for the mids. However, for the tuning that Fiio went with, which wasn’t a shocker, the FW5 does the midrange nicely. “High Enough” by Noah Guthrie sounds absolutely fantastic. Or “Stoned at the Nail Salon“ by Lorde… fantastic, with such nice clarity. Both male and female come across with good note weight and presence.

Treble​

The treble region has sufficient energy and amplitude to not get excluded from the party. The highs are certainly enough to uplift the whole mix just enough to not sound too warm and dark. There is good information presented past 10k and it is obvious. Secondary harmonics to instrumentation like cymbals actually have some life and come across with somebody while not sounding tizzy or attenuated. The treble region really does a nice job at bringing a more open and elevated sound all together. I hear some crispness and even a bit of shine to the treble region without it offering any pierce or glare, or any sheen to instruments and voices. I was honestly expecting some metallic timbre. Now, when I first got this set, I did hear some off-timbre but after hours and hours of usage that has all but gone away.

Add a bit of luster​

What I like about this treble performance is that it takes you just past the point of being too laid back. Instead Fiio added some treble luster with a more luminous feeling to my music while still remaining somewhat safe. No, it isn’t perfect, but the Knowles Balanced Armature Drivers do very well to handle this part of the frequency. The promotional material shows the BA Drivers coupled together at the nozzle. Now, if you have been around the audio scene the last four to five years then you know what BAs in the nozzle can do. Thankfully there is no such issue here. No, the treble does such a nice job of adding that needed boost and really does bring the whole mix together.

​

Technicalities ​

Soundstage​

The soundstage of the FW5 is pretty massive for a true wireless. In fact, the FW5 is above average for a wired iem. We have a very nice depth of sound field with good width and height. There is a sense of sound all around and even 3D to a degree which I can promise you will almost never hear using tws iems. Very few do the soundstage nicely. They are out there but very rare. This set is one of the few.

Separation / Imaging​

Separation of elements within an imaginary stage is pretty good, not perfect though, especially in tracks that are crazy and chaotic. The FW5 can handle chaos okay for a tws iem but even on these standards there are sets which separate better. I mean, the tech alone doesn’t help with compression going on either. That said, I give the FW5 good marks for their separation abilities of instruments and vocals. Imaging is actually pretty spot on too. I didn’t notice anything out of place or veering around the stage or blurring within the placement of elements. Left to right sounded as it should and even front to back does well. There is a sense of layering as well.

Details​

Details are nice. The tuning is not one which draws out the minutia within a song but still the quality of the tuning and drivers does illuminate some macro and even some micro details depending on the track. I will say that if you are listening to a loud and congested track, or a low-quality track that things do begin to blur a bit, however that is to be expected on most sets, wireless or wired.

No, the FW5 isn’t a tws detail freak, but it does very well. This is helped by the nice transient behavior and nice ADSR along with a fairly tight response for such a full sound. There is obviously some give and take and no the FW5 isn’t perfect. I hardly think anyone is purchasing this set because they think it will invoke some sort of planar behavior. You are purchasing this set for the fun factor and DOPE look. It just so happens that technicalities do pretty well for this V-shaped tws iem.

Comparisons​

Soundpeats H1 ($79)​

Soundpeats is a huge tws outfit which makes some banger price to performance sets. One of the best they have ever made is the Soundpeats H1. The Soundpeats H1 have been well received pretty much across the board for their good sound quality as well as great battery life of 10 hrs. on a single charge. The H1 are a Dual Driver (1DD / 1BA) hybrid with a matte finish, black shell and tan/silver Faceplates using a nice soft rubber material and are shaped much like an iem. Really a great set that does very well in the sound quality department.

Differences
As for the differences, the FW5 has a cleaner overall sound with a more rich and natural timbre. The lows are a bit tighter and larger in quantity. Note weight is also more weighted and denser. The midrange is more forward on the FW5 with better shimmer for females and better authority for males. The H1 equals the FW5 in the detail department but sound smaller in stage and more closed in.

I think if you cannot afford the FW5 at $150 then settling for the H1 at $79 is a great settlement. I could sit here and list all of the benefits of owning the H1 but that would take too long and…I’m not reviewing the H1.

Lypertek Pureplay Z7 ($150 – $199)​

The sound of this set deserves a review by themselves. These too are a 3-driver hybrid setup (1DD / 2BA) with deep and controlled bass, slightly recessed but clean and clear midrange and slightly boosted treble. One of my favorite sets with a nice and almost neutral sound that is very dynamic and musical. The Z7 has a few more features and is pretty highly regarded to those which have reviewed them.

Differences
Now, the Z7 has a tighter and snappier bass region but it is much less in quantity. Obviously, you could always EQ. Anyways, the bass of the FW5 is much deeper and authoritative. The midrange of the FW5 is more forward and rich in sound and more musical. The Z7 are drier but also a bit better in detail and separation and maybe more refined to a degree but that is up for debate. The treble region is more lifted on the Z7, but I also hear instances of some glare at times. However, the Z7 is the more detailed and technically savvy of the two by the thinnest of hairs.

I don’t like comparing all the time because sometimes it implies that one is worse than the other. This is simply not the case. I can easily adapt my ears to the Z7, and my review may be different. This is why I like to only show differences. Still, at this point in time, I’d take the FW5 hands down.

I like both sets to be honest but the FW5 looks much better and the Z7 can sometimes give off that Frankenstein look. Kinda, like you have two large bolts sticking out of your ears. Also, the buttons are more difficult to push on the Z7. Still there is an appeal about the Z7 which few sets can offer at the price as far as sonics are concerned. The FW5 simply does a lot nicely and fares very well against a greatly tuned Z7.

Is the Fiio FW5 worth the asking price? ​

This is a tough question to answer. For a couple reasons actually. Some people only buy tws for their feature set, some for-phone calls, some for ANC capabilities, some for gaming and some just need them to sound good. The list could go on and on to be honest. So, I would say yes and no. I would say no if you needed something which is an all-rounder tws that is full to the brim in features. I could point you toward something like the Soundcore Liberty 3 Pro or Liberty 4 among about fifty others which could pounce on the FW5 in this regard. I have owned or tried most of them and can absolutely state with conviction that there are better all round tws iems at the $150 price point.

To profusely counter that I would say that yes, this set is worth every penny if sound quality is worth something to you in your portable audio. Now, there are better wireless solutions like the Fiio UTWS5 with a good iem attached or something like the Qudelix 5k or IFi Go Blu or Fiio’s own Btr7 with wired iems attached. But, if you are squarely talking about tws iems, in audio’s most portable form, then I would be pretty hard pressed to find a better sounding set at $150. The dynamic range and auditory expression are big on the FW5 with a fullness very close to that of wired iems. Great job Fiio… Do not stop in your tws quest, please keep improving and inching this technology closer to that wired sound.

Conclusion​

I have had a lot of time spent with the FW5 in my ears. I’ve watched hundreds of videos, countless songs, and simply used them for their passive isolation capabilities. Comfort is top notch on this set, sound quality is very nice, and the look is one of the best I’ve seen in a true wireless iem. Fiio brought out the best in this price point and used all their tricks and came away with a nice product. You can certainly do much worse for $150.

Other opinions ​

Please, I implore you to take in other thoughts from other reviewers. I say this in every review, and I mean it every time I say it. We are all very different in this most subjective hobby. We all have different likes and dislikes, different hearing capabilities and we aren’t all on similar audio journeys. I would advise you to get to know some reviewers so you may gauge what they like over time to help understand what they are hearing which will in turn help you make an informed decision.

Thank you​

Well, this is the end of my review and take on the Fiio FW5. I want to sincerely thank anyone who chose to read my words and my thoughts. It means a lot and I certainly hope it helps you to make a purchasing decision. With that, please take good care and stay safe.

QKZ X-HBB Khan Review​

QKZ X-HBB Khan ($39)​

Intro​

I purchased the Khan off of Amazon US for around $40. Khan just so happens to be the 2nd collaboration in a matter of months from QKZ partnering with the “Hawaiian Bad Boy” from “Bad Guy Good Audio” of YouTube fame. Once again, the Bad Boy himself tuned this latest entry. I happened to watch his video and unboxing along with an explanation of the earphone Internals and my eyes went wide. I couldn’t let this set get away from me. Now, the Khan was tuned somewhat typical to another set which recently went to market garnering a ton of praise, the Truthear X-Crinacle Zero. I went through periods of disliking that set to ultimately really enjoying the Zero. The graphs look almost identical so I was intrigued. Does the Khan live up to my expectations and the HBB name? I will try to answer the former up ahead. Friends thank you for reading… The Khan everyone…

Khan: A title given to rulers and officials.

I love a well named iem. Yes, it doesn’t mean much to the overall enjoyment of a set, but it does set the tone. To me, the name Khan is almost given to prove a point. An exclamation point that is. Khan just sounds tough! A one syllable name that is strong in its inflection while coming across stout as it venerates a certain esteem or reverence. “Khan”. Pretty badass don’t you think? I just thought I’d add my two little cents over a well thought out name. One of the better names in recent memory in my opinion. Very cool. Okay on with the review.

Also, check out Mahir’s review of the Khan HERE.


Full Review of the QKZ X-HBB Khan HERE

Gear used​

–Fiio KA3
–IFi Go Blu
–Ibasso DX240 with Amp8 MK2
–Shanling M6 Ultra

Full Review of the QKZ X-HBB Khan HERE

Packaging ​

The Khans arrived at my home in a larger than normal QKZ box with a graphic of the Khan themselves on the front, some labels, yada yada and on the back is the frequency graph. Open the box and the first surprise hit me. QKZ added in a gold-colored coin which is nicely displayed right away. It’s cool. It has the HBB logo, the QKZ logo and is about the size of a half-dollar in the US. Seriously, I have no clue why they’d add such a random object into the box of a set of earphones but… for some reason it’s cool, it’s different, and it’s nice to see something different. I have zero idea what I will do with this coin but… I have it and I didn’t the day before… well played QKZ!

The rest of the Package​

Anyways, above the coin you will see the confident and macho looking Khan earphones in a foam cut-out. Under the coin you are met with a white carrying case. Open the case and you will notice the cable and eartips. Not too bad at all. Hey, I have certainly bought worse for $40. It won’t change your life or blow your mind but let’s be honest, we are used to some cheapo offerings from QKZ. I think it’s a nice and unusual unboxing and one that I seriously wasn’t expecting. Not the most luxurious but this set is $40.





Carrying Case


The case provided is not the most robust or durable feeling. It is a white colored, flimsy, cheap plastic case which will likely do more harm to your earphones than anything. It isn’t lined with foam or anything nice and soft, just thin/hard plastic. Okay… I suppose they had to cut corners somewhere. Truthfully, it may have been better for QKZ to just leave out the case. It doesn’t go with the theme or the aesthetic of the Khan. It’s an odd choice. You have a black-on-gold colorway with a bright white case. It is nice they added one but leaving it out would have preserved the motif of the design a bit more. Seriously though, $40! Don’t listen to me.

Ear tips​

QKZ decided to add in one set of large, medium & small eartips. They aren’t bad at all; however, I don’t think they match the best with the Khan earphones, sonically. The eartips are a longer, deeper fit eartip, clear in color with a dark gray stem. The bore is narrow, and the flanges have a decent density to them with a nice tackiness. I did get a fantastic seal with these tips. Really these are nice eartips which I’m sure I will use with another set of earphones.

What I used…
I chose to skip the included tips and wound up using a shallow fit and very wide bore eartips or the medium sized Fiio Bass tips. I kept going back and forth. The wide bore opens the sound up a bit and there is less of a veil over the sound, yet the bass has an even softer note outline. So, I mainly used the medium sized Fiio Bass tips (basically KBear 07 tips). The reason why I landed on these is because I found that the Khan really do well when inserted deeper into the ear canal. Plus, unlike the included tips and their narrow bore, these tips have a medium-wide bore with a stiff inner stem. This adds good clarity and a more tactile texture to the mix. The wide bore set is nice, but it is a shallower fit and I seem to lose a bit in dynamism with them. It could be me dreaming this stuff up but that is what I heard. I can say for sure that it did pay off for me to get a deep insertion.

Cable​

The cable is a typical, tightly braided budget chifi cable. It is an Oxygen-Free Copper (OFC) with a detachable QDC style 2-pin connector and terminates with a 3.5 single ended jack. The cable is perfectly fine and sounds fine as well. For myself, to match my balanced sources I decided to go with the cable provided in the Letshuoer D13 packaging. It is a brown 4.4 balanced cable and really matches the look of the Khan in my opinion.

If you are able to upgrade to a balanced cable and provide a bit more power, the Khan will reward you for it. My opinion of course. I did use the included cable for all 3.5 single ended usage, and I really had zero issues with it. There is no need to switch out unless you want a more aesthetically pleasing look paired with your Khan’s, or you need a balanced cable.

Design / Build / Internals / Fit ​

Now we get into the stuff which matters. Starting off with the design. These are sexy. QKZ is stepping up their game people! The Khan is about the size and shape of the Truthear Zero with very slight differences. They mostly retain the shape of the Zero so hopefully that will give you an idea of the size of the Khan. Perhaps the Khan is slightly less thick, if I remember correctly.

Look​

I really love the look and feel of the Khan. HBB and QKZ created a very bold yet ornamental design, very masculine & strong in appearance. There is a dignified look to the Khan which is a bit of a departure from the rock n’ roll look of the first QKZ collab with HBB. The Faceplates are a glass-like resin material inside of a brownish-chrome colored alloy edge decoration which lines the entirety of the Faceplates. The right side features a gold HBB logo while the left side features a gold QKZ logo, and both are contrasted against a dark background. A beautiful looking set, very dapper, very self-assured and confident looking as well. It takes a good eye with good taste to design a set like this.

Build​

The shell is made with a 4th generation DLP-3D printer using a dark but slightly transparent resin. If you have seen the Truthear Hexa then you’ll know what I’m talking about as it is the exact same material. I adore this type of shell body as it has a unique Matte appearance and smooth feel. This resin extends all the way to the nozzle opening as well. You will see a nice metal grill on the nozzle and only a couple vents on the Faceplate. I’m telling you; this set is an upgrade in build from its peers. It’s an upgrade in look as well and I promise you, the other guys out there need to step up in their efforts and design ability to match the Khan. The Khan is a very attractive set and very durable. They invoke this sturdy and robust feeling in hand. Very well done QKZ!

Internals​

One of the selling features of the Khan is the fact that QKZ added two Dynamic Drivers in the Khan. Controlling the low-end is a 10mm Dynamic Driver with an LCP Diaphragm while the rest of the spectrum is being controlled by a 7.8mm Dynamic Driver. Just like the Truthear Zero, the Khan uses this same tuning strategy of having one Driver simply covering the bass region, almost like a subwoofer. The midrange on-out is all taken care of with the smaller 7.8mm Dynamic Driver.


Full Review of the QKZ X-HBB Khan HERE

Drivability ​

I found the Khan to be pretty easy to drive to volume as they are rated at 10 ohms and a sensitivity of 117 decibels. I will say with complete assurance that the Khan does scale well with more power. Using the Fiio KA3 on 4.4 balanced there was obviously plenty of juice for the Khan. In fact, a decently powerful dongle dac will be more than enough to open this set up. Also, listening with the IFi Go Blu sounded fantastic for a portable Bluetooth option as the Go Blu has great output for such a small device. Pairing with the Ibasso Dx240 or the Shanling M6 Ultra as the real treat for me though. I listened mainly on medium gain on both daps and was greeted with a more open and forward sound, deeper basses and a hair more air up top. The stage also broadens a bit as well.

Quick Sound Impressions​

​

One thing I would say straight out the gate is that the Khan is fun. This is a fantastic set for deep bass drops and bobbing your head to your favorite jams. The Khan has more of a light L-shaped tuning. This is certainly a warmer sound with decent energy up top but simply dialed back a bit.

The bass has a lot of force behind it with a ton in quantity. Bass-boys rejoice! It’s big, it’s meaty and it bangs! Stop being gross people, these are earphones! The mids are recessed to a degree yet come across clear enough for me. We have that DD like timbre on the Khan which is fantastic. This is a smoother and more dialed back midrange as a whole, a hair held back but mostly unblemished. The treble is very laid back but has enough energy to not sound closed-in and has good definition and extension. A very non-offensive style treble tuning. Honestly, I don’t hear anything offensive to the sound. I will go into greater detail as you read on in this review.

Before I move on…​

I will add, really quick, this set grew on me. When I first listened to the Khan I thought they were great. However, I was only casually listening to my favorite tracks. Then I let them burn in for a bit (20-25 hrs.), popped them in my ears to actually critically listen to some songs and I really did not like what I heard. Very strange. They sounded closed-in, lacked air, in fact there was a complete lack of presence and energy in the Midrange. It lacked body and form and was almost like listening in a bubble. It’s odd. It sounded as though the music had this detached feeling to it. Nothing at all like the Truthear Zero. They graph the same but didn’t sound the same. I was going to give a not so kind rebuke (in a nice way) of my time with this set. Instead, I decided to give the Khan a good 75-hour burn-in. Then one night I purposed myself to just… sit my butt down and listen, while thinking… “What is it that people like about the Khan”? I put my Shanling M6 Ultra to medium/high gain, balanced cable, tip-rolled and listened.

The result…​

People I promise you; it was like night and day. I was loving what I was hearing. I’m halfway positive someone snuck in my room and switched this set out for another. Everything just… opened up! Bass was less flabby and fuzzy, mids gained some form and body and more visceral presence. The treble perked up a bit. I know my ears; they are mine after all and there was an evident change which occurred. I’ve been an audio crackhead for a very long time, and this has only ever happened a few times to me. One other time was the Truthear Zero… Oddly enough. So, I would suggest giving the Khan some time and burning them in for a good long bit.

Bass​

Sub-bass​

The low-end is basically designed somewhat like a subwoofer. True to form the sub-bass is a BANGER! Flat out and hands down the Khan is A MAN down low. This isn’t some weak audiophile bass; this is a man’s bass! There is this all-encompassing nature to the bass with its dedicated driver. The sub-bass reaches very deep with obvious texture and tactile rumble that vibrates eyeballs and breaks seals… Okay I went a little far there, but you get the point. “Groove” by Ashley Monroe has a deep sub-bass line rumble which is offset by her angelic soprano voice and melodic sound. I’m telling you that the Khan absolutely kills it with this song. Sonorous is the thrumming reverberation showing nice depth to the bassline along with Ashley’s mood inducing and cascading voice, it’s like two opposing forces in perfect concert with each other.

Another test track is “Heavy is the Ocean” by Bush on their newest album. Right away the Khan will reward you with a shuddering, juddering & grumbling bass intro to begin this song, which is all encompassing. Soon after is kick drum hits which boom in rapid-fire succession, getting louder and more resounding as they build up. One after the other the Khan clearly proves it can replay with authority. So cool and fun to listen to as the Khan hits all the sweet spots for me on this track.

Mid-bass​

The mid bass should be dialed back considering the mid-bass tuck or roll-off (going by the graph) but I still hear a punchy mid-bass. No, it doesn’t slam to a bona-fide basshead level, but it still punches… Hard. There is enough mid-bass quantity to not leave out your favorite bass guitar growl and that is what I was listening for. Per the graph the bass guitar should come across lean in body, I don’t completely hear this, however. Possibly snares could use a bit more of that staccato edge and weight, but I hardly can tell. Mostly I hear a full bass throughout. The texture is more like a deep thud on mid-bass drops albiet slightly softer in its note edge. “Billie Jean” by Weezer displays this well. Not a concrete-hard note edge and a hair on the slower side but still it is an atmospheric and authoritative thud.

A fun tuning…​

Obviously with a bass this big it won’t always decay super quickly. Sustain may linger a bit longer. Resonances may be a bit much for you. This tuning isn’t going to give your audiophile senses pure analytical joy. Nah…the point is fun! I love my neutral audiophile type tunings, but I also adore a fun set. I grew up in the nineties with the Geto Boys, Mack 10, Scarface, NWA, Bone, 2Pac, Biggie, Too Short, Metallica, Nirvana, Soundgarden, G&R, Alice n’ Chains…The list goes on. Personally, I like a more balanced approach if I was to create my dream tuning but there has to be a low-end emphasis and I wouldn’t call the Khan balanced. However, I can respect what it brings. Once I wrap my brain around that it is a joy to listen to. With all that said, if a fun bass, which is a hair on the slower side, but very impactful sounds like a good time to you, then chances are you’ll be right at home with the Khan.

Midrange​

The mids are the thinnest of hairs recessed to my ear, especially the lower midrange. There isn’t any bleed from the bass region so what we have is a more unblemished midrange, sounding less robust and thick but also spotless and sublime for the money. Lacking that weight isn’t always a bad thing, especially when there is good definition. However, there is the slightest lack of luminous presence in the midrange. I would say it like this… contrast is good, even clarity is nice, but it is simply not perked up like some sets are, and it is done so in a warmer setting. Track selection plays a big role as well because not every track sounds this way. I would give examples, but this review doesn’t need to be 10,000 words. Also, after a few songs you may not even notice. I am being pretty picky though because I am perfectly happy and content as I listen to my music.

Lower midrange​

Again, the low-mids are a bit on the lean side. The lack of weight and warmth from the low-end is a psycho-acoustic voodoo which makes it seem like there is less body to instruments & vocals. The tucked bass and steep mid-bass roll-off should take away some of that perceived body of a male voice. However, males are defined well with a very kempt & crisp sound and enough density to not miss that warmth. Deep baritones sound natural to my ears like Avi Kaplan in “First Place IGo “. I hear good enough body and a distinctive crispy fullness even with the recession and lack of warmth in this area. Leading edges to notes are decently hard and knife-edged with nice transient decay.

Furthermore…​

Higher pitch tenors like The Avett Brothers in a song like “Morning Song (Demo)” can be a hair unnatural though. Of course, his voice can be a bit piercing and almost metallic on most sets anyways. He comes across clean and resolute but a pinch sharp listening with the Khan. I honestly don’t mind it, but I think some people may. Of course, both examples are extremes. Any average male voice like Dermot Kennedy (nothing average about this man’s voice) in a song like “Rome” sounds very nice with good timbre, sounding more organic. If there was a tiny negative, I simply hear a lack of vibrancy. Just a touch too little. Not bad by any means and the good stuff outweighs the negatives by quite a bit. Still, this issue persists through the entire midrange and out through the treble as well.

Upper-Midrange ​

Females are less recessed and more forward than males and have more exuberant energy. Females can be very nicely energetic with decent shimmer in some tracks while sounding nicely sculpted yet smoother in presentation. There is decent body and firmness to a woman’s voice when needed and while note weight isn’t super lush and thick, it is still well controlled and life-like. I did hear slight sibilance from tracks which are prone to it, but nothing which detracts from my listening. The Khan sounds in control and vibrant enough to replay a song like “High” by Caitlyn Smith and does so with nice agility and pace. During the chorus there is a lot going on and the Khan handles it very well. Also, instrumentation comes across naturally and is pretty well separated.

Treble​

This is one area where its lack of exuberance and shine can affect other areas of the mix. I could use a bit more air up top, but all things considered I can very much appreciate the non-offensive tuning in the treble region. Still, I could use a bit more rise in the treble to offset some of the warmth. There is absolutely nothing which sounds shouty or sheened out. Nothing metallic or overly sibilant or tinny & tizzy either. The only real issue I notice is the slightly less radiant and uplifted sound. Laid back yet still detailed, toned down yet still extended nicely with good info past 8k.

Instruments still have plenty of life, like the secondary harmonics or overtones from cymbals and hi-hats. There is also plenty of body to piano notes as well as violin and flute etc. Again, they may not be as uplifted as I would normally enjoy, but they are certainly not lost in some attenuated abyss. You can blast metal without gouging out your ears or throwing the Khan across a room as well which I can appreciate.

Not much to complain about…​

The treble is not tuned to pick up all the slightest and minutest of details, it simply is not that kind of set. That said, nothing is really lacking in this area either. There are sets in the price range which offer better technical prowess but those sets also have other areas where they lack. The Khan isn’t too dry or analytical yet is still pretty articulate with good transient speed up top while remaining smoother & less emphasized. Really there isn’t much to complain about for the asking price unless you are a tried n’ true treble junkie. Also, after a few songs I began to get used to the Khan and these “issues” didn’t sound like issues at all.

Technicalities ​

Soundstage​

The stage offers good width; however, height isn’t to the moon or anything and comes across about average and the same goes for depth, average. Not 2D, and not a flat plane of sound. Even with average height and depth the sound still comes across subtlety three-dimensional, and certainly 3D enough to sound realistic and appropriate without detracting from my music. These are iems so anyone expecting a stadium will be let down, but that goes for any and every iem on planet earth. I think the stage size of the Khan comes across very well for my library of music.

Separation / Imaging​

Separation is really pretty good with a caveat; the song being replayed cannot be too chaotic. Not that the Khan cannot keep up, but with too much going on, like most DD iems, the transient behavior is a bit more atmospheric and can begin to blend a bit. That said, I hear absolutely nothing which is distracting to me. Furthermore, I wouldn’t call the Khan “Bad” at replaying congested tracks. It simply isn’t its superpower. I’ve gone too long on this though, for something which really isn’t a huge issue. Most tracks sound well separated with defined edges to instruments and decent layering of elements within a stage. Imaging is very good to my ears as well. In my test tracks the Khan was actually spot-on in this regard. As it should be.

Details ​

I’ve already covered this a bit, but I will reiterate quickly. No this is not a detail king, but it’s still pretty nice in this regard. The Khan is an organic and somewhat atmospheric sounding iem with a fun side, which would be spoiled if it was tuned in a more analytical way. If you know what you are getting with a set like the Khan, then expecting the Khan to be something else would be rather odd, and crazy. Still, details are decent with this set. You have a pretty clean & resolute sound with decent speed of the driver, this in turn helps the Khan to pick up some of the minutiae. In tracks with more low-end activity, you may find the bass covering over some details but that’s about it.

Comparisons​

*Note: Any comparison I complete is only to highlight differences to help explain the set I am reviewing. This is not a battle or a head-to-head death match, though at times it may seem that way. Also, I wanted to compare the Truthear Zero but I have it lended out to my friend… Forgive me.

QKZ X-HBB ($19)

Talk about an over-achieving phenom, the X-HBB is just that. A direct sibling of the iem we are reviewing here. Priced at a ridiculous $19 this QKZ product quite literally is awesome. That is, if the tuning fits your preferences. Personally, I absolutely enjoy this ultra-budget set. Luckily, I only speak for myself, and I know myself pretty well by now. The X-HBB is a single DD with a 10mm Titanium-Coated Diaphragm and is also tuned by none other than the Hawaiian Bad Boy himself, aka HBB from “Bad Guy Good Audio” YouTube fame. He did a helluva job on this set which gave so many who had no chance of affording a decently tuned set a shot at… well… A decently tuned set. Check out my full review of the X-HBB HERE

Start with the bass!

As far as differences go, we can start at the bass. The Xhbb is emphasized quite a bit more and the bass has a little bit more of a softer impact. Both are deep, both hit hard but the Khan has better separation and layering in this area. The Xhbb also has much more slam in the mid-bass. Some would certainly refer to the Xhbb as close to basshead levels. Having said that, there is more of a refined punch on the Khan to a degree. Still both sets offer a more of a nice leading edge and good Adsr. I can’t decide which set I like better down low.

Male vocals ​

The Xhbb has a more forward male vocal with better note weight but less articulate, clear and crisp as on the Khan. The Xhbb simply has more energy and vitality with a warmer sound. This is a preference battle here as both earphones take a different approach at tuning.

Female vocals​

Females on the Xhbb sound more forward as well with more vibrance and less toned down compared to the Khan. Again, the Khan has the articulate sound to the Xhbb’s thicker note weight and fuller sound. The Khan is a bit drier to the robust Xhbb. What I like about the Khan is that female vocals seem to be more of a spotlight. No, they aren’t as forward but they seem more zeroed in on. This has a lot to do with the surrounding frequencies. Both replay very nice here, but the more energetic and robust sound goes to Xhbb while the cleaner, leaner and more eloquent midrange comes from the Khan.

Treble​

The ongoing theme is sustained in the treble. You guessed it, the Xhbb has better note weight, more vibrant and better extension through the treble region. The Khan is held back quite a bit more though a graph would tell you otherwise. Khan may be more laid back, but it is quicker and can handle more congested passages better. That said, there is an audible emphasis on the Xhbb compared to the Khan with a more shimmery and sparkly treble region.

Nice at their price point​

These two couldn’t be more different and both are fantastic per their tuning and price points. The Xhbb is geared more toward the mass market and does so extremely well for $19. The Khan has an abnormal tuning which gives us a different take on audio but is equally good at its respective price.

Kiwi Ears Cadenza ($35)​

The Cadenza is an absolute monster in the budget segment. I believe they could have been sold for $65 and it would still be a good set. Inside the Cadenza, Kiwi Ears decided upon a single Dynamic Driver with a 10mm Beryllium Diaphragm. It’s snappy, full and the timbre is very nice. This set is absolutely beautiful, it is a fully resin iem with trippy and cool colors and I got to admit… The Khan has its hands full with this one. But hey… If you’re good than you’ll play against the best so… Kiwi Ears Cadenza meet the QKZ X-HBB Khan.

Check out my full review of the Cadenza HERE

Bass region

As far as basses goes, the Khan is less linear, fuller and has slightly deeper bass. The Khan is a hair slower as well. I think that the Cadenza is simply tuned with a more balanced approach. Actually, it is U-shaped to my ear. The graph would tell you that the Cadenza has the deeper and fuller sounding bass, but real-life listening says otherwise. For instance, by looking at a graph you would assume that the Khan would have less meat to bass guitar growls, but the opposite is true between these two. Make no mistake though, deeper does not mean better. The Cadenza is plenty deep too. The Khan is also a hair softer and wooly at note edges while the Cadenza is a bit more compact. Please understand that these differences are very small. Both sets BANG!

Midrange​

Male vocals have thicker note weight listening on the Cadenza, they are warmer, fuller and just as clean. The Khan is leaner but have more of a knife edge and are a bit crisper in delivery. As for females the Khan has much better control of this area. The Khan has less energy and forwardness, but the Cadenza gets shouty much easier. Glare can pop up on the Cadenza whereas the Khan keeps things in good structure and control. I think as a whole the midrange of the Cadenza is more linear and simply lusher and more robust to my ears. The Khan has the more detailed and agile midrange while remaining very clean and more refined in its transient behavior.

Treble​

The treble region is much livelier on the Cadenza with an airier sound. I say that but the Cadenza isn’t exactly boosted to the stars or anything. The Khan is just so dialed back. That said, extension is better on the Khan. It may be dialed back but more info can be heard in the Khan’s air region. The Khan has a better detailed and technically savvy treble as well as a more analytical and dryer sounding. However, if you would rather have a slightly more vivacious and spirited treble than you’d find that on the Cadenza between the two. The Cadenza has a little more presence and body.

Different Approaches…​

Both sets are very nice for the asking price, both play around in the same price point, and both are direct competitors to each other. Both have different approaches to tuning yet both sets do very well in their own ways. Personally, I’m enjoying the Khan, as it is just different from most any set besides that of the Truthear Zero. I’m quite positive that the Khan is more of an acquired taste and the Cadenza fits more into a mainstream tuning, but both can stay in my ears for hours while I am completely content.

Is the Khan worth the asking price?… ​

Quite simply… Yes. Of course, the tuning style has to be one which you enjoy, like anything. I am answering for myself here so 100% the Khan is worth every penny of its asking price. In truth, QKZ could have asked for more and I wouldn’t bat an eye at it.

There are certainly issues with this set and I spell some of those out. However, what I haven’t been able to express is how darn nice the Khan sounds overall, as a whole. How nice is it to pop these in my ears, medium to high gain on the Ibasso Dx240 and just listen to my favorite tracks. All these issues just melt away. All in all, the Khan can be a very bold, musical, emotional, yet also can be a technically sound set, which can replay many genres well. Built wonderfully and designed with class, the Khan, in my opinion, is one of those sets which perform very well in its price point.

Conclusion ​

HBB has really outdone himself. He took an already good template from the Truthear Zero and made it better. It takes a keen ear and many years of listening to a library of music over and over again to advise on such an endeavor, and to actually create an exceptional product… Bravo! My hat goes off to QKZ and HBB for taking a chance on each other and for the end result. I have to admit that I’ve been a fan of HBB for some time, but I can also verify that this in no way affects my review. I went a hair too hard in some areas and probably held back praise in many others. You know a set is good if after the review is done… You are still listening to that set. For me anyways that is saying something. Oh yeah, the kicker… this set is $40!!!

Other Perspectives​

If you’ve never listened to me before, I urge you to listen to me now… Please listen to, read or watch other reviews of this set. Very much like the Truthear Zero I have a sneaky suspicion that the Khan will be pretty polarizing. You will either love it or not. Really! It is a different tuning then we are used to and may take some time to fully appreciate.

Of all the budget sets which have come out the last 3-4 years I can count on my hand the number which have taken this route. If you ask me, they absolutely nailed a unique and different sound which I have grown to really enjoy, but I’m sure for some reviewers this will not be the case. So, take in other perspectives. Something which I don’t harp on enough is that; we all have been down a different road in our audio journey. This greatly affects how we review and view earphones. Think about it. Also, we all have different gear, we hear different, our music libraries can be different and on and on. Don’t just stop at me, please take in other perspectives. Yes, it’s only $40, but $40 can make or break someone and I want you people to get it right.

Thank You!​

Thank you for reading, I hope this helps my friends in the Audio community to make a better-informed decision. I type exactly what I hear and try my best to do so in a way which makes sense. Maybe one of these days I’ll actually start to get good at it… LOL. Anyways, thank you and please take care and stay safe.

Intro​

I received the Celest Pandamon from the fine folks at Kinera in exchange for my full and honest review and I intend to do just that. I will always provide an unbiased and truthfull account of any set I receive. So, thank you Kinera! I will do my best to explain exactly what I hear and feature the Pandamon in a way which helps the reader get a gauge for what exactly they are getting when purchasing this set. With that, here are my impressions of Celest Pandamon. Thank you very much for reading.

Side Note: Please read Mahir’s review of the Pandamon HERE

Pandamon?​

The “Pandamon” is known affectionately as the “Iron Eating Beast” which was first recorded in book form as a Chinese fantasy tale “The Classic of Mountain & Sea“. You will find this depiction in the pamphlet inside the box with a brief description. Apparently, the Pandamon has extremely brilliant military records with extraordinary combat capabilities. Enemy weapons can easily be crushed by this iron-eating bear’s teeth. I’m sure there is much more to this tale but, I’m a Father and really don’t have the time to read further than a Google search. Forgive me.

The “Pandamon” is also a puppet Digimon? I write that but I’ll be perfectly honest… I know very little about this Digimon world or if Kinera chose this depiction (Digimon) of the Pandamon at all. I’m sure their idea of the Pandamon comes mostly from the classic tale. Regardless, the Pandamon is basically a character Panda bear who is pretty badass! As I’m sure you’ve already gathered by the appearance of this set.

Who is the Pandamon?​

So, who is Pandamon? How does his character relate to the earphone, or does the tuning prescribe to these character traits at all? Perhaps Celest simply latched onto a catchy character theme to grab the attention of the younger generations. Anyways, the Pandamon is said to be a “lone wolf”. He is mostly expressionless, dismissive and stone cold at all times. Known for being abrupt, brusque and abrasive with absolutely no charm whatsoever. I’m sure the picture imposed on the faceplates gives this away a little bit. I’m gathering this fella isn’t too kind. The Pandamon strikes with powerful force, is very fast in attack and is consummately, decisively and positively lethal! The first thing I wondered was… “Does the tuning of the Pandamon relate to the Character?” Well, I’m overly curious, let’s check out how the Pandamon actually sounds. Fellas and Ladies, the Celest Pandamon…

Gear Used​

–Shanling UA2
–IFi Go Blu
–Qudelix 5k
–Ibasso DX240 with Amp8 MK2
–Shanling M6 Ultra

Full Review can be found HERE

Packaging​

Celest went with a very well-conceived packaging. Very thoughtful of them. No, it isn’t the most luxurious box of accessories, but it is well schemed to go along with the running theme, and that is… The Pandamon himself. Still, for $59 US dollars the packaging is very nice and above what I think you would normally receive. On top of that the unboxing was well thought out and very creative.

Quick Unboxing​

The box is rather small with a graphic imposed on the cover sleeve of the angry Pandamon seemingly growling or howling in the moody moonlight. Above the picture is a plastic clear window which gives us our first look at the earphones themselves. Listen, I don’t care if you like the style, picture, character theme or not, if you can’t agree that this is a very well laid out and very eye-catching design then… we must be very different from each other. I Know my former self, if I was 15 years old, I would think this set is DOPE! I say that and truthfully it isn’t my favorite design as I do like more of a bold and minimalist approach but… I can dig it. Let’s put it this way, I understand the approach and to whom the Pandamon is marketed at.

Take off the sleeve and you’ll see a copy of the graphic on the front of the box but this time it looks almost like a penciled traced image. Within this image are the earphones themselves snarling at you in a cardboard cutout. Pick up the cardboard layer and underneath you’ll find the case. Inside the case is the eartips, cable and nozzle cleaning tool. Under the case you’ll find a Keychain of the exact image of Pandamon… How thoughtful and smart is Celest or “Kinera”. Finally, the last accessory is a pamphlet with a quick description of Pandamon, some specs of the earphones and some other boring stuff. All in all, Kinera did a fine job with the presentation. Well done!

Eartips

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The eartips provided are actually of great quality. The first set I’ll talk about is a medium-wide bore ear tip which looks identical in size, color, form, rigidity, and just about everything else as the Fiio Bass tips. Now, the Fiio Bass tips are basically the same as KBear 07 tips so… The included tips I’m referring to are basically a different colored Kbear 07 tip. Anyone who follows me at all knows I love the KBear 07 tips so for me, this is great. Anyways you get three pairs (L, M, S) of the Fiio lookalikes. The next set is a very nice and rigid set (L, M, S) of wide bore eartips. Really these are great tips. They have a very firm flange which is perfect for sealing in a shallower fit. The inner bore is very firm as well which is great for sound. Another very nice addition by Kinera.

Carrying Case ​

The case provided is a soft faux leather type pouch which opens in an almost spring-action by squeezing both ends. The feel of the pouch is very nice. Now, your earphones will barely squeeze inside as there isn’t a ton of room in there, but I was able to get them in and so… All is good. I certainly wouldn’t think this case would be able to protect your earphones from drops or bangs as there isn’t much in the way of physical protection, it’s a pouch after all. Still, it is great for putting into a pocket which makes carrying around your earphones very easy. Perfectly pocket sized.

Cable​

The included cable we have seen before. In fact, it seems to be the exact cable given with my Tripowin Olina as well as a few others. Not a bad cable by any stretch. Also, not the best. Aesthetically this cable may not be perfectly matched but truthfully for the price it is a nice addition. The cable itself is a 2-pin, gray colored, 4-core SPC cable which ends with a 3.5 single ended jack. For this review I primarily used a Hifihear black 8-core SPC cable because it ends with a 4.4 balanced termination so I can use this set with my balanced sources. Not to mention that a balanced jack enables me quite a bit more power.




Full Review can be found HERE

Build / Design / Internals / Fit ​

Design​

The Pandamon are not a large set of earphones. Built in a circular shape the faceplates are made out of stainless steel and done so in a semi-open design. The faceplates have a very youth-oriented look with the devilish looking face of the Pandamon gnarling at you with deep-red and viciously angry looking eyes and pointed teeth. This is not a cute panda. Now, I could see many people loving the look and design language. In the same breath I could see many not liking this look at all. I have to assume that this design will be at least a little bit polarizing to the audio community. It doesn’t bother me at all, but I wouldn’t pick this design if it were me creating the Pandamon to my own preferences. It is a hair too much for me but again, so many people will think this set looks downright tough looking and will suit them perfectly.

Build​

The shell housing is made out of a 3D printed black colored resin which offsets the Faceplate nicely. There is also one other small vent near to the nozzle. Speaking of the nozzles, they are slightly angled which makes fitting them into my ear very easy and nice. The grill on the nozzle appears to be the exact grill provided on the Celest Gumiho. Overall, the build is solid. It isn’t premium or decadent or beautiful, but it is good enough for me to call cool-looking and durable feeling in the hand. The Shells are very light which I happen to really enjoy and make long listening a fatigue free experience.



Internals

The Celest Pandamon is outfitted with what is called an SPD driver, AKA SPD 2.0, aka Square Planar Driver. From what I’ve read the SPD used is made by Kinera measuring out to 10mm. The Gumiho used SPD 1.0 and needed a balanced armature driver to accompany it for the highs, but the 2.0 SPD is actually a full spectrum Planar driver. It is able to reproduce a full frequency range which benefits from better coherency of sound.

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Drivability​

The Pandamon is rated at 9 ohms, with a sensitivity of 108 decibels. Yes, this set can be driven to decent volume from less powerful sources but to truly get the most out of the Pandamon you will need a well out-putted and strong dongle dac at the very least. The Shanling UA2 does a very nice job of giving the Pandamon enough dynamic presence and begins to open up the sound with increased low-end energy as well as a wider soundstage.

Portable Use…​

For a mobile option I tried out the Fiio UTWS5 and I did not have the best experience with that setup. It isn’t a bad sounding pairing but simply not enough juice and headroom to really pull out the Pandamon’s strengths. So, for a better mobile option I tried out the Qudelix 5k as well as the IFi Go Blue and I found both to have plenty of power for this set. I am always trying different styles and ways of listening because I want the best I can get in different situations. A portable option is important to me, hence, I always put it in my reviews. The IFi Go Blu has fantastic synergy and forms a nice union of auditory delight on 4.4 balanced with Pandamon.

A Bit More Juice​

Pairing with the Shanling M6 Ultra or the Ibasso DX240 were both very solid options. I tried out both medium gain & high gain with both Daps and found the Pandamon certainly scales well with power and is very transparent to the source tonality. I didn’t hear any distortions or unwanted peaks with more power either. Like I said, a good dongle dac with reasonable power will be more than enough. Like any planar the Pandamon benefits with some juice. All things considered the Pandamon is not the most difficult planar type of earphone to drive like some sets we have seen in the past.

Quick Sound Impressions​

The Pandamon presents a nicely balanced take on my music. Near neutral with a slight warmth and more U-shaped to my ear. I hesitate to call it mid-centric, but it is close to that in my opinion. I hear an emphasis in the upper midrange which adds some sparkle to female vocals. The Pandamon has a balanced low-end approach but remains punchy and defined. Bass hits pretty hard without any muddiness. The treble has good energy while remaining non-offensive without any undue peaks. Obviously, I will elaborate much more in each of these areas as you read-on. The stage is nice, and details are not lost on the Pandamon either as the sound is very clean and airy and mostly balanced, so that no one area of the mix takes great dominance.

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Bass​

The bass as a whole is not over-emphasized or extended or obese in its quantity. The low-end is lean, tight, textured and precise. There is a greater rise in the mid-bass but neither area is left unheard or unfelt. I am a fan of this tight and speedy bass.

Sub-bass​

I will make this quick. The sub-bass does have a roll-off beginning roughly around 50hz, but I’ll be honest, it doesn’t entirely show itself as such. I still hear enough haptic feedback and rumble for tracks which call for it. However, make no mistake, this is not a bass head’s type of juddering shudder down low. Still, there is plenty to suit my needs as well as many others as a song like “Paradigm” by The Head and the Heart, has plenty of deep vibration. I think the Pandamon shows up very well on this track with a tight and deep rumble. The sub-bass is speedy and makes its presence felt enough to enjoy.

Mid-bass​

The mid-bass has a faster attack/decay/sustain in my opinion than most dynamic drivers but replays much in the same way as far as timbre is concerned. Weezer did a remake of Michael Jackson’s “Billie Jean“. The first thing you hear is a huge string of kick drum booms and then followed shortly after by a deep bassline. The kick drums have a slam to them which comes across as a round thud and decays in a more natural way which is pretty satisfying. Mostly the mid-bass hits with good authority and a cleaner edge for an SPD Driver. Nothing overly pillowy, hollow or fuzzy but actually the mid-bass gives off decently good definition and separation from the sub-bass.

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Midrange​

The midrange seems to have decent note weight throughout, especially in the low mids. The midrange is more forward and out front. I consider the Pandamon to have a richness to the midrange but also good resolution for an iem priced at $59. There isn’t any sibilance or graininess or metallic note edges. I also wouldn’t go so far as to say the midrange is a detailed midrange, but it is punctual and precise enough for my library with an organic and rich sound. Overall, the mids are smoother than they aren’t and easy on the ears. I would consider this a warm but lush midrange which comes across natural to my ears.

Lower-Midrange​

The low-mids have a bit of spill over from the mid-bass which provides some warmth and weight offering a full sounding male vocal. Males are pretty robust and come off natural to my ear as well. “Where I Find God” by Larry Fleet replays well on the Pandamon as Larry’s sharp country twang has a nice correctness and intelligibility which isn’t clouded by veil but instead has a nice bite but also a warmer sounding richness to his voice. I wouldn’t call this a high-resolution lower midrange but there is good definition and a nice body to male voices.

Upper-Midrange​

The upper-mids has the greatest emphasis, which adds some levity to the entire mix. Almost like a vibrant warmth if you will… and a nice timbre as well. Females are pretty forward but not to any detriment as they sound nicely breathy and vivacious with some shimmer to them. There is an emotional and atmospheric element to females. The Pandamon do not come across as a budget planar at all to me as most instruments and vocals are positioned nicely and rendered more organic in this region.

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Treble​

The highs are energetic enough yet aren’t so emphasized to cause fatigue. This is a non-offensive and safer sound than many budget iems that we’ve seen. There is a natural sounding roll-off which really presents instruments nicely. Resolution is good throughout the treble which really helps to offer a clean upper 3rd. It isn’t the hardest edged or sharp upper region at all but there is a crisp nature replayed in a safe way, if that makes any sense. Truthfully, the treble has a smoother sound all the while not losing out too bad in the details department. Nothing metallic or sibilant or grainy and nothing super piercing.

Cymbals and HI-Hats both trail off nicely and with a good enough body depending on the track and how forward they are in the mix. Generally, they sound legit, with a nice chisk and appropriate decay. They aren’t lost with rolled-off attenuation, and neither is percussion, piano, violin etc. The treble is decently detailed which is mostly due to the balanced type of tuning and nice clarity throughout. All in all, the upper 3rd does a nice job at countering the rest of the spectrum and adds good levity to the overall sound.

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Technicalities ​

Soundstage​

The stage has a nice width with an average height and even some depth. Nothing colossal and not some enormous venue in your head but a good-sized stage that paints a nice psycho-acoustic picture. We go too far with stage size in the iem world, really. It will only get so massive. What the Pandamon has going for it is this open sound, a neutral and airy sound which has nice clarity and a speedier driver which almost opens up different portions of a stage… almost. It’s a nice stage. I’m sure the semi-open back plays a big part in this area.

Separation / Imaging​

Discerning different elements within an imaginary stage is pretty easy listening with the Pandamon. Even on more congested tracks this set just speeds right along and does an admirable job of delineating front to back and side to side fairly easily. Layers can be heard, and, in most songs, I can hear decently partitioned instruments and voices. Placement of those instruments is as it should be. Remember this is the least we should be asking of our iems. They should image pretty nicely. Separation and definition of elements around a stage is the trickier task and the Pandamon plays above average in these areas in my opinion. I’m sure there are some chaotic tracks which they cannot keep up with and some blurring will occur but in my library these did pretty well.

Details​

For a smoother sounding iem the Pandamon pick up details well. No these aren’t detail monsters, but I can hear some of the finer minutia within my songs which is great. In general, the Pandamon will come across with a more organic and not as dry and analytical as some higher detail iems. That said, resolution and clarity is such to present macro type details rather easily. Again, not a detail beast. Yes, it’s a type of planar, and yes, this driver has good speed and good clarity, but it is simply tuned to a smoother gradient across the spectrum.

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Is the Pandamon worth the asking price? ​

Well, this is an easy answer with a couple caveats. First, this set will already throw off many people by the appearance alone. If I were designing this set, I wouldn’t have gone with such a youthful and bold faceplate imagery. You lose half the community with this alone. However, if the design is not being considered and audio is the only parameter we are going by then... most certainly the Pandamon is worth the $59. 100% yes. To be honest I don’t find the look too off-putting, and I can wrap my head around the design, but I do think it may be a hair too in your face and young to compete outside its target demographic. Many audio-heads come into their element with some age under their belt, it’s just the truth. Still, I really enjoy the sound, the Faceplate doesn’t bug me too much personally, and so I say...yes, the Pandamon is worth the asking price.

Conclusion ​

I want to thank Kinera again for sending out this review unit. It means a lot. I had a good time listening to my library with the Pandamon. Even if the look doesn’t exactly line up with my tastes, I can appreciate the sound. Obviously, the look is the Achilles heel of the Pandamon as it will not suit everyone. However, the tuning is what separates this set from some others in its price range. Near neutral, organic, clean sounding and smooth in a mostly non-offensive manner. There is a mildly aggressive sound which can be dynamic and very fun. No this is not a bass-head banger or treble-head bright, but it is balanced and can cover many genres very well. Technically the Pandamon is pretty nice, and it is mostly a smooth sailor which doesn’t kill my ears with glare or sheen. I’d say that Kinera once again did a very fine job with the end result in the tuning.

Other perspectives​

Please, listen to, watch or read other perspectives about the Pandamon and take in other perspectives. I am only one man and have my own preferences which to some degree affect every review that I complete. We all have different likes & dislikes, different gear, different hearing capabilities and we all have a different audio journey which greatly impacts our views. With that I want to thank anyone who chose to read my thoughts and I certainly hope it helps at least a little bit in your purchasing decisions. Take good care and stay safe.
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