Introduction

My reviews are written purely from a hobbyist perspective. I can’t claim to have heard every set under the sun but I have heard enough to make a general assessment of value versus TOTL / kilobuck market. I am also not a musician but have obsessive tendencies over instrumental accuracy. I prefer a warm-neutral signature with a natural instrument timbre. My preferred genres are jazz, folk, classical and world music. A very small portion of my library is electronic, OST, ambient and metal. Hence, a bass emphasis is not something I look for necessarily, however a ruler-flat bass is something quite unnatural to my ear and there needs to be some lift there for weight and an organic tone.

I tend to index performance on these aspects (in order of importance):

1. Tonality - warm-neutral as mentioned above, mid-centric with emphasis at 1-2k and carefully tuned pinna to avoid shout. I dislike Harman midbass tucks at 200hz and prefer a linear glide into the low midrange to offer warmth and weight to low strings. Overall a midrange emphasis is preferred over V or U shapes and vocals should be placed forward and close to the ear with good clarity but not the common Chi-fi trait of enhanced upper midrange to the detriment of a natural balance. Vocals should be embodied but demonstrate a good ‘breathy’ quality when the recording asks for it - they need to be goosebump/ASMR inducing.
2. Timbre - an admixture of components including tonality, resolving power, note texture and attack, sustain and decay; timbre is very important to me. If the IEM can’t offer something with an overarching authenticity to instruments then it drops down my list quickly.
3. Coherence - there has to be a shared treatment of fundamental notes and harmonic detail throughout. The sound should be joined by a similar character and fluidity. A good ‘hybrid’ is one where I don’t think ‘hybrid’. This is probably because I have always heard single DD IEMs and flathead earbuds as a reference point for sound reproduction (shortcomings of layering, staging and top end extension aside).
4. Spacious centre image - there needs to be space within the head with informative dimensions between L and R channels. Vocals usually sit within the head at the centre of the performance and without that dimension they can feel flat or enclosed which is a barrier to reproducing soaring vocal performances.
5. Circumferential soundstage and instrument separation - related to the above, an informative picture around the head is important for my enjoyment too. I listen mostly with TOTL flat earbuds, that like overear headphones, places sound outside the head much better than IEMs. A wide soundstage is important, I don’t like music sounding congested.
6. Resolution - finally, resolution is important, I want as much note information as possible but not at the expense of tonal correctness or 1-5. I’m not talking about clarity, presence or definition but texture and nuance for vocal and instrumental flourishes.

My hearing reaches up to 15kHz. I am not overly treble sensitive but do have issues with strong emphasis between 2.5kHz and 5kHz.

Disclaimer

MusicTeck - this unit was kindly provided at a small discount in exchange for my review. I will try to be as objective as possible. Thank you to MusicTeck for the opportunity.

Subjectivity - as always, these impressions are heavily subjective and entirely possible you hear this IEM completely differently to me. It’s always sensible to demo sets before buying them (or purchase on the back of a very trusted opinion, as in my case). With the emergence of tour groups and audio shows, it’s becoming increasingly possible to do this.

Source / Cable / Tips Used in Impressions

This review is conducted using the Cayin RU7 as source, from the 4.4mm out, high gain. I consider this a dry, well defined, analog sound that accentuates stage size and separation.

Stock 4.4mm cable is used that appears to be a Ranko Acoustics cable, or at least it uses RA accessories.

The stock eartips are of good quality - a firm silicone eartip that stands slightly taller and narrower at the end than KBear 07 with similar sonic qualities (i.e. quite transparent and uncoloured). Another good option for this tonality is the Penon Liquer black tips that have a firm but wide core and flange. They seal well and accentuate the lower frequencies while keeping the staging open and preserving detail.

Unboxing & Accessories



The unboxing experience is the best I have encountered at this price point. A leather storage box, containing a leather storage case and leather IEM display stand. It feels very generous and of high quality. The cable included is supple and nice to handle with decent quality accessories. Included are 6 pairs of silicone eartips in a Canpur branded storage box. These silicone tips are similar to KBear07 but firmer, taller and less rounded. They follow in the same vein as KBear 07 with good transparency and good end to end extension.



What follows here is a brief description of the sound characteristics of the included cable, feel free to skip this if you don’t appreciate/don’t believe cables alter sound. The included cable is very dynamic and accentuates the already forward vocal range along with improving low end impact and presence, without any loss of clarity or increase in warmth. I would describe it as an aggressive sounding cable. While this cable did extract the most dynamism out of CP32E of cables I tested, it felt too overwhelming with what is already a bright signature with accentuated lower treble presence. The alteration to the sound is significant to my ears and for that reason I would argue it’s commensurate with the price of the IEM - the cable has some utility, it’s just not to my taste.



My recommendation for a cable pairing would be the humble Juzear Limpid, a silver plated OFC cable coming in at a whopping $20. It has a broad stage, good instrument separation and manages a beautiful balance between an organic smoothing of treble while actually enhancing the resolving power in that treble region. The content is better appreciated, not just the defining edges. In fact, this cable appears to pair well with many of my other BA sets. It adds a layer of refinement to the sound that you would usually only hear from cables many times the price.

Design, Fit & Comfort

The CP32E, similar to the other Canpur sets is made of a resin shell, it’s very lightweight and ergonomic (although fit is highly personal). The concha bowl is not aggressively shaped but provides enough purchase and grip within the ear. Some commentors have expressed their displeasure with the ‘feel’ of the Canpurs. They are all lightweight, which I see as a positive but others may want a heavier, more substantial feel for the money. The 32E has three open sound bores atop a fairly average size nozzle, not too long or too stubby in my view and not too wide, meaning most tips will work. There is a very minute vent just anterior to the 2pin connector. From experience, pressure build up is minimal over several hours listening but those sensitive to pressure may experience more issues as I cant imagine this vent contributing much to equalisation and if it does it is liable to block easily with debris. Thankfully, there are some tips available on the market that can go some way to reduce pressure build up, including the Tangzu Sancai and Tanchjim APB.





Coherence, Driver Choice and Driver Count

Before I talk about tonality and sound, I just want to mention my perspective on driver choice, overall coherence and the strengths and weaknesses of the 32E. With 3BA’s and 2EST’s there is light-footed character to the sound. This isn’t a set to emphasise macrodynamics or weight (although the note weight is sufficient when powered by a good external amp), it’s strengths are in transparency and resolution. The BA’s are sufficient to provide enough air density for string instrument and vocal body and the ESTs provide a beautifully ‘fragile’ treble region. I’ve come to really appreciate EST treble over BA treble. BA’s can be too heavy handed and soft in the upper treble, even when that region is accentuated. ESTs have a finesse to ornament the last details of notes that BAs can't achieve. On the low end, although much maligned, BA bass can extract texture and detail that can sometimes go missing within the more broad stroke sustain and slower decay of (typical) DD presentation.

Perceived weaknesses of this configuration are a lighter impact, a quicker, less romantic note decay and a lighter overall note weight throughout. There are really only 3 drivers providing air density here and most hybrids include a DD to make things feel more substantial. Even though there is only one BA for the midrange I don’t feel the resolution suffers too drastically and overall I consider resolving power a strength of this set, especially in the midrange. I suspect many multi-BA sets have built in redundancy as driver count increases but here just one is being used to it’s maximum extent. While the midrange performance is exceptional, there are moments when the upper midrange can become congested in very busy tracks and it's clear the 1BA begins to sweat delineating positional information.

Canpur have astutely joined Sonion BA and EST together with purpose: to produce a refined and revealing instrumental and vocal replay that prioritises micro over macro and is best suited for small, intimate performances and for listeners in search of subtleties. By choosing this driver configuration, even before their tuning choice they have made purposeful steps towards a goal.

Tonality


Frequency response courtesy of MusicTeck. Red line, CP32E. Green line, CP54E.

I consider the CP32E to be mid-centric signature with an accentuated treble response, although it’s not overtly bright and is overall, uncoloured. As you can see from the graph there is a swift but well controlled accentuation of 1k-3k bringing the midrange to the fore. Presence is accentuated at 5k for great clarity and there’s a dip thereafter controlling for some vocal sibilance, before rising for a lifted 8-10kHz region that adds definition and sparkle. The transition to the midrange eschews a mountainous accentuation with sudden tuck for a gently sloping glide to 400Hz. This prioritses realism in midrange weight and organic warmth. The subbass accentuation adds deep atmosphere and completes the picture with a dose of dramatics.

[As an aside, I really don’t like how unnatural a tuck at 200Hz sounds, especially when it’s preceded by a hefty blob of midbass ala Harman target. It interferes with balance too much in the lower midrange. This popular obsession is perceived by proponents as removing midrange ‘veil’ but in my view you end up sucking out organic warmth for a very clinical and tonally disjointed lower midrange that can really impact low strings. Thankfully, this is not the approach taken here.]

The CP54E (green line) is closely related to the 32E, a sister set of sorts and is very complimentary. I will provide a brief comparison towards the end of the review, as while they share a tuning philosophy, there are differences in tonal colour and technical strength.

Bass

Immediately, what is apparent is how well Canpur are working the latest gen of the Sonion vented woofer. The bass extends viscerally into the sub region and can throb with pressure when called for. The quantity combined with the wide staging is enough to add atmosphere and excitement but I would still want a few dB more of subbass and midbass to call it a ‘fun’ tuning. This is sensibly tuned with enough quantity to make orchestral and OST viable but still south of the quantity I want for electronic/hip hop and metal.

From a quality perspective textures and detail are excellent. Low percussion has a naturally weighted hit/impact. Double bass weight and resonance feels full and transparent with a lick of organic warmth. There is virtually no bloom to this tight, yet expressive low end. The bass remains what I would describe as accurate and leaning analytical with no obscuring qualities to it. It leaves the midrange feeling open, spacious and revealing. The linear tuning approach to the bass is all about balance and there’s a good balance achieved between informative instrumental replay and enjoyable but not exuberant electronic replay.

Nenad Vasilic - Bass Room - Christos Anesti



This is one of my go-to tracks for acoustic bass texture and detail. On the majority of my other sets this recording is warm but the CP32E renders it much more airy and a few shades brighter thanks to the accentuated treble. This means all the detailing to the strings is delivered cleanly (not clinically) with an organic hue that’s not warm but natural. As I will come onto, the CP32E doesn’t struggle with ‘musicality’ in the higher registers but I feel more bass and lower midrange would bring out the musical soul better on this track.


Nicolas Parent - Intuitions - Izu (featuring Kentaro Suzuki)



Intuitions is a superb album with immaculate recording atmosphere. Izu features a beautiful contrabass and electric bass duet. There is a wonderful ‘wobbling’ depth to the low frequency reach on these strings and CP32E captures that musicality without issue. The bass is extending here with no roll off. You have the complete picture with good clarity and definition. Excessive bass or note decay would render this track overwhelming and one dimensional in my opinion, but the analytical side to this IEM draws out the detail and beauty of these two string behemoths.


3Phaz - Ends Meet - Sharayet



This electronic track has some deep hits. Once again, the woofers kick in with convincing low extension. The subbass ‘wobble’ is more a soft caress on the ears but the midbass hits well for a BA. This track also reveals the upper midrange clarity and treble definition from the hi hats and other sounds ornamenting this track. There is an undeniable ‘zing’ to the character here, another reminder that this set has an analytical face to it that can fatigue at loud volumes.


Hans Zimmer - Dune: Part Two - Beginnings Are Such Delicate Times



Focusing on the first 10 seconds there is a rolling tide of atmospheric bass sweeping in. It feels weighty and layered on the 32E. The presentation, again, isn’t overwhelming just naturally weighted, informative and balanced. The entire OST sounds great on the 32E. The open staging, clean midrange and distinct treble do justice to recreating the inhospitable vastness of Arrakis. The whole OST, like a pendulum moves between the transcendent spiritual and a brutal material reality. The dynamics on the 32E oppose these themes with great contrast. Hook the 32E up to an external amp and you’ll be treated to even greater dynamism. If OST were my main gig, I would actually choose the 32E over the warmer 54E that loses some vivid contrast offered by the tonally brighter and more open midrange (’open’ from a tonal perspective, technically the 54E has a deeper stage with better layering).

Mids & Treble

The midrange is captivating. It’s the 32E’s greatest strength. If you enjoy singer/songwriter, acoustic/folk, vocal jazz, violin concerto, this will present your library par excellence. Vocals are intimate but uncoloured, you can ‘feel’ all the nuance lifted of the track with how present the upper midrange runs and there’s a beautifully crisp treble accenting that does not leave things overexposed or grainy. The 32E walks the proverbial tight rope between vocal presence and clarity and sibilance and shout very well. I only have issues when listening at louder volumes (Fletcher Munson curve be damned) and that is usually because I am trying to increase the perceived bass for pop/hip hop. This is the main reason I feel the 32E is a specialist set: to get the low end and low midrange presence I’m after for electronic/pop/hiphop genres, the upper midrange veers just out of balance. This is not an issue for the majority of my instrumental library. The lower midrange is clean, detailed and on the whole very musical but for those instruments with fundamentals sitting lower down things feel less musical and more analytical, yet still enjoyable.

The treble will be divisive, the 8-10kHz region adds a sparkle and brilliance that’s addictive and ever present. It forces a brighter and more analytical character on tracks than I’m used to, but it also works to reveal vocal and instrument detail and improve note definition. For the right library of instrumental and vocal recordings that don’t suffer from poor mastering, I don’t imagine this to be an issue. It’s better to have this emphasis...take it away and you take away the 32E’s emotive power.


James Blake - Friends That Break Your Heart



Vocals are the selling point for the 32E, there’s no denying it. The clean midrange has a vocal forwardness with excellent clarity and treble detail and decent resolving power to boot. Vocals simply soar. James Blake’ voice is weighted just right. It’s transparent and resolved thoroughly to appreciate deep body and the more superifical textures.


Angelo De Augustine - Tomb - Tomb



A folk/acoustic singer with an endearing falsetto. This another example of 32E’s strengths. The well defined accompanying strings and slightly strained, airy and fragile ‘head voice’ play perfectly from the BA/EST mix. Vocal enunciation is palpable. It’s not romantic or warm but rather fleeting and angelic, as intended.


Scott Matthews - Passing Stranger - Earth To Calm



A singer-songwriter close to my heart. I have seen him perform multiple times now and the reproduction of his voice is faultless. His soft, dulcet voice is buttery smooth and yet well textured. Guitars have metallic twang as you would expect but there is a finesse and delicacy to them that keeps it tolerable for me. Some may find this metallic twang and presence too distracting or invasive, this is where the uppermid/treble will be divisive.


Roomful of Teeth - Caroline Shaw: Partita for 8 Voices - Allemande & Courante



An awe inspiring, dimensional recording of voices good for testing staging and vocal handling. The 32E presents a balanced, uncoloured performance of this track demonstrating it’s own virtuoso voice. Clear, separated, organic, vocally crystalline from bass to soprano. There’s a little bit of shout during the intense passages at my natural listening levels but it’s controlled for me by dropping the volume just slightly. In some tracks on this album where multiple voices converge they mingle a bit too much. It’s possible we’re starting to see the limit of the separating and resolving power of 1 midrange BA and it can only be so technical.

If you’re into Dark the Netflix series, this ensemble performed the intro for it - ‘Courante’ on the same album. It’s such an mesmerising track. There’s something very essential and primal to vocal ensemble performances for me and it takes me to a similar place as when I listen to choral music. The CP32E does a damn fine job of conveying the subtilities of voice.



Ballake Sissoko & Vincent Segal - Musique de Nuit - Niandou



I always bring this track into my reviews. An open air performance with kora and cello. The recording is spacious and the CP32E renders that space well but more importantly to me, both instruments are treated realistically. They have textured and well defined strings that remain sweet and their acoustics reflect that an open environment. The kora sits so predominantly in the upper midrange and treble that less emphasis here can really dull my enjoyment of it. The CP32E get’s the emphasis right. It has presence in all the right places and the dip between 5-8khz does not steal away any harmonic detail.

Michel Godard - Le concert des parfums - Allemande & Improvisation II

I use Allemande to test staging and also string texture. There is plenty of texture and instruments are separated well. The open atmosphere of the recording is reproduced perfectly.



The second track is improvised throat singing - something quite intense, coarse and echoic. With a ‘bad’ tuning this can quickly become intolerable, the voice might sound too forward and if center imaging and resolution are poor it can sound one dimensional. The 32E has none of these issues, it’s presence is controlled well and the reverberant vocals are organic and well resolved in the headspace.



Maro - hortela - oxala



Female vocals on display here. Close, breathy, resolved. I can’t find any weakness to the sound on this track off the RU7. This is ‘bread and butter’ CP32E territory.

Agnes Obel - Familiar - Familiar



Agnes Obel manages to pop up on most reviewers list of test tracks. She’s on mine too! ‘Familiar’ is my go-to from the Citizen of Glass album. There's a great interplay of male vocal and cello and the usual dose of ethereal female vocals. At the beginning and throughout there’s a vocalised ‘tsh’ fricative sound, almost like a lighter sparking a flame into the tracks claustrophobic warmth. I listen here for how present and clear this is. It’s truly eminent on the 32E, dancing on the ears with clarity and it’s own particulate detail. The cello is rendered well, sounding woody and detailed as it emerges from the stifling atmosphere.

(this was quite unintentionally the second track in this review to feature in the series Dark (!) - such an atmospheric soundtrack).

Timbre

My reference point for timbre is a good single DD (Tago Studio T3-02 being my benchmark). Despite this gold standard, I have been very satisfied with the timbre on this set. It’s only arguable weakness is a slight lack of note density in the midbass and lower midrange and the quicker decay. Tonal colouration is accurate (i.e. close to neutral) but these are still BA’s dealing with most of the FR and so are subject to their pros and cons. To say the timbre here does not detract from my enjoyment of my largely instrumental library is probably sufficient.

Technicalities

Technically the stage is wide but lacks some depth and layering ability. Directional imaging, however, is very good and the center image is plenty big enough for vocals to breathe. Congestion can emerge with busier tracks and this is when I would have liked to have seen a better delineation of sound. However, by on large, this is quite a rare issue when there is multiple elements all within the same band and at quite intense volume.

CP32E vs CP54E

I was lucky enough to have the CP54E visit on tour thanks to @Charlyro222 and compare them side by side. This was after 2 months with the CP32E and getting used to it’s character.

The differences were almost immediately apparent and I’ll summarise in bullet form:

• Tonality: the CP54E is balanced differently to be warmer and weightier but while retaining a similar treble presence in the upper midrange. That weight and low end presence makes the 54E an all-rounder.
• Bass: the bass is awesome. It’s ‘fun’ but well measured and controlled. Unfortunately, there is some loss of clarity and veiling of the lower midrange as a result of this steeper and more invasive bass incline. The density and presence of the bass is phenomenal. Electronic/ambient/metal - these genres benefit greatly.
• Midrange: there is less clarity throughout the midrange, the sound is less transparent but arguably more organic and grounded in the fundamentals. The midrange is more resolving despite a drop in clarity. Notes are more informative and congestion isn’t an issue. The tuning change refocuses things away from vocals that are now more embodied, being less fragile, angelic and transparent than those on the 32E.
• Treble: much the same in terms of definition but subjectively less aggressive due to the warmer low end. The treble region takes a step up in resolution too. Everything feels expansive and air is more palpable.
• Technicalities: the staging has a similar width to the 32E but much greater height, depth and layering ability. Sounds are sat on the edge of the ear with more dimension/holography to them whereas the 32E places them near the limits of the stage.

They share a philosophy of balance and detail but they approach the balancing act differently. Of course, with the added number of BA drivers covering the midrange and two more EST drivers, it achieves more technically but is very different tonally. Vocals and strings (especially high strings) are more brilliant and ethereal on the 32E but then you miss out on the note density that the 54E offers that some may find absolutely necessary for musicality.

Source / Cable / Tip Matching

I have provided impressions using a popular dongle - the RU7 - and enjoy it from that alone. However, playing from my Venture Electronics Defiant transportable amp there is a tonal rebalancing with improved end-to-end extension and emphasis. Bass quantity improves, EST detailing and air feels expanded in detail and explored better. The 32E scales with power, that’s my conclusion, so it really is worth exploring sources.

I would advise using your warmer sources to pair with the 32E. A high quality copper or silver plated copper cable will serve you well for this set. As for tips, Final E can aggressively subdue treble if it’s not to taste but does close down staging somewhat. Rather than subdue the treble I prefer to enhance bass to counterbalance and I can usually achieve this through a wide bore, firm core tip that seals well - in this case Penon Liquer black.

Closing Remarks

Purchasing the 32E was a blind buy on the back of a trusted opinion and I don’t regret it. It does have class leading vocals in the sub $1k price bracket and exceptional string definition that suits my preferences and library. However, it’s not an all-rounder (unless you throw gobs of power at it) due to the modest midrange note weight. Over time, I imagine the 54E will emerge as a popular all-rounder. At $820 as of writing, the 32E does offer value but only to the right listener. I won’t be purchasing the 54E as my library doesn’t justify the bass boost (or technical improvements) for the price increment to $2,000. Now, if I were to sit down with Canpur to create my perfect match (humour my pipedream): I would take the CP32E, add an additional BA in the midrange and lift the bass shelf between the 32E and the 54E. I imagine this adjustment would broaden genre utility, add weight, remove some low midrange veil that the 54E suffers from and retain and maybe even improve, the 32Es instrumental and vocal strengths. This would probably place it just into the kilobuck market but it would be very competitive with the expertise of Canpur Audio implementing it. Canpur, if you see this, please consider an armchair enthusiasts request!

Til next time! Happy listening

Introduction

Technical specifications

Impedance: 24ohm +/- 15% (@1kHz)

Sensitivity: 108db SPL/mW

Driver type: DLC (diamond-like fibre)

Connector: 2pin

Plug: 3.5mm, 2.5mm (BAL), 4.4mm (BAL)

Cable: CS819 (copper & silver mix)

_____

Source: Cayin RU6 (4.4mm, high gain, NOS)

Burn-in: >100hours

The Vortex was provided by Penon Audio at a discount, in exchange for a review. As always, what I provide here is my own honest opinion on performance – Penon does not see my reviews prior to publication or have a say on content herein.

_____



Preamble

Source: Cayin RU6, 4.4mm BO, OS, low gain // Shanling M8, 4.4mm BO, low gain. Majority of listening on the Cayin RU6 for tonality/track impressions, with some time spent comparing impact of source on the Alita with the Shanling M8.

Cable: stock (SPC), Tips: small TRN T tips

UAPP and Qobuz

Disclosure: this was purchased at the full retail price of SGD$1393 from http://www.auraudio.store, no incentive was given for a favourable review.

Preamble

Introduction

Introduction

The earbud is not new and while I wouldn’t be the right person to recount a history, it wouldn’t be inaccurate to say that ‘DIY’ efforts have been ongoing for many years and interest has been simmering away in various threads across the internet. The ease of access to parts combined with a shared knowledge base within a generous and inviting community has been a gateway to interested audiophiles and tinkerers alike. These custom crafters have been particularly active in Asia and South East Asia where the earbud medium has been adopted for its relative affordability and comfort owed to their open design and breathability, being particularly suited to warmer climates. It turns out that creativity is contagious, as is the love for the earbud, and we are now seeing more creators based in the West offering for sale their ‘custom’ or ‘boutique’ earbuds. Many of these boutique buds are proving that they can easily compete against branded products but without the QC-lottery of conveyer belt production.

Enter TGXear a Vancouver-based company, started by Head-Fi’er @tgx78, offering boutique earbuds (or high fidelity ‘earspeakers’ as their website describes them – this isn’t far from the truth!). Prior to listening to TGXear offerings I had only brief encounters with Jim on the forums, predominantly in the IEM space where I began to appreciate his astute critique of flagship IEMs. His appetite for texture, accurate timbre and a balanced tonal presentation appeared to mirror my own, as did some of his tastes in music. TGXear has produced three ‘flagship’ models so far – the Tantalus (500Ω beryllium driver), the Serratus (300Ω PET BG) and the Alpha (600Ω beryllium) – all named after snow-capped Canadian mountains. My first purchase was the Serratus a highly resolving and spacious listen that immediately shot to the top of my preferences, proving ‘better’ than most transducers I had to hand, both my existing earbuds and my IEMs (please find my tonality profile for the Serratus here).

I reached out to @tgx78 while atop the lofty summits of the Serratus and he pointed to a neighbouring peak, the Alpha, a set that I was told had a ‘special’ positional presentation with better timbre. My experience with beryllium drivers has been generally very positive, offering natural dynamics and texturing when implemented well, so it didn’t take long to put in my order. I was kindly offered a reviewer discount to provide my opinion on this one but I respect this community enough to not let this affect my judgement and statements of price to performance will be made from the retail price of $249.

Note bene

My review and tonality plot has been made from listening impressions with the Alpha fed by the Valhalla 2 desktop tube amp and supported by comparisons with the Shanling M8 DAP. The Valhalla 2 provides 340mW @ 600 ohms. Interestingly, I have found the Alpha more sensitive than its lower impedance brother the Serratus. However, despite appearing to achieve greater volume levels comparatively, the Alpha scales more with extra power than the Serratus. Both tonal and technical presentation on the Alpha changes in my experience. When fed with greater power the Alpha has a fuller midbass, greater upper midrange clarity and presence but with less transparency and air. Technically, staging expands in width, height and depth and instrument separation improves with the desktop power. I prefer the presentation on the Valhalla 2 over the more transparent Shanling M8, largely because the note weight and dynamics provide greater realism and musicality. Ultimately, both devices can ‘drive’ this transducer to good volume levels and both are very enjoyable experiences but for different reasons. Either way, you’re in for a treat.

Accessories, Fit & Comfort

Tracked delivery from Canada was swift and the Alpha well packaged. Communication was prompt and clear. The fixed silver cable chosen is lovely and lightweight, with minimal microphonics and no memory. The 4.4mm connector is rhodium plated and has the TGXear logo on it. The earbud comes with a firm zip case for storage and a good number of replacement foams - ones that were used in tuning. Also included is a cool ‘TGXear’ pin badge. Regarding fit, provided you don’t have issues with the MX500 shell this is a really lightweight and comfortable earbud. If you’re not sure, purchase any number of cheap MX500 earbuds on Aliexpress to trial for comfort before purchase.

Tonality

TGXear Alpha Sound Signature Chart

For the background of this chart and its interpretation please see here.

Sound Signature Plot

Primary = Mid-centric – Warm
Secondary (Strong) = Forward Mids
Secondary (Strong) = Warm
Secondary (Strong) = Detailed (but not critical)
Secondary (Weak) = Smooth
Tertiary (Complementing) = Airy

Sound Signature Breakdown

The primary sound signature is ‘mid-centric-warm’. The Alpha is warm (but not dark), sitting at a reasonable distance from the neutral midline on the tonality plot. Although coloured, it remains very natural and displays what I would consider an ‘organic’ colouration to sound. This is very important for my enjoyment of the string instruments I listen to (from double bass to kamancheh). This warmth from a midbass & low midrange lift does not make the sound signature ‘veiled’ and both the secondary strong sound signature of ‘detailed’ and tertiary ‘airy’ sound characteristic ensures string detail is always retained with good character.

The Alpha has a strong secondary sound signature of a ‘forward mid’ presentation. A tendency for earbuds but especially this set, the ‘forward mid’ presentation puts vocals and instruments intimate to the listener and gushes with instrumental focus. This ‘forward mid’ presentation never pushes towards ‘boxy’ and sound is projected into a stage with good dimension. Dependent on the track and volume of replay there is a risk of ‘shout’ that is largely reserved for female vocalists and instruments in the upper midrange. To expand, four things will be at play here that will affect your experience: personal tolerances, mastering, replay volume and the effects of increasing driving power that seems to lift ear gain. Rest assured, it’s not hard to find a comfortable place that retains clarity and presence and without shout. The midrange shows no sibilance having good upper midrange/lower treble control and the ‘smooth’ weak secondary sound signature softens vocal presentation. On the whole, vocal body is appreciated more than vocal breath but the balance struck is romantic and enjoyable. Male vocals are full and not too ‘smooth’ that they lack ‘grit’ or texture. A tertiary complimenting sound characteristic of ‘airy’ is present which is more appreciable on lower powered sources on which the emphasis shifts up the frequency range. This air acts to counter balance the warmth and weight of its low-midrange focus by bringing out the atmosphere in recordings and adding definition, detailing and natural decay.

The Alpha has a beautiful tonal profile that never leaves instruments feeling incomplete. Even from the Shanling M8 the performance is laudible, offering life-like instrument replay with palpable fundamental note weight, complimented by a complete harmonic picture. A related quality to touch on here would be instrumental timbre i.e. how truthfully the Alpha presents complex tones. While I am not a musician I have spent many years enjoying live performances, mainly in the folk and world music scenes, and I like to think I have an ear for this. I put the Alpha through my library of instrument recordings that I have heard live and I couldn’t find a fault. For all intents and purposes, I consider this to have faultless timbral accuracy (or maybe I have reached the extent of my critical listening skill here). Timbral accuracy is something hard to come by. So-called TOTL IEMs often fall short in this regard and for those that index for instrumental realism in their music and still want portability, the Alpha represents a very compelling purchase at $250 for this aspect alone.

Fortunately for us, there is more to the Alpha than excellent tuning and faultless timbre. I would argue the X-factor emerges only when we consider how the Alpha presents this sound in space.

Technicalities

Earbuds excel with staging, offering ‘out the head’ presentations and it’s no different here, except the Alpha doesn’t just offer width that reaches ‘out of the head’, it has a spacious centre image and clearly defined positional cueing around the periphery of the stage. This produces a wonderfully dimensional feeling to the sound and combined with a stage height that reaches above and below the ear line and the ‘mid forward’ sound, you are thoroughly ‘within’ the recording. Stage width isn’t the widest and layering capability suits smaller, less complex performances but imaging in space is exceptional. The self-proclaimed ‘earspeakers’ moniker is well earned here. It’s an engrossing experience that only improves with time and familiarity. This isn’t a clinical, detached presentation, this is one of closeness and listener involvement – make of that what you will!

Listening Observations

Having covered the tonality & technicality I have chosen listening observations from a number of tracks I'm familiar with:

Nenad Vasilic – Bass Room – Gavrilo’s Prinzip

-- find on your favourite streaming service --

The bass and low mid performance is tested here. The double bass is full and impressively assertive. The ‘smooth’ and ‘warm’ tendencies soften some of the fine string detailing but at no loss to my enjoyment. Too many earbuds either go too thin and bright or too heavy and dark, but the Alpha manages to find a balance and do this instrument justice. This track can feel overwhelming at times, as the ‘boom’ and ‘resonance’ of plucked notes combine with the forward presentation, but it would be unfair to attribute this entirely to the Alpha. The recording itself accentuates this and these properties of tone and placement are noticeable when listening through more neutral transducers too.

Kendrick Lamar – Mr. Morale & The Big Steppers – Rich Spirit



This is primarily to demonstrate the degree of subbass roll-off. Play this track with enough driving power and the Alpha produces good atmosphere and some ‘felt’ rumble but it is rather distant and thin. This sort of bass quantity is enough for some electronic genres but not all. While on this track, another class-leading facet of the Alpha is clear – great male vocals. Kendricks voice is weighted naturally, textured and undeniably well isolated with other track elements decorating the edges of the soundscape.

Christian McBride – Gettin’ to it – Night Train



Another close solo performance on the double bass. The Alpha conveys the energy of the musician, the body of the instrument and tension in the strings. It’s all there. A lot of sets present this track too dry or thin but the tonality and timbre of the Alpha keeps things locked in just the right place.

Brian Bromberg – My Bass



If you want to get up close and personal with bass guitar strings in all their metallic glory without any shouty mids or peaky treble the Alpha has you covered. It gives a perfect performance here. Quick enough to keep up and expressive enough to move enough air to send the performance straight to your core.

Lucas van Merjwijk and Aly N’Diaye Rose – Drumix – ‘Rumbita



The whole album is great for testing percussion tonality and texture, but I especially like this track as there are all sorts of things going on from high to low and elements are spaced and layered well on the stage. Kickdrums, snares, bells, cymbals, all the different tones and textures are ‘laid out’ to the ear in spacious centre image, fully exposed with nothing too tizzy or overwhelming. With regards to the bass, the quantity sufficiently enlivens the kickdrums but is again not to ‘basshead’ levels. Another faultless performance for the Alpha in my opinion. While on the topic of high-energy drumming, listening to ‘The Grudge’ by Tool there is some percussive weight and presence missing that I want for metal/prog rock – mastering of tracks probably plays into this need too, so it’s not a one size fits all.

Nicolas Parent Trio – Mirage – Désert blanc



Presentation here is well separated but characteristically forward on the Alpha and it really shines as an instrumental powerhouse. Guitar, cello and drums/percussion are all at play here. You can appreciate the guitar down to the tips of the Nicolas’ fingers. The imaging prowess and stage depth places all the instruments comfortably around the head. Percussion has a natural weight to its impact and thanks to strong imaging, the surface of the drum skin ‘radiates’ sound in space revealing all subtlety you could hope for. This is also something well demonstrated on the track ‘Joy’ on the same album wherein the ‘bol’ stroke on the tabla (a sliding palm motion over the skin after a finger strike) has a natural depth and resonance.

Stevie Ray Vaughan & Double Trouble – Little Wing (Album Version)



I tend to use this track to pick out ‘sharp’ treble presentations. The Alpha with its sensible, smooth lower treble combined with the height of the stage, detailing and imaging wizardry just puts the whole experience on another level. More than ever SRV makes me play air guitar!

Agnes Obel – Aventine (Deluxe Edition) – The Curse



The controlled upper midrange focuses on the body of her voice but the appeal on this track remains. It’s dream-like, intimate and detailed. High notes remain enjoyable and not shouty despite a forward vocal presentation. Supporting elements are well placed around the head for a good immersive effect.

Ulf Wakenius – Momento Magico – The Dragon



Another track I go to for guitar timbre and tonality. The left channel has some sharp plucked notes that if overemphasised or accentuated by a peaky/wonky treble come off entirely one dimensional, invasive and lacking the right emphasis. They’re handled great here, detailed but with softer edges and a natural decay. The right channel is handled just as well, with the flattering treble tuning controlling an aggressive strumming track that can come across harsh on some sets. Timbre heaven.

Wasis Diop – De la glace dans la gazelle – Sogolon



A nice demonstration of how Alpha handles male vocals. The spacious centre stage gives the vocals breathing space and the weighty low end and air gives soul to the voice. The downward vocal slide near 00:20-00:26 is my musical equivalent of a deep tissue massage…!

Serratus vs Alpha

For those looking into the Serratus and the Alpha but with money for only one I hope the following can help:



Closing Remarks

I’ve found it hard to capture the value and virtue of the Alpha and it has been an even harder task to find a weakness. Sub bass is rarely reached in the genres I listen to so this roll-off (to some degree inherent to the earbud medium) doesn’t bother me. If you’re looking for an earbud for jazz, classical or acoustic music I struggle to see how this could be bettered. Most transducers have a compromise to make in tonality, technicality and/or timbre – rarely do you find standout performances in all three domains. After journeying between headphones, IEMs and earbuds I have found my ‘desert island’ driver and while l feel you need a desktop amplifier to truly hear what the Alpha has to offer, it still sounds great from powerful portable sources too. TGXear with its flagship earbuds has quickly cemented itself as a boutique brand to look out for; selecting drivers with purpose, tuning them with balance and implementing them well. Borrow, buy or bargain your way to an Alpha – you won’t regret the experience.

Driver configuration:

1 10mm LCP dynamic driver – low frequencies

2 Knowles 30018 – intermediate frequencies

2 Knowles 30019 – high frequencies


Source: Cayin RU6, low gain, NOS

Burn-in: 60 hours

Cable: stock cable (5N OCC), Eartips: stock silicone

Genres tested: jazz, classical, pop, hip hop

Preamble

Rose Technics are a brand I was only introduced to this year but they have a strong pedigree in the earbud market and a fairly long-running line of IEMs too. This latest IEM is a revision of their QT-9, now revised for the third time. The predominant change on this occasion has been the implementation of a different DD in the low end. A ‘cutting-edge’ 10mm liquid crystal diaphragm from Sony that compliments 2 mid-Hz and 2 high-Hz BA units. With this revision Rose Technics are reporting improved coherence – something quite essential for a hybrid of this sort. The manufacturer advertises this IEM as a well-balanced and resolving IEM. Read on to see if this is the case…


Accessories & Packaging

The IEM comes in a diminutive package that reveals two snap-shut plastic cases that are heavy duty and can offer a safe travel partner for the QT-9 MK2S. Also included is an MMCX tool, a 6.35mm jack and a selection of silicone and foam ear tips. Importantly, they also throw in a few replacement filters for the IEM should they get dirty. The included cable is braided nylon 5N OCC MMCX terminating in a 3.5mm plug. It has excellent ergonomics as cables go – not too light, not too heavy and doesn’t tangle easily.

No complaints with the included kit, I think it’s reasonable for the price.





Design, Build, Fit and Comfort

The QT-9 Mk2S is easily the smallest 5 driver hybrid I’ve encountered and Rose should be proud of what they have achieved here. You won’t truly appreciate how small and flat these things are until they are in your hands, the side profile is really impressive. The shell is contoured well and lies flat to my ears and is suitable for side-sleeping. The transparent plexiglass case reveals all the driver wizardry inside. Small circular vents near the MMCX port and at the base of the IEM provide ventilation for the drivers. Unlike some hybrid & BA sets, there’s not an ounce of pressure build up over time, which make these great for long listening sessions. Together with the comfort of the included cable Rose have probably produced one of the most universally welcoming IEMs in terms of ergonomics.








Sound

Tonality – bright, forward midrange, soft treble

Bass – balanced towards subbass, quick, light, soft impact

The bass on the QT-9 Mk2S is well tuned. It has a tasteful subbass presence for excitement and a carefully tuned midbass that rolls quite nicely into the midrange without veiling the overall signature. Utility is the name of the game with this tuning, it can equally handle electronic music and jazz / classical. There’s definitely some rumble here to be enjoyed but it’s not overemphasised at the expense of the texture and detail that the driver can produce. The QT-9 Mk2S was tuned by an experienced tuner and it shows. Double bass, bass and cello are reproduced well with nice woody notes that BA tend to struggle to do justice. The DD is quite quick and manages to keep pace with all manner of genres.

The only notable criticism in my opinion is the softer impact in the bass. This may have been a purposeful move by Rose to improve coherency in line with the naturally soft, ‘airy’ behaviour of the BAs. I should add here that there’s no issues with coherency. The crossover is well integrated and the DD and BAs share a similar character. Thankfully the bass never ends up being the characteristic ‘pillowy’ bass that some BA woofers produce that lack authentic attack and decay.

Midrange – uppermid focus, excellent female vocal rendition, respectable male vocal replay, high note density and presence

The low midrange is clean and male vocals have an acceptable amount of body. Female vocals replay impressively well, with excellent resolution and presence and are easily the star of the show. The midrange plays out on a wide stage with very good separation. There is an uppermid emphasis that keeps the sound lively but this may be off-putting for those sensitive listeners. There is no sibilance (thanks to a judicious anti-sibilance scoop) and only very rare ‘shouty’ vocal replay. This emphasis in combination with the tightly controlled bass and BA midrange drivers makes for a lighter note weight that you may or may not jive with.

Treble – reasonable detail retrieval, not a great deal of air

The treble is not overly emphasised and the life-blood is in the midrange. There’s detailing and definition to be enjoyed but I wouldn’t describe this as a ‘sparkly’ listen, nor particularly airy. This may, or may not be to your liking.

Technicalities

Soundstage – the stage has very good height and a generous centre image and stage depth allows the midrange to be explored. Stage width is good but not class leading for the price. Some of the more recent planar releases surpass this set at half the price.

Imaging, Instrument Separation & Layering – to make up for the somewhat subdued treble there’s good imaging and layering capacity. This ensures that tracks remain dimensional, interesting and exciting to listen to. Directional information is above average for the price I would say, reaching in front and behind the ear with impressive nuance.

Timbre – timbre is actually very good for BA hybrid, helped by the coherent nature of the QT-9 Mk2S I’ve had no issue enjoying acoustic music on this IEM. BA timbre can sound quite ‘glossy’ and ill-defined but the balanced tuning and uppermid presence ensures things stay natural.

Conclusion

The Rose Technics QT-9 Mk2S is a very well balanced hybrid that performs across genres without issue, remaining coherent, musical and resolving. If you’re after a versatile IEM with exceptional levels of comfort, a natural tonality that focuses on the midrange with good timbral accuracy, this could very well be the IEM for you. If you’re a critical listener or after V-shaped excitement of boosted treble, my advice would be to look elsewhere. In terms of competitive pricing, I would like to see this set sold at $150-200 where I believe it offers better value for money. Unfortunately (fortunately for us consumers), the market is moving very quick and the QT-9 Mk2S may just be out-performed by the newer planar and single DD offerings available. However, all things considered, the QT-9 Mk2S remains competitive as a hybrid configuration IEM.

Impedance: 32ohm

Frequency response: 20-20000Hz

Sensitivity: 102dB/mW

Cable length: 1.2m, available in 3.5mm & 4.4mm, non-detachable, copper litz

_

Source: Shanling M8 (4.4mm PO, high gain)

Burn-in: circa 40hours

Primary genres: jazz, classical, ambient, electronic, world music, hip hop

_

The Martini can be purchased from Penon audio here. This unit was provided in exchange for a review. All opinions are my own and I will always endeavor to be honest and objective.

Accessories and Packaging

The unboxing experience is very simplistic. All outer and inner product information is in Chinese. The rear of the outer packaging has a ‘waifu’ on it – a increasingly present Chi-Fi fad that I will never understand. Rose Technics have clearly gone to lengths to create a novel product with a very classy look and the waifu seems entirely out of place here. Two matte-effect plastic cases are provided and contain the earbuds themselves in one and accessories in the other. In terms of accessories they include several pairs of full foams and, interestingly, at least in unit provided to me, they included a 3.5mm to 6.5mm adapter. This may be useful to those that opt for the 3.5mm termination and use sources with 6.5mm output. The overall impression I was left with was ‘utilitarian’ and quite basic.



Design, Build, Fit and Comfort

The design and build of the shell on the Rose Technics Martini looks and feels very premium. The Martini has a steel driver housing and a two-way, gold-plated brass venting flutes that are advertised as improving bass (spoiler: they’re right!). It is using a 15.4mm carbon ceramic driver and the shell has an external diameter of about 16.5mm – large as earbuds go but they fit in my ears fine and I have smaller and shallower than average concha. They feel sturdy and have a good weight to them but they never left my ears feeling fatigued from long-listening and they never fell out during travel. Rose Technics have nailed the build quality here in terms of weight, durability comfort and aesthetics.

Onto the downsides of the build and looking at the cable, it’s non-detachable, stiff and microphonic. The outer protective weave and the cable within is highly microphonic, especially if you decide not to use the chin cinch. The chin cinch is plastic but well-made and has excellent grip. With the chin cinch raised firmly the microphonic effect beneath is still present but reduced by about 50%. Rose should have used a softer/more loose weave and less stiff cable insulation. The Y-split should be moved further up the cable to reduce the length of potentially microphonic material. Better yet, design the earbud housing to have a detachable cable.




Sound Performance

Bass – midbass focus with subbass extension, impactful, full bodied, good detail and texture

Comments:

A selling point if there ever was one. The bass is ‘embodied’ with a palpable sustain to it and the Martini make all my other earbuds sound limp and hollow. The impactful midbass is exciting and there’s a rumble to subbass that I’ve heard few sets produce. The bass manages to be dynamic with a softer edge to it that makes long listening sessions a breeze. Bass string instruments sound correct and with enough twang from the upper registers to remain exciting. The texture and detailing to the bass is good and there’s clearly a balance executed here leaning towards quantity over quality but it remains what I would consider Hi-Fi in its depth and nuance and doesn't overwhelm the midrange.

Listen to bass-centric electronic music? These will keep your ears occupied and your brain engaged. Listen to instrumental music? Instruments will have a much more natural weight to them that earbuds often fail to reproduce due their open presentation. Everyone is a winner here. As for the source of the magic, maybe it’s the wizardry of the carbon ceramic driver or the flute venting system, or both? Whatever the case, Rose Technics have managed to push a monumental amount of air from this driver without it losing depth, dimensionality and control.

Notable test tracks:

Lorn – Mercy (from Ask the Dust)

Lorn – Diamond (from Ask the Dust)

Nenad Vasilic – Tscusch Chochek (from The Art of the Balkan Bass)


Midrange – gorgeous lower midrange, male vocals outstanding, no sibilance or shout, female vocals distant and slightly nasal, detailing and presence in the upper midrange is lacking.

Comments:

The midrange is a ‘mixed bag’. The bass and lower midrange work hand-in-hand to create a strong replay of the majority of instruments and makes for a really special listening experience. Unfortunately, there are some issues within the upper midrange. Female vocals and some male artists with higher vocal range can sound distant and lacking clarity. There’s a slight nasal slant that predominates with vocals that, unless you’re listening for it, or very hard-line in your tastes, probably won’t bother you but it is something to consider. The more distant vocal replay is further compounded by the lack of edge to vocal transients making for a softer listen on vocal-centric tracks. A similar characteristic is seen with string instruments that have a smoother/softer presentation. Finally, a degree of unevenness has revealed itself over time, where on very rare occasions I have had to drop the volume to avoid shout (this may just be personal tolerance issues and only ever seems to happen with saxophone).

The overall presentation of the midrange leans towards the analogue and organic and certainly isn’t analytical.

Notable test tracks:

Agnes Obel – The Curse

Manu Katche – Short Ride

Treble –

Comments:

The treble does a reasonable job of completing the picture without significant roll off and providing a degree of sparkle. There is nothing inherently wrong here but I do think we are starting to see the limits of the carbon-ceramic driver in terms of extension, producing a room-like quality to recordings and not much air. If this is the trade off for the incredible bass and body in the lower frequencies, I’m willing to accept it.

Technicalities –

Soundstage – good height and depth, dimensions scale with power (give the Martini plenty) and you will be treated to an over-ear headphone-like experience in a much more portable format.

Imaging, instrument separation & layering – probably the strongest technical aspect of this earbud is its cohesive soundscape. Instruments and elements of the track are placed well with good depth and layering. I find it very easy to move my attention between individual elements of tracks and back to the greater whole quite quickly (my less-than-scientific test of imaging).

Conclusion

The Rose Technics Martini is an interesting proposition. Build quality is excellent (bar the cable) and the tuning, despite its idiosyncrasies, remains warm, organic and versatile. Earbuds would not normally be my choice for bass-heavy music but I find myself reaching for the Martini when listening to electronic music. The bass provides body and heft that many of my earbuds cannot compete with.

Who is the Martini for? I would say the primary audience here are lovers of electronic music (D&B/dub/trance, all sorts). This driver has the heart to deliver in the low end and the shortcomings in the midrange will never be an issue. For those people the Martini could easily be end-game. Instrumental music lovers who are after an analogue presentation with good technicalities will also warm to the Martini. As it stands, the Martini is a strong all-rounder playing a variety of genres to a very good standard. However, for my personal taste, I would want more upper midrange and a better vocal replay and I hope Rose Technics continues to refine future iterations to that effect.

Driver configuration:

1 dynamic driver

32Ω impedance, 110dB sensitivity, 20 – 20kHz

2pin 0.78mm connectors, ISN SC4 cable


Source: Shanling M8

Burn in: 200hrs

Stock cable, stock silicone tips

Genres tested: world music, jazz, classical, pop, hip hop

The SCB2 was kindly provided for review by Penon Audio. This review reflects my honest opinion and Penon have had no sight or say with regard to the content of this review. The Shozy SCB2 can be purchased here.

Preamble

The Shozy SCB2 is a collaborative project between ISN, known for their cables and Shozy the creators behind the original ‘Shozy B2’. This was an IEM I had not experienced first-hand, indeed this was my first encounter with a Shozy IEM. ISN however, are know well for their top quality cables, and in this collaboration ISN bring their expertise in the form of a silver & copper hybrid cable, the ISN SC4, to lift more detail and life from the B2. The result? The SCB2!

The SCB2 arrived into my life during a love affair with the Oriolus Isabellae, an IEM that I have since sold. They are two single DD sets with (almost) polar opposite tuning ideals. I was immediately taken aback by the dark, thick, organic and impactful signature of the SCB2 that played out in stark contrast to the dry, light-footed and brighter tuning of Isa. This impression remains to this day and after several hundred hours of burn in. I feel in a position now to comment on the quality of this IEM, who it might appeal to and what it utility it offers in terms of library replay.

Accessories & Packaging

The packaging and accessories here are what I would consider above average and very smart. A pleasant unboxing experience reveals a useful hardcase to protect the IEM, several sets of silicone eartips of varying size and a total of three pairs of tuning filters (one in situ on the IEM). I have seen a lot worse from Chi-Fi so this was a welcome surprise.

The cable, the ISN SC4, is supple 4-core cable with no memory and has a beautifully clear sheath that reveals an attractive silver/copper twist. The accessories are heavy duty and likely to last a lifetime. The chin cinch works great. As for the sonics of this cable, as a ‘cable-believer’ I have paired this cable with success across several IEMs. The silver certainly slants things towards the high frequencies adding great definition. It just so happens that these are two things the SCB2 tuning greatly benefits from (it’s almost as if they planned this?!). In fact, I have yet to find a better cable to complement this IEM, so you can buy with confidence knowing that there’s no need to switch.




Design, Build, Fit and Comfort

I love an all-metal IEM build. The SCB2 has a satisfying weight to it in the hand and the shell is small enough that it will occupy the concha shelf of most ears safely with very little chance of falling out. The small shell is contoured well with no pressure points in my ears and is light enough that it won’t cause fatigue over long listening periods. There is a vent on the inner surface of the shell and a second larger vent on the outer side that is flute-like and possibly contributes to the very unique acoustic properties of the low-end of the SCB2 (more on that later). The neck of the IEM is reasonably short and acutely angled but should not present a problem for most ears however I would advise readying a selection of ear tips of varying length/height to ensure you have enough reach on insertion to achieve a good seal with the auditory meatus. There is a luxurious gold-plated rim contouring the outer surface of the shell that really goes a long way to improve the aesthetic. It reminds me of something James Bond might wear…

All in all, I struggle to find fault with the build and fit of this IEM. Out of all the IEMs I have tried, this is the comfiest.




Sound

On the topic of interchangeable filters, there are three choices:

• Copper
• Stainless steel
• Titanium

The metal and the varying filter material used in each imparts a change in sound signature with titanium being the brightest. To be frank, there is very little reason to experiment. The titanium is the way to go. Both the stainless steel and, to a greater extent, the copper dull the sound too much and things are much less enjoyable. Don’t fret, even with the titanium nozzle the SCB2 remains a warm listen. This review is based on experiences with the titanium filter.

Tonality

This is warm and dark with a downward slant as you reach up the frequency range. Either end has a degree of roll-off that when combined with its midbass emphasis produces a full bodied and intimate sound that is incredibly organic.

Bass: midbass emphasis, softer impact, texture and detail intact, natural to slightly extended decay.

The primary characteristic of this IEM is its bass – it infuses character and life. Its quantity is what I would consider ‘basshead’ but its quality is competitively ‘audiophile’ - proving that these two things aren’t mutually exclusive. The texture and detail to bass instruments is there and to my ear at least, instruments remain realistic and not overtly bloated. Impact is not the hardest hitting I have heard and the decay is somewhat extended. I find this bass suits instrumental solo works well but might lack the snappy character required for electronic or busier tracks, but this is a matter of taste. Another factor to consider here is the slight subbass roll off that I can appreciate. You still get rumble but it’s not the overarching character and people coming from an IEM with a large bass shelf may miss this. There is enough there for me to enjoy both electronic and instrumental music so as always, ‘your mileage may vary’.

Listening to Nenad Vasilic on his album ‘Bass Room’, a stand-out double bass recording, has never been better. Detail is there, timbre is accurate, tonality is organic and the pronounced midbass brings life to this recording. I highly recommend listening to this for those who enjoy acoustic performances and as a test track to gauge texture and detail within the bass realm.

Midrange: warm, good resolution, lower-mid centric, excellent male vocal replay

The heart of the SCB2 lies in the lower mid-range, it serves this up as a decadently rich sonic meal. Male vocals, bass/cello/low-woodwinds/percussion (especially bass drums) are all brought to life. The low-mid emphasis does however reduce the overall dynamics of this tuning with macrodynamic swings from the bass-mids less pronounced, as is the contours of the sound but what you get back is worth it. Male vocalists are soulful with great presence. Due to the lower mid slant female vocals come off as more distant and more dream-like and conveyed from the chest. Certainly not unpleasant, in fact, I would say this is the selling point, the beating heart of the experience and I for one am grateful Shozy went this route instead of the typical Chi-Fi uppermid/treble emphasis. Instead of artificial detail we’re treated to a warm, analogue and organic vocal presentation. Things never reach shouty levels or demonstrate any sibilance. Pianos have a lovely note weight and soft ‘voice’ on the SCB2.

I want to emphasise here that despite the overall tuning being dark and warm in equal measure you won’t miss midrange detail, it’s there and there’s enough upper mid/lower treble for a beautiful crescendo of female vocals to emerge above the lower mids. I’ve not seen a midrange like this before and I’m not sure I will see it again as the market steadily tends toward homogeneity.

Listen to Roomful of Teeth on their album ‘Wally Gunn: The Ascendant’ to see the allure of the SCB2 midrange. This is a male and female vocal ensemble recording with great atmosphere and recording quality.

Treble: good detail, softer definition, minimal air, no sibilance

The treble is in the backseat with the SCB2. There is string instrument detail and definition to keep things lively but the treble is kept in check to impart a natural and intimate listen. While air is minimal, instrument separation and imaging is still above average thanks to the technical ability of the driver. For those with high frequency sensitivity and/or tinnitus the SCB2 would be high on my list of recommendations. Some string instruments can catch you off-guard with shrill notes but this never happens on the SCB2 and it manages it without taking away too much from the natural tone of the note.

Listen to Ballake Sissoko on his album ‘Djourou’ to see how SCB2 handles strings, specifically the metallic twangs of the kora. The detailing is there but note edges are softened just enough to avoid any aggressive property to the sound.

Technicalities:

Soundstage – tall and deep with a width that extends beyond the ears, doesn’t leave me wanting any more, music is atmospheric and bass reverberates in space.

Imaging, Instrument Separation & Layering – instrument separation and imaging is good for the price but it won’t necessarily ‘wow’ due to the tuning choice and driver character that makes the image less pin-point but thankfully this doesn’t cloud the image entirely and things remain coherent. Layering is average so I would argue these are monitors best fit for small ensemble performances as opposed to orchestral or modern electronic.

Timbre – this is a coloured sound and the low-mid emphasis and the softer uppermid/lower treble does influence my interpretation here but I feel that beneath it instrument timbre remains accurate.

Conclusion

The SCB2 is a coherent single DD with a unique tuning. The tonality lends itself to long listening and its technically capable at its price point. ‘Dark’ and ‘warm’ are words we frequently see used with negative connotation in the audiophile world but it would be a great disservice to overlook this IEM just because of these characteristics. It would suit those who enjoy warmer tunings, preferably instrumental, small ensemble music (or those with treble sensitivity) and seekers of musicality over reference tunings.

Forgive me for venturing into what might come across as cringe-worthy romanticism but my feelings when listening to music have strong associations with my memories and sometimes those memories are a better reflection of what I'm trying to convey…I’ve had moments listening to world music on the SCB2 that reminds of past vacations, sitting on warm coastal sands as the sun drops beyond the horizon, with a loved one nearby and waves lapping at the shore. Moments that remind you that the beauty in life is best when shared....

The SCB2 has a big heart to share with you. It is far from a classical ‘transducer’ in the neutral sense of the word. This one has a distinct and loveable character and it’s found a permanent place in my collection for that reason.



Miscellaneous Comments

Source matching - the SCB2 is not especially picky and runs well with the M8 and my RU6 dongle. The M8 is a DAP that falls on the warmer side. Naturally given the sound signature a brighter source may compliment this IEM better but its not a neccessity.
Tips - wide bore is probably the way to go but I've also had good results with Final E black silicone tips that have a narrower bore.

Driver configuration:

1DD + 3BA
1 dynamic driver (9.2mm) – low frequency
1 BA (custom) – middle frequency
2 BA (composite) – high frequency
22ohm impedance, 105dB sensitivity, 20Hz-20kHz
MMCX connectors, ISN S8 silver-plated OCC cable included (3.5/2.5/4.4mm terminations available)

Source: Shanling M8 (4.4mm, turbo gain)
Burn in: 150hrs
Stock cable, stock silicone tips (green bore)
Genres tested: world music, jazz, ambient, electronic, classical

The ISN H40 was provided by Penon for the purposes of review and in exchange for my honest opinion. Penon have no had sight or say on content within this review. This review contains earlier impressions I’ve posted publicly and my opinion is largely unchanged from then. The ISN H40 can be purchased here.



Preamble

Funnily enough, I entered the hobby at around the same time the ISN H40 came onto the market. At the time I had little knowledge of my own preferences and ended up with the Mangird Tea and the Shuoer EJ07, both had their strengths but I ended up moving on quite quickly and further down the tribrid rabbit hole. Most recently, I’ve returned to single dynamic drivers (in the form of earbuds and IEMs) and armed with the knowledge of my preference curve (somewhere between L-shaped and W-shaped) I discovered the Penon house tuning that I’ve grown to love in multiple forms.

Aware of the close working relationship of ISN and Penon, I was encouraged to try the ISN H40. Prior to receiving the H40 a part of me hoped there would be more than just a little Penon inspiration in there (in the way of mid-centric warmth), to keep me interested. There was also plenty of feedback on the forums complimenting the H40’s soundstage and bass response that piqued my interest…

Accessories & Packaging

To be straight to the point here – the packaging was underwhelming. A very thin cardboard box with outer and inner sleeves in a vibrant foil blue. Thankfully the IEMs are cushioned well within the sleeve using foam inserts. There is a functional and sturdy leatherette ISN carry case included that some might find useful. In terms of eartips there is a good selection of silicone tips and foam tips. All have a reasonably large inner diameter to encourage more treble energy through. A useful cleaning brush and cable clip is also included.

The cable – the ISN S8 – is beautifully made. It’s lightweight and has a very clear plastic sheath that reveals the silver plated OCC inside. The cable accessories are solid and well-built and the chin slider functions smoothly as intended. As a cable believer the choice of silver-plated OCC pairs well with the darker than neutral tuning to clean up and enhance the treble definition while retaining the low end extension and detail offered by OCC.







Design, Build, Fit and Comfort

The design of the shell is ergonomic and has a form-fitting shape to it. However, it’s also quite tall to the shoulder so it doesn’t sit flat to my ears and occupies all of the concha (plus more) within my smaller than average ears. It’s not uncomfortable and by virtue of the shell size and the solid resin shell the passive isolation is above average. The nozzle width at its tip is 4mm in diameter and fits nicely within the ear canal. As mentioned the shell is solid resin in a dark blue to black colour with gold ISN labelling. There is a single vent to the rear of the shell. The H40 looks sleek and is reasonably understated in its appearance. Overall, I’m very satisfied with the build but would prefer a shorter shell to the shoulder and a slightly narrower neck (before it meets the metal nozzle) to allow for a deeper fit.





Sound

Tonality

The tonality here is a L-shape to V-shape with upper treble roll off. It’s got a distinctly analogue feel to it. It’s ‘musical’ rather than analytical and makes for emotive listening.

Bass: strong impact, subbass emphasis, deep extension, texture and timbre retained

The bass is the standout feature of this IEM, with some of the best subbass rumble I’ve heard. It has a fine balance of subbass to midbass with emphasis leaning to the subbass. The H40 offers up great quantity in the lower frequencies without losing detail or nuance. Subbass rumbles with authority and fills the stage very well while the midbass impact is satisfying. As the midbass isn’t over emphasised, detail in the lower frequencies are on full display and timbre of instruments is conveyed really well. Listening to stand-up bass and double bass strings is a pleasure. The DD doesn’t display the hardest impact or the quickest transients but its character is perfectly suited to the analogue-inspired sound ISN were clearly aiming for.

The rest of the tuning revolves around this strong low frequency performance.

Midrange: no shout, warm, reasonable resolution, slight recession

The midrange is interesting and not uninspired. It’s definitely not forward – something that became more apparent as I’ve spent more time with it. The large stage (another selling point to be mentioned later) emphasises a slight recession in the mids as does the restrained pinna gain. They don’t feel empty or disembodied but neither do they feel the overwhelming focus of this IEM in busy tracks. I would have preferred some greater upper mid/lower treble presence to add some bite. Tonally the mids are warm and rich and not lacking in detail or clarity. Lower midrange vocals and instruments have some great weight to them that when combined with the bass boost and soundstage gives the impression of listening to larger over-ears.

I personally have a preference for a more forward midrange with greater upper mid presence but on reflection, combining the controlled pinna gain and less aggressive uppermids with the large soundstage and bass enhances the sense of space and analogue warmth. There is an old-school ‘speaker-like’ presentation wherein the bass encompasses and supports with a very engaging atmosphere around the midrange. Thankfully, the midrange never feels cluttered by this bassy embrace and details aren’t obscured in the process.

Treble: good definition, smooth presentation, no sibilance, upper treble roll off, minimal air, some metallic undertones

The treble stays on theme in the H40. It’s smooth and controlled but not subdued. You have definition, but it’s not piercing or shrill. The tuning ensures the overall tonality remains organic, more musical and less analytical. It also allows the listener to increase the volume to bask in the joy of the low end without fear of sibilance. If I could ‘nit-pick’ I would prefer greater ultrahigh extension to balance the tuning slightly and emphasise the space even more.

Technicalities:

Soundstage – The second selling point of this IEM just behind the bass is the soundstage. It’s large in height and width and is closest to ‘concert hall’ I’ve heard at this price range (take this with a pinch of salt as the intangibles like soundstage are very subjective). The width means the bass doesn’t become fatiguing or feel invasive and the height brings a sense of scale to the musical performance that makes it feel grand (especially classical music). It also counteracts the lack of treble air by emphasising space.

Imaging, Instrument Separation & Layering – Imaging is great for the price and the H40 gives a great rendition of many of the Yosi Horikawas tracks. There is great depth that makes layering and three dimensionality stand out.

Timbre – As a self-proclaimed timbre-head I’ve not had issue with the BA implementation here. The tuning ensures things stay warm enough and the defining bass character of the DD keeps things organic. There is the rare occasion when there is metallic timbre in the lower treble but it never put me off reaching for this IEM. I have no issue with the timbre presentation in the bass or mids. Fundamental and harmonic detail feels intact and is sustained well with no BA ‘sputtering’.

Conclusion

From the very first listen out of the box the H40 has flaunted a character that I’ve found quite unique and appealing. For the price (and more) it achieves a level of versatility, character and technicality that is hard to find. It quite easily sits as my choice of hybrid below $200, representing excellent value for money. ISN has created a bold and fun IEM that never becomes abrasive. It presents music with an ‘analogue grandeur’ that is as addictive as it is inviting.

Driver configuration:
4 Sonion open-hole BA – bass
4 Sonion intermediate frequency BA – midrange
4 Sonion high frequency BA – treble
1 Knowles ultra-high frequency BA – treble

20-20kHz range, 112dB sensitivity, 19ohm impedance

Three tuning switches:
1: high frequency control
2: atmosphere control
3: low frequency control

Source: Shanling M8 (4.4mm, low gain)

Burn-in: 100 hours

Cable: stock (high-purity silver, 4 share high) / Tips: stock gray-green silicone tips

Genres tested: world music, jazz, OST, electronic, ambient, folk, metal

The Legend was purchased at a discounted price in exchange for my honest opinion. Penon Audio have not had sight or say on the content of this review. All opinions are my own.

The Penon Legend can be purchased here.

Edited 20/01/2022: score increased from 4.5/5 to 5/5. Initial issues with the bass have subsided with prolonged burn in and what remains is an absolute killer IEM at its pricepoint. Paired with Final E eartips, 120 switch position and using the Cayin RU6 I have found my preferred tonality in an absolutely perfect state for my tastes.



Preamble

There’s no denying in the recent months I’ve become a Penon Audio convert and their 1DD 2BA Globe has stolen my heart. Penons tunings are refinement of a similar theme across various driver configurations. They value expression and romanticism but seem quite good at achieving balance along the way. Although my tastes are, to a degree, flexible, I know my preferences lie in those IEMs that open up the midrange in detail, bring it forward in presence and lean towards the warmer side of the spectrum with a solid tactile bass to support it and good definition in the lower treble. I’m not an ‘air-head’ but I do however, like enough atmosphere and room for instruments to breathe. This was well exemplified in the Globe.

If I had to choose between ‘musicality’ or ‘technicality’ – which is often the choice presented to buyers these days - I would choose ‘musicality’ every time. I want something that plays to the strengths of the musicians I’m listening to and expresses the dynamism and emotion in their performance. I very rarely seek neutral, flat or dry and coherence and accurate timbre are a must.

When I found out that Penon had a new flagship coming I was immediately interested. When I saw that it was 13BAs I was immediately concerned. When I saw that 12 of these BAs were TOTL Sonion drivers I was slightly reassured. It was a bit of a whirlwind! My past experiences with all-BA IEMs have not been especially successful. In the distant past I had a prolonged demo of the QDC Anole VX. It was my first real exposure to ‘TOTL’. I could not get on with it. At the time I didn’t know what my preferred signature looked like or why I didn’t like it but it just didn’t seem to have a heart that I could fall in love with. It was technically proficient but it wasn’t connecting me to the music. I didn’t end up purchasing it and ever since then I’ve leant towards hybrids or single DD transducers, avoiding all-BAs due to a naïve subconscious fear that they all carry the same inspiration.

Fast forward to over a year later and reassured by my trust in the tuners at Penon, I had the Legend in front of me. Full of nerves when putting them in for the first time, I pressed the play button…read on to find out how it went!

Accessories & Packaging

Accessories and packaging are great with this one. A nice zipper case and an assortment of tips – silicone, foam, Comply-like etc, wide bore, narrow bore etc – you’ve got them all! The blue foams are actually quite good and I wouldn’t mind purchasing some more. There’s also a cable shirt clip, a leatherette cable tie, a cleaning tool and a small tool to manipulate the tuning switches.

The standout part is the included cable. A beautifully made ultra-purity 4 share silver cable with great accessories/connectors. It is tied in a loose braid that keeps the cable relaxed and supple. It’s not especially heavy either which is nice. It feels expensive and very premium. Penon are primarily known for their excellent cables and it’s no different here. Aesthetically its great. Sonically it’s even better. As a ‘cable believer’ I played with various other materials paired with the Legend and the included cable (called Penon Flow) has the best detail retrieval and digs deep for as much of the technical information as possible (e.g. soundstage/layering etc). It’s a great pairing and I don’t find any reason to cable roll. The only negative is that the chin slider finds it difficult to travel and needs a lot of encouragement. Having said all of this, I have also heard great things about the Legend and Penon Storm pairing (Penons new TOTL cable) that may be worth looking into, as this IEM was built with consideration for the properties of that cable too.



Design, Build, Fit and Comfort

The typography of the Legend is very Penon i.e. bold! A gold/orange font on an all-black background with carbon fibre detailing beneath. It’s quite a sleek look overall. The IEMs themselves have a reasonable weight to them, alluding to the amount of tech inside. They feel very solid. The shell is well contoured and comfortable. It has a small rear vent for the BA woofers and despite this vent, the isolation is above average from my experience. The shell has some depth to it, a necessity to fit all the drivers in, and a long nozzle. It sits well in my small-average ears, any bigger at it would be an issue. I size down on tips to get a deeper fit. Please see picture for relative comparisons of size with the other IEMs I have.

Left to right: UM 3DT, Penon LEGEND, Penon Globe, Oriolus Isabellae. The LEGEND is quite deep to the shoulder as you can see and has a longer nozzle, but not especially wide when compared to the 3DT (i.e. from antitragus to helix crus/cymba).









Sound

The Legend comes with several tuning settings as below.



000 above

123 above

The frequency graphs are sourced from Penon and represent 000 and 123 settings. The most impactful change is heard with the low frequency switch (3) and the atmosphere switch (2). The low frequency switch giving the Legend a hefty bass lift across the board and the atmosphere switch seeming to place midrange further back through a frequency change I’ve yet to pin down.

The listening impressions below are on the 020 switch setting that I have veered towards since purchase. With this setting the majority of my music library is covered.

Bass – speedy, dynamic, pleasant impact, on 020 quantity and quality is well balanced, extends well into sub bass frequencies on 003

I should preface that apart from Traillii (now sold), and the historic VX demo, all my daily drivers are DD for bass frequencies. So the transition to BA bass here was quite an abrupt change.

My impressions within the first 10 minutes were that the bass was decidedly average in its quality but did have a very good balance with the rest of the FR. I was struggling to perceive fine texture in bass notes and I could appreciate some smearing of detail. Thankfully this disappeared over the course of a dozen or so hours after which I was treated to a very capable low end.

You can tell there are two dual BA woofers in these, they move a serious amount of air when needed, especially with switch 3 activated. It can produce more than enough rumble and impact for my tastes. Attack isn’t as abrupt or controlled as DD bass and this softens the leading edge of notes and provides a softer impact (more appreciable if switch 3 is off) but sustain and decay are very natural and does justice to world/classical/folk/acoustic music that I listen to. The bass has a lighter body compared to DD but not doesn’t feel weightless or detract from my enjoyment.

The advantage of having this BA bass is shorter potential sustain and quicker decay. It keeps up with the multi-layered bass of busy electronic tracks and it does this with ease. It handles all my library on switch setting 020 with this being my preferred setting for all genres, including electronic/ambient/DnB. With the bass switch engaged things become especially fun and engaging for short, sweet bursts. However, in my opinion this setting is less balanced and some texture is lost as quantity is increased.

Midrange – forward, highly resolving, warm and buttery smooth, no shout or sibilance

If you know and love other Penon IEMs then the chances are this is what you’re here for and to skip straight to the point – this is crème de la crème of midranges that I have heard in IEMs. Smooth but not veiled, forward but not aggressive, transparent but at the same time embodied. The midrange is more forward than all of my other IEMs, both past and present, and that took some adjusting to but following that brief adjustment you start to understand why they are tuned the way they are.

The Legend wants to give you the midrange on a platter, well supported by the bass (020) and treble but unapologetically serving it up with as much space, imaging and detail that 4 Sonion BA can muster. It makes vocals a joy to listen to and the vast majority of instrumental music feels well ‘explored’ with fundamental and harmonic detail, no stone is left unturned and it manages it without feeling clinical. Male and female vocals sit happily at either end of the spectrum, well defined and unobstructed. Vocals and instruments have a warm hue and feel organic thanks to a healthy midbass bump. This IEM is definitely midcentric and it nails what it sets out to do.

The midrange alone is a selling point for this set but not the only thing the Legend has going for it. As I’ll mention later the tuning of the midrange is supported by incredible technicalities. Given that the tuning is very forward the psychoacoustic effect on presentation is that it feels intimate (but still extending beyond ear). Despite the intimacy the space occupied by the sound is very large and is incredibly dimensional, being far from flat and overwhelming. The midrange is presented with great height and depth in space and this produces a realistic and palpable image. These qualities further improve with burn-in that became noticeable beyond 50 hours of use, or thereabouts.

Treble – excellent definition, no vocal sibilance, some might want more air

The treble here is well tuned and not dull with plenty of definition and detail throughout the whole range. It is far from bright or edgy but gives you all the clarity you could want. There is no sibilance in sight. Some listeners (especially those not familiar with Penon house sound) might want more air but I found it suited my tastes as, once again, the underlying tuning is supported by technicalities that act to enhance the sense of space anyway. The treble takes a backseat to the midrange but does its job really well, allowing the midrange to shine and decorating the sound with definition and elements of detail while continuing the overarching theme of warm musicality that Penon do so well.

Technicalities

Soundstage – the sound stage was initially quite deceiving (and slightly disappointing). With the forward midrange it was harder to appreciate the totality of the space. Over time (about 50 hours) the midrange fell further back, whether by brain or driver burn-in, and soundstage truly opened up. Listening to Yosi Horikawa ‘Crossing’ there is no denying how large the stage is. There is great lateral extension and I was particularly impressed by the height. Forward projection is less impressive (as with most IEMs I’ve heard) but still good. Soundscapes and ambient are truly enveloping. Llyr’ Biome release is a good example of soundscapes, in this case captured from jungle field recordings. On the Legend you can hear birds/bats etc in the trees/caves above your head. From slightly disappointing OOTB to exceptional, it was quite a whirlwind ride with a definite ‘bedding in’ period.

Imaging, Instrument Separation & Layering – imaging was excellent out of the box and as close to ‘holographic’ as I have experienced on my IEM journey so far. There is true dimension to sound on all axes. Instrument separation isn’t the strongest at this price point, owed to the large size of its centre image, the more intimate forward projection and underlying midrange emphasis. However, all elements can be identified as distinct and it doesn’t become congested or incoherent with great layering and sense of space. I don’t consider the Legends instrument separation to be a weakness as it copes with all of my music library with no loss of enjoyment. As example, in my experience with the MEST MKII it had excellent instrument separation on the soundstage but this felt overemphasised creating space that most music could not fill – and this did detract from my enjoyment.

Timbre – Instrument timbre was a big concern for me going into this purchase. What would an all BA set up sound like? Would it be ‘natural’ enough for me or would it have the dreaded metallic or plastic timbre of some BA IEMs? Thankfully, my worries were unfounded. The midrange and treble has excellent instrument timbre thanks to an astute tuning and choice of drivers. There is a light touch to note weight that I attribute to BA drivers but attack, sustain, resonance/decay are all great here. I am usually more sensitive to the timbre of BA bass that can rob instruments of life. The Legend does have the character of BA bass in its softer attack but it’s far from egregious in this respect and has a very natural tail end decay. With the third switch on (003 – low frequency enhanced) BA bass characteristics are more noticeable hence why I’ve stuck with 020 in most instances.

Conclusion

I went into this with a fear of multi-BA IEMs, after a long streak of DD/hybrid purchases, and largely driven by the allure of better technicalities often seen in multi-BA sets…did I find what I was after? Yes. Undoubtedly. The Legend is where technicality and musicality meet. None of my other sets have achieved this balancing act as well as the Legend does. It is not a perfect IEM (is there such a thing?) - I still miss the DD bass – but the fact I’m willing to sacrifice that at every turn is proof enough for me that the Legend does so much right and so very little wrong.

Penon have made an very strong value statement to the kilobuck market. The Legend is a contender that exceeds, at least in sheer personal enjoyment, others at this price point. Penon know what they do best and they have executed well. If you’re looking for a versatile IEM that can handle your library with equal measures of technical proficiency and musical romanticism, the Legend should be on your radar.

Burson Audio V6 Vivid Discrete Opamp Review



Disclaimer: the V6 Vivid was kindly provided as a review copy by Burson Audio in exchange for my honest opinion.

Preamble

For context, my experience with tube amplifiers is limited to the Little Dot 1+ hybrid and my experience with operational amplifiers to the stock LM4562 and more recently the MUSES02 from New Japan Radio. The LD1+ is a great little gadget with plenty of flexibility at a reasonable price with the capacity to experiment with various opamps and tubes. There are plenty of amplifiers out there that now allow for this opamp ‘rolling’ for extra versatility and sound signature finetuning, including the much lauded Burson Playmate 2.

The V6 Vivid came packaged safely in a plastic case and Burson also kindly provided opamp extenders so the Vivid could sit on its side and allow the Little Dot 1+ case to close. Installation was a breeze, with clear instructions and guidance on compatibility available on the Burson Audio website. Further support is also available by email should you have any further issues or concerns.



The following assessment of sound is based on about 30 hours of listening over the course of several weeks, comparing MUSES02 (and the stock opamp from memory) with the V6 Vivid. Comparisons were made using Mullard M8100 tubes.

Sound

Bass – detail retrieval and texture is improved compared to MUSES02 & LM4562, however it is reduced in quantity with less midbass punch. The overall effect is a sound signature with a lighter body, brighter overall tonality and with a lot more information conveyed in the lower frequencies.

Midrange – midrange is placed further back compared to the stock opamp and is similarly placed to the MUSES02, while transparency is greater than both. Fundamental and harmonic detail is much more apparent and easily appreciated than on MUSES02 and stock. The midrange here is less intimate/forward than the stock opamp, accentuated by the wider and deeper staging. It is also less tactile, but more detailed than both, likely due to an increase in transparency.

Treble – upper treble definition is leagues ahead of MUSES02 and stock, with an exacting character but never becoming piercing or sharp, this added definition improves perception of imaging and instrument separation. Air is more palpable here than in comparison to the others that plays into the larger stage and results in greater atmosphere.

Overall tonality – from what opamps I have to hand the V6 Vivid enlarges the overall picture and creates a lighter and brighter picture with gobs of detail. It moves away from the intimate to a more grand presentation while not losing musicality or accurate timbre.

Technicalities – clear improvement in stage width and depth with greater instrument separation and layering of complex passages. Not strictly falling under technicalities but there was an audibly lower noise floor than on both the MUSES02 and stock opamp.

Conclusion

The V6 Vivid is aptly named! It had an immediately apparent effect on how resolving my amplifier could be. This tonal shift was significant enough that I had to change the tube I was using to a much darker variant with greater bass and midrange emphasis (to the Mullard M8100 that was actually too dark for my tastes with other opamps but now fits perfectly partnered with the Vivid).

Ultimately, there’s no denying that the V6 Vivid has far better technical gusto than other opamps I have tried and with its effect on tonal balance it offers a sure-fire way of tuning your amplifier to taste. That is, if you’re searching for more detail and your tastes lean towards the more grand and technical, you can’t go wrong with the V6 Vivid. Importantly, the Vivid manages this without losing musicality. Well done Burson Audio!

Driver configuration:

10mm dynamic driver – bass

Sonion BA driver – mids

Knowles BA driver – treble

20Hz-20kHz, 116dB sensitivity, 10ohm impedance


Source: Shanling M8 (3.5mm PO mode, low gain)

Burn-in: circa 100 hours

Cable: stock (silver-plated copper) / Tips: stock gray-green silicone eartips

Genres tested: world music, jazz, classical, electronic, ambient, folk, hip hop, pop, metal

The Penon Globe can be purchased here from Penon Audio for $339. This unit was provided for the purpose of review, however all opinions are my own. Penon have not had sight of this review prior to publication.

Preamble

For a long time now I’ve been very keen to hear an IEM from Penon. They have established a strong reputation of offering value for money, with a variety of driver configurations at various price points to suit the buyer, from the single DD ‘Fan’ to the tribrid ‘Volt’. They have also garnered a following for their ‘house sound’, which from my impression of the general consensus is one that puts midrange centre stage with warmth and musicality.

The ‘Globe’ sits in the middle-of-the-road in terms of pricing, sporting a 10mm dynamic driver and two BA drivers. A Sonion BA handling the mids and a Knowles BA for the treble. Having heard Sonion mids before, I knew that if this was executed right, the Globe could be a hybrid right up my street.

For some context to this review my origin in the audiophile hobby were headphones primarily powered by tube (or hybrid tube) amplifiers. Moving into the IEM (& earbud) world for the convenience of portability I’ve also since invested in smaller, portable or transportable tube options to power my IEMs. My tastes fall between neutral-warm to warm tonality and a smoother presentation – something that, traditionally, tubes have provided for me.

Additionally, my choice of IEM largely depends on a tuning & driver configuration that delivers a great/excellent midrange representation. One with sufficient body, detail and room to breathe. When I want to listen with my heart, I prefer something that is further away from the dry and cold side of the spectrum, even if that is at the expense of some detail. I want it organic and smooth with enough character to keep me engaged.

Read on to find out if the Globe suited my preferences and whether it could suit yours…

Accessories & Packaging

The Globes are presented in a blue hardcase that itself sits within in a swanky looking, colourful box. Also included is a small carry bag that hides a cleaning brush (these are very useful!), a cable tie, cable clip and two sets of S, M and L silicone ear tips. The one negative is the included cable which is a thin gauge 8 core SPC cable. I feel there’s a bit of a mismatch between the quality and design of the Globe and the quality of the stock cable. It doesn’t have the weight I like in my cables and can get tangled quite easily. A positive is that the SPC certainly suits the tuning of this IEM and the cable itself is very lightweight. Overlooking the physical and focusing on the purely sonic characteristics, the included cable is not bad at all. Overall, I’m satisfied with the accessories and packaging.



Design, Build, Fit and Comfort

The Globes are made from a medical-grade resin shell with a 0.78mm 2pin connector. The body of the IEM is black in colour and is slightly transparent with the drivers visible when holding it up to light. The nozzle is a continuation of the resin shell with a narrowing at the neck to hold the tips. The nozzle itself is quite shallow (about 3mm in length and 5mm in diameter), allowing for a deeper-seated fit of the body into the concha bowls of the ear. There are no sharp edges. At the rear of the shell on the body itself is a vent for airing the dynamic driver. The depth/width of the body itself is on the smaller side compared to my other IEMs.

The faceplate is a wonderful Nacre/’Mother of Pearl’-style colouration with a black stippling effect on top. It catches the light really well but is quite hard to capture in a photo. The black stippling means it’s not over-stated at all. There is the usual gold-amber Penon font with ‘PENON’ on the left and ‘Globe’ on the right earpiece. I actually quite like this font – it’s almost emblematic of Penon at this point!

The comfort and fit is a home-run in my small to average size ears. The most comfortable IEM I’ve experienced yet as a matter of fact.








Sound

Bass – sub-bass leaning, excellent rumble, high impact, dense, responsive, lacks some finer textures

Comments –

The bass has a great balance of thump, rumble and punch. It its very agile and conveys speedy passages with ease. Importantly it can moonlight across genres well enough for my tastes, handling instrumental and electronic music and making them both as equally ‘fun’ and not overwhelming the lower midrange. There is some slight sacrifice to texture in the bass, whether by innate limitations of the driver or it’s implementation and tuning which means this wouldn’t be the IEM I would pick up for purely critical listening. Your mileage here will vary dependent upon how ‘critical’ you are and how much enjoyment you derive from the minutiae of your music. This is most notable in acoustic bass instruments, harp etc. What the bass tuning does create is a physicality, especially to lower midrange, to give male voices the body and authority that some of my other IEMs lack.

I have to praise the Globe here for the most engaging presentation of ‘Infected Mushroom’ (electronica / psytrance) to date. The quality and quantity of the bass here is perfect. It excites and conveys dynamic swings well, never become fatiguing. Another strong suite is conveying the impact and authority of various families of drums, even reaching way down low to capture the resonance of the larger bass drum. It does it with great tonal accuracy to my ear and reasonably accurate decay.

Midrange – warm but detailed, accurate instrument timbre, vocal placed forward, no sibilance, good mid bite

Comments –

The selling point for me (and as it turns out, many others) – Penon mids.

If you prefer a warm-leaning midrange that doesn’t feel stuffy or lacking in detail this is it. The balance of transparency to physicality and space to intimacy is just to my tastes. The organic sound from the Sonion BA complimented by the overall tonal balance makes the midrange very romantic. It is coloured but coloured with humanity.

The Globes are my favourite presentation of male and female vocals in my current IEM stable. The Aladdin, while just as smooth, has a colder overall tonality and Isabellae is slightly cooler and brighter. Vocals are emotive and from the heart but can lack the outright detail / breathe-like quality that some people may crave. The stage provides vocals with a very pleasant ‘just-on-the-cusps’ of the ear presentation. It is not invasive, nor recessed or distant.

Instruments are captured well top to bottom with harmonic detail and good note weight and tactility.

Treble – good extension, non-fatiguing, balanced, some may prefer more upper treble air

Comments –

There is enough treble extension here to complete the picture and provide definition. Air is subtle and some may prefer more. I think the tuning here compliments the stars of the show, the bass and midrange, really well. It adds to intimacy and physicality of the overall signature, keeping the listener grounded and engaged.

Technicalities

Soundstage – good lateral extension, lots of height, spherical in shape

Perfect for my tastes. Reminders of small venues (pre-COVID!) but with the listener placed centre stage.

Imaging and Instrument Separation –

Very effective imaging with clear depth and position and smooth left-right / front-back gradation when sound is in motion. Very enjoyable for ambient / soundscapes. Instrument separation could be better in busy orchestral pieces but is unlikely to detract from enjoyment.

Layering –

Excellent layering, track mixing is easy to appreciate and full of nuance.

Comparison

Yanyin Aladdin –

A 1DD+3BA hybrid, in similar price range, that has seen a lot of attention recently and that I reviewed and praised for its versatility and balance. The best way I can summarise the difference here is with more descriptors. In some places these differences are more marked than others (those marked with a *) and a lot of this is heavily subjective and all down to preference.




Conclusion

The Globe does exactly what I wanted it to and has earnt a position in my collection for the long haul. It sits closer to my heart than it does my head. It appeals to the part of me that wants to let go of the constant critiquing and fall into the experience of music itself. It gives me the detail but not with a digital sheen or grain. It reminds me that I’m as much a part of the music too.

If any of this verbosity strikes home – give the Globe a go, I doubt you will regret it.



Tips for your Tips

Go for as wide a bore tip as possible on this one to capture as much treble air and bring out as much bass texture.

Driver configuration:

1 bio-diaphragm dynamic driver - bass

2 balanced armature – midrange

1 balance armature – treble

3-way crossover, 5Hz-22kHz, 108dB sensitivity, 10ohm impedance

Other relevant information:
Source: Shanling M8 (4.4mm PO mode, low gain)

Burn-in: circa 50 hours

Cable: Silver-copper mix / Tips: stock

Genres evaluated: world music, jazz, classical, ambient, electronic, folk, hip hop, pop, metal

The Yanyin Aladdin can be purchased here from Penon Audio. This unit was provided for the purpose of review, however all opinions are my own. Penon have not had sight of this review prior to its publication.

Preamble

My experience in this price range largely comes in the form of the Mangird (now XENNS) Tea, a $300 6BA+1DD hybrid. The first hybrid I purchased and one that I sold some time ago. I have some recollection of the sound, but not enough to make definitive comparisons. I can only say for certain the reason for selling it at the time – I found it too cold with some timbral and coherency issues. It just didn’t have the musicality to back up the technicality, for me at least. I have generally steered clear of BA setups since the Tea, favouring single or multi dynamic driver IEMs, with a brief foray into the land of the tribrids and quadbrids where there is often less reliance on BA drivers.

I saw the Yanyin Aladdin and the superficial side of me immediately liked the look of the swirling greys and blacks on the faceplate. I was also interested in the tuning. It looked Harman-ish but with a linear bass roll off to mids and some sparkle up top. A tuning that was quite different to my current stable of IEMs. More importantly, I wanted to find out how far competitive DD+BA hybrids had come in this price range since 2019.

‘Aladdin’ is an Arabic name meaning ‘nobility of creed’, an individual with clear aims that are guided by high principles. Read on to find out if the Aladdin is a fitting namesake...

Accessories and Packaging

This part isn’t exactly a home run, but it’s not all too bad either. The packaging is your usual affair, largely in Chinese and with English translation. The included cable is a nice silver-plated copper that’s pleasant to handle, terminating in a 3.5mm gold-plated plug. I used it briefly prior to this review without issue. I soon changed to a 4.4mm cable for the purpose of balanced DAP input. You get two sets of S, M and L silicone tips with a reasonably narrow bore. However there are no foam tips or what I would consider wide or shallow bore tips. Included is a suede carry case with a snap-shut top, a warranty card, date of production sticker and interestingly, a VIP card. I’m not sure what this entitles me to just yet - but I does make me feel like a very important person…!







Design, Build, Fit and Comfort

The aesthetic of the Aladdin appealed to me from the get-go. The shell has a ‘quicksand’-like grey and black dust that catches the light beautifully and looks very smart. The shell is medical grade resin with a transparent layer overlying the galactic quicksand beneath. The Yanyin logo sits on the right and ‘Aladdin’ on the left. Personally, I’m not a fan of the chosen font but I can live with it. There is a rear vent on each unit covered with a fine mesh to give everything inside room to breathe. The nozzles are made of metal with a lip halfway to catch and hold the attached tip.

The Aladdin is contoured well with smooth edges, supposedly driven by ‘big data’ research. It fits well in my 'average' ears and doesn’t move an inch. There is some pressure in my antitragus but the body of the Aladdin almost fully occupies my concha providing a great seal, achieving reasonable isolation. I can wear these for hours without issue.







Sound

Bass – sub-bass focused, deep extension, solid rumble and weight with a light touch of impact, well textured throughout, incredibly natural and organic.

Comments –

Some of the most tastefully tuned bass I’ve heard. The subbass tilt and with a linear roll off reveals great texture to both organic and artificial tones, avoiding the indulgent midbass boom that can detract from the detail hidden in the bass and mids on some IEMs.

Attack and decay is very natural and has a very realistic presentation of udu drum, bass and cello strings. Midbass impact is present but is non-fatiguing with what I would consider a lighter touch. This bass tuning makes most of my other IEMs appear self-indulgent and when I move back to them, I immediately miss the rich textures of the Aladdins bio-cellulose DD.

Subbass extension is very deep and textured to the furthest reaches with a nice thump. Combine that with the large soundstage and excellent imaging you have a very atmospheric experience. The bass surrounds the head giving a palpable landscape to music. Listening to ‘Remnant’ an album by the artist Lorn, that is subbass heavy, is an incredible experience on the Aladdin.

Midrange – good instrument timbre and with fundamental and harmonic detail, exceptionally smooth presentation, non-fatiguing, no sibilance, upper mids / lower treble may lack ‘edge’ or ‘bite’ depending on your preferences

Comments –

Instrument tone, timbre and weight was a big concern for me going into a BA hybrid at this price point. The majority of my musical enjoyment sits in the midrange and if not reproduced ‘right’ I lose interest very quickly.

I was pleasantly surprised here. Instrument timbre is reproduced faithfully and everything sounds tonally correct. I would describe the midrange as lush but detailed. There is not an ounce of shout or any heavy-handed emphasis into the uppermids that could detract from enjoyment here.

The tuning works with both male and female vocals. The two BAs perform admirably giving detail and nuance to the midrange. Female vocals are great with plenty of subtlety and emotion, certainly one of the many strengths of the Aladdin.

There is a tube-like liquidity to the way the Aladdin expresses the midrange and that’s right up my street. It is easy-going, non-fatiguing with perfect note weight and definitely not lacking in detail.

Again, complementing the midrange are excellent technicalities that bring this to life on a pleasant sonic stage.

Treble – natural extension, plenty of definition, not piercing, enough air for me

Comments –

I always find it hard to evaluate treble but straight out of the box I knew this was a winning tuning. The naturally resolving treble gives everything healthy definition and extension without becoming a fatigue fest. String instruments sound very natural with plenty of resonant detail, especially harp, guitar, kora and violin. The treble is exacting with very tight control as you would expect for a BA. Thankfully, it doesn’t pierce or sound unnaturally metallic.

Technicalities

Soundstage – great lateral extension, good height, almost spherical in perceivable shape

The soundstage was great straight out of the box but has opened up some over time. It’s very natural, outside of the head and never leaves the music feeling congested nor stretched or unnatural. Very satisfying. A tip change from stock can enhance this still further (more on this later).

Imaging and Instrument separation –

Near enough ‘holographic’ placement in well recorded tracks. You can pick out information like direction and depth of specific elements in a track. Everything has its own space to play out. Motion is expressed with excellent graduation from left to right around the head with no awkward exchange in the centre of the sound field.

Layering –

Very good layering of track elements. There’s no wall of sound to be found here. Busy tracks are handled with no muddying of detail.

Conclusion

Who is the Aladdin for? Well, it’s a great entry point for those new to the IEM audiophile hobby and for those that have yet to find their preferred signature. It would be the next logical step for most who like a balanced tuning and are looking for a technical upgrade into the next price bracket. Another group would be those that have a broad music library and need a one-size-fits-all everyday carry.

Does it best the Mangird Tea? In my opinion, at least from memory, in nearly all respects, yes it does and that’s with 3 less BA drivers on board and at a cheaper price point. It’s tonality is inviting and versatile and it’s technicalities are exciting, giving an out-of-the-head experience. In many ways I see the Aladdin as the Sundara of the IEM world. It’s a very strong value proposition and a safe recommendation.

The Aladdin may not appeal to those who are attached to a V-tuning. The way it presents music is not indulgent but it is, at all times, luxurious. I rarely go through my library which is quite broad in scope - artificial to organic, grand to intimate, aggressive to meditative - and find myself happy at every turn. I could take this IEM with me and know I have all eventualities covered.

So what is the ‘noble creed’ of the Aladdin? In a few words I would say: precision, poise, faithful reproduction and versatility.



Final remarks - tips for your tips

I used stock tips for this review.

Some tip rolling may be required as usual. Start with the stock silicones, they’re not bad at all. They present the IEM as the tuner intended – expertly balanced and tonally/timbrally correct.

If you want to lean further into the technical strengths of the IEM and capture more air and widen the stage, try a wide and shallow bore tip. However, this does enhance the presence of some the upper mids/lower treble, with some sibilants (sh/ss/ch) becoming more prominent. This could prove fatiguing or harsh for some. It also enhances the perception of BA timbre in the treble slightly. It is worth experimenting however as I can cope with it fine. I had success with Oriolus/Jaben single flange silicone stock tips (purchasable online, pictured below), but I’m sure any wide and shallow tip will have a similar effect.



Edit 08/08/21 - adjusted score from 4.0 to 4.5 to better reflect the review & my assessment over time.

Driver configuration:

8mm dome titanium diaphragm dynamic driver (bass)

7mm graphene diaphragm dynamic driver (mids)

1 balanced armature (high)

2 piezoelectric ceramic drivers (ultra-high)

__

Source: Shanling M8 (4.4mm LO mode, high gain) > Cayin C9 (4.4mm in, low gain, tube mode, class AB amp)

Burn-in: circa 30 hours

Cable: CEMA UPOCC / Tips: CP145

Purchased at full price from Penon here. This review has not been incentivised in anyway, by anyone.

Disclaimer: what is unclear at this time is the standard of QC on this IEM and we will only know more as people get their hands on it. I would temper this review by saying that if $45 is a lot of money to you, exercise caution until we know more.


Preamble

For context, my journey with IEMs has recently taken a turn towards single (or multi) dynamic driver configurations. As a general rule, I prefer the tonal colour / timbre of instruments and vocals when presented by a well-tuned DD. The exception to this, from my history, is the Oriolus Traillii with its masterfully implemented and tuned BA+EST that had plenty of tonal and timbral accuracy for my liking. Thanks to @Rockwell75, I was encouraged to try the Oriolus Isabellae (please see @Rockwell75 review on Head Gear for a great read). At a higher price of $659, it’s a single DD with a wonderfully coherent, warm but bright tuning that works wonders for lovers of midrange who prioritise timbre/tonality over technicalities.

Coming from this recent purchase and almost pathological love of DDs, the prospect of a hybrid IEM didn’t initially appeal to me due to concerns regarding coherency. Something that although often hard to convey, incoherency is something that jumps out to my ears and it really saps my enjoyment of an IEM. Three things did spark my curiosity however; a dynamic driver was being used for mids (which isn’t particularly common), piezoelectric drivers were being used for ultra-high (I had never heard these) and at the price of $45 it represented a low risk experiment. Ofcourse the hype generated by @Dsnuts helped matters considerably...

After a day or two with the GK10, I am confident enough to weigh in with my opinion. Clearly I would expect further burn in and slight changes to sound signature with time, but out of the box they are already worth the price they are being sold for (and much more).

With that out of the way let’s get stuck in!


Accessories and Packaging

The weakest part of the whole presentation. A small, white cardboard box with a Geek Wold sticker on it. Included are pairs of narrow bore silicone tips and wider bore silicone tips, a leatherette carry case, warranty card and a cable.

The cable is a 3.5mm terminating SPC cable. It isn’t the worst cable I’ve ever handled by a long shot, it’s light, with only a small amount of memory and has a good feel in the hand however the fittings feel on the cheaper side. I am not using the stock cable largely because of its aesthetics. I used a mid-budget UPOCC cable for this review.

All in all, I can forgive the shortcomings on the accessories if it means a saving to the customer. I would hope in due course, with more money behind Geek Wold they may be able to improve the included accessories.




Design, Build, Fit and Comfort

The shape of the shell itself is interesting. From the outer aspect it appears similar to cartoon heart, and on the internal aspect more like an elephants rear end! The stabilised wood plate is beautiful and catches the light well. It is glued onto the plastic shell and at least on my unit, very little glue if any is visible around the borders of the wood. The plastic shell is light and comfortable but seams are clearly visible and although dead-ended, detritus might ingress over time. The connector is a flat 2pin 0.78mm connector. A variety of colours are available with considerable unit variation.

Having used not so flattering terms to describe the shape, I can confirm those elephant buttocks do a great job of sitting perfectly against my concha! The GK10 inserts easily and sits in place for long periods without any discomfort. The plastic shell offers a lightweight experience. The nozzle is long enough to reach my auditory meatus and hold onto most tips I’ve played around with.

Fitment is obviously a very personal matter but the shape is not obtuse or abstract, like the BL-03 or 01 for example, so I expect it will fit most without issue.

Overall, while I’m not worried about durability I would have preferred a metal shell and hope to see this in a future iteration provided it doesn’t impact sound quality.








Sound

This part will largely be descriptors clarified with more general feelings and comments.

Bass – sub-bass focused, good mid-bass impact, very well textured from sub-bass to mid-bass to lower mids, natural timbre

Comments:

The driver shows great versatility from Baroque bass strings to thumping and dynamic modern electronic. The bass does exactly what it needs to do, no more, no less. The timbre of the bass and its attack/decay is incredibly natural, not taught or artificial, yet not too slow for the fast pace of electronic music. Bass is wide reaching and supportive of the midrange and treble but does not obscure with its intensity or tuning. Provides a room-temperature ambience. Rumble is present, punch is tasteful.


Midrange – relaxed, close to neutral in vocal positioning (neither forward nor back), non-fatiguing, subtle recession, complete in its expression

Comments:

Male and female vocals have a very refined presentation. Combined with the room-temperature tonality of the tuning and natural timbre of the 7mm graphene DD they are revealing and expressive. Positioning of vocals is unobtrusive but not distant or removed.

Guitar, violin, harp and sax fundamentals and harmonics captured beautifully with a sense of air afforded by the BA and piezo above. Timbre great throughout.

Vocals and instruments lack any sibilance near to 6-8kHz which makes for an easy and non-fatiguing listen.

I hear the mids to have a very subtle recession when compared to bass and treble, but it’s not enough to detract from my enjoyment, which I primarily derive from action in the midrange. Rather, this recessions makes for an easier listen over longer periods compared to my Isabellae.

Coherency between bass and mids is excellent, as you would hope with two dynamic drivers. I think a combination of 1DD for bass and 1DD for mids is a genius move and definitely a success. It allows for cohesive expression of the fundamental and harmonic frequencies of instruments that sit through both the bass and mids which is the vast majority.


Treble – airy, palpable edge, highly resolving

Comments:

I want to preface my comments on the treble that it may still change over time as the drivers settle.

I have a hard time here distinguishing the BA from the piezoelectric drivers, but my understanding is the piezo’s will be doing the brunt of the work above about 12kHz.

There is certainly no sibilance here, but there is a lot of definition with a significant and palpable edge. Similar to what I recall of the MEST MK2, I can almost ‘feel’ the treble in its expression.

It is tuned well and is incredibly revealing. However, it straddles a very fine line that could pull the overall tonality towards being ‘brittle’. How much you notice this and how much it bothers you will depend on what music you listen to, what instruments are being played and what your personal tastes are.

Whoever tuned this did a very good job, was not risk averse and clearly enjoys living life on the edge. The treble sits in a goldilocks zone for me, personally – just right.

My only point of comparison here is Sonion EST drivers, whose presentation tends to be smoother and less tactile. I have yet to decide which I prefer.


Technicalities

Soundstage – Very respectable stage that is triangular in shape around the head, with some height above and below the ear line. Perceivable stage expands with amp’ing. Larger than what I’ve sampled at this price point. Bass and treble tuning complement the sense of space well. Verging on over-ear experience in some tracks.

Imaging and Instrument Separation – Instruments sit naturally with good representation in space. Transition from left to right is well represented but does narrow as it moves towards the centre.

Layering – depth perception is present thanks to good staging, but track layering is less appreciable. Still acceptable and doesn’t detract from my enjoyment.

Dynamics – Incredible for this price, manages the very low to the very high and movements between with incredible ability. In this sense it reminds me of the Traillii. With the aforementioned technical ability combined with driver response I can throw almost any tracks at this IEM and it will handle it fine.

Comments:

I challenge you to listen to any album by Yosi Horikawa, with the GK10 connected to a good DAC and amplifier, and tell me you’re not floored by the technical ability of the GK10 for $45.


Conclusion

Admittedly, I have only been with the GK10 for a few days, but I wanted to get the word out and sing its praises as soon as possible to help people make a decision.

The top standout features for me with this IEM is its coherency, technical ability and total dynamic range. For a multi-driver IEM at this price point it is top shelf. The second standout feature is the timbral accuracy where it matters to me most – the bass and mids. The third is its tuning, it’s not offensive, yet it is in no way boring, all while managing to retain detail and texture and not resorting to ‘cheap’ tuning tricks. The first proviso is that you have to like treble detail and not be attached to a warm and rolled off tuning. The second is that you have a source with a low output impedance (<1Ohm) and reasonable output power. On my higher output impedance devices the signature becomes warmer and bass more pronounced. I would recommend pairing this with a warm-neutral source that is not clinical.

If I had to describe the GK10 in a few words it would be: ‘coherent, exciting and dynamic but with heart’. This set easily sits alongside my much more expensive Oriolus Isabellae to tackle the more complex, electronic and ambient music I listen to. It is brighter and has a more refined touch than the 3DT, which is better for some genres and yes, totally supplants the BL-03 on my rotation.


Ladies and gents, dive in without regret. Geek Wold have thrown down the gauntlet and we are all winners.





Helpful tips:

• Experiment with wide bore tips – my favourite are Spinfit CP145.
• These DDs like power (despite what the sensitivity suggests).
• Experiment with sources and source output impedance which may affect frequency response - the lower output impedance the better (<1Ohm) and the higher output power the better.