Reviews by kesobie
Come with me as I share my honest impressions on the Binary x Gizaudio Chopin. This is Gizaudio’s second collaboration set and is priced at $199. Considering the success that Timmy’s first collaboration got, it leaves the Chopin with a high bar to surpass. So let’s find out if it does exactly that!
PROS:
- Fun, U-Shaped sound signature
- Deep, impactful bass
- Clean, open mids
- Sparkly and energetic treble without fatigue
- Good vocal and instrument positioning
CONS:
- Lower mids sound thin and distant
- Distinct metallic timbre
- Congestion in the upper midrange to lower treble
- Poor fit
- Cheap build
Knowing Timmy’s (Gizaudio) tastes in his IEMs, I was expecting the Galileo to have that signature hard hitting but clean bass, open mids and sparkly treble to which I unfortunately did not experience as he aimed the Galileo to follow a more neutral sounding set.
Almost a year later, we are then introduced to the Chopin. Named after another famous figure in the arts (I know Galileo was based on a detective show in Japan), the Chopin is exactly what I imagine Timmy’s preference to sound like.
Bass hits hard and goes deep but doesn’t intrude into the midrange to keep it clean and that treble is quite sparkly and incisive. The bass especially is quite satisfying as I found myself mindlessly listening to music when Lose Yourself to Dance by Daft Punk came in and broke my focus while I worked with how punchy the bass sounded.
Its separation and imaging are also quite commendable as vocals are well placed in the sound field around the instruments. It’s no speaker quality, but it sounds considerably wider than your usual in-ears with a good sense of where the instruments are placed.
Two IEMs that remind me of the Chopin are the Variations and the AFUL Performer 5. One in a good way and one in a bad way.
Compared to the Variations, Chopin has a much more organic sound in the midrange as there is a better balance between the lower mids to the upper mids that give it a more organic sound. It’s no timbre-master by any means, but it fits my preferences much closer.
Where I’m not so fond of on the Chopin is the upper midrange timbre. This is where the P5 comparison came in as it both has a metallic upper midrange to treble that gives it a somewhat rough and congested sound. It’s not as bad as the P5 and I would argue that it does what the RLC of the AFUL series of IEMs better, but it really shines on vocals and percussives when each hit and S sounds unnatural.
Some call the Chopin to be a budget Variations to which, I’d honestly say this is a better Variation in terms of tuning. It keeps the deep, punchy bass while having a better midrange note weight. It, unfortunately, suffers from having a somewhat rough, metallic upper mids to treble timbre that also affects the separation in this region to sound a little congested. Regardless, this is much closer to what I had envisioned Timmy’s preference in IEMs sound like and I quite enjoy it!
Thank you for reading my impressions on the Binary Chopin. Big thanks to HiFiGo for sending over the Chopin for me and my fellow reviewers to share our thoughts on. If you would like to order one, consider using the non-affiliated link below: https://hifigo.com/products/gizaudio-binary-chopin
If you have any questions or concerns, message me on my facebook page or my email at obodioreviews@gmail.com
Simgot EM6L Review: HYBRID LOVE!
WATCH FULL REVIEW HERE:
PRICE: $109 (PHP. 6,500.00)
PROS:
- Sleek, minimalist design
- Lightweight
- Versatile tuning
- One of the smoothest U-Shaped IEMs I’ve tried
- Good overall tonal balance
- Fun and Energetic
CONS:
- A little cheap feeling
- QDC connector (bias)
- Not the most technical-sounding set
- Lacks low-end authority
- Might be a little shouty
WHO THIS SET IS FOR:
- People who want a fun but still tasetful sound signature
- People who want a lowkey, minimalist aesthetic and lightweight fit
- People who like a very smooth frequency response graph
- People who want an all-rounder sound
WHO THIS SET ISN’T FOR
- People who want a technical-sounding set
- Shout-sensitive people
- People who want a deep, tactile, and dynamic set
- People who don’t like QDC connectors
RECOMMENDED GENRES:
- Pop
- Jazz
- Classical/Instrumental
SHORT REVIEW:
With Simgot’s reputation for making the most out of its drivers, the EM6L provides an extremely refined sound profile for a hybrid at a very low cost. This comes at the tradeoff of an almost $20 level of build and a QDC connector which I’m not fond of at the price. Some may also find its upper mids to treble presentation too forward, but you can’t find a hybrid this smooth and versatile at this price. RECOMMENDED
Thank you so much for taking the time to read my review. If you would like to see more of my content, please consider following my Facebook page and my other social media accounts:
Head-fi: https://www.head-fi.org/members/kesobie.554565/
YouTube: https://www.youtube.com/channel/UCRv42fx1TIcEpP_QBbkhEOA
Facebook: https://www.facebook.com/OB.ODIO
Twitter: https://twitter.com/obodioreviews
Instagram: https://www.instagram.com/obodioreviews/
Thank you to Simgot for sending over the EM6L in exchange for my honest thoughts. If you would like to avail the product reviewed today, check the non-affiliate link below!
https://www.linsoul.com/products/simgot-em6l?_pos=1&_psq=em6l&_ss=e&_v=1.0
If you have any comments or concerns, you may contact me by email at obodioreviews@gmail.com
Have a nice day, and enjoy music!
SIMGOT EW100 DSP Review: The Solution.
WATCH FULL REVIEW HERE:
PRICE: $24.99
PROS:
- Lightweight and comfortable build
- Plug and play (most of the time)
- Fun, consumer-oriented tuning
- Impactful, rumbly bass
- Clean and open midrange
- Smooth but sufficiently bright treble
- No audible group delay issues
- Solid value for what it is
CONS:
- EXTREMELY barebones inclusions
- No ear hooks or guides
- Harman-style bass tuck might turn off some people
- Compatibility issues with some devices
- Average technicalities for its asking price
- Non-detachable cable
WHO THIS UNIT IS FOR:
- People who want a plug-and-play IEM for type-c phones
- People who want a fun, all-rounder and bassy but clean sound
- People who want a small, comfortable IEM
WHO THIS UNIT ISN’T FOR:
- People who don’t like the bass tuck
- People who want more modularity in their gear
- People who want a technical set
RECOMMENDED GENRES:
- Hip-hop
- Pop
- Rock
SHORT REVIEW:
The Simgot EW100 DSP exists as a fun, nice-sounding solution to the lack of an audio jack that has a well-rounded tuning that would fit most people’s library. It’s a very straightforward experience from unboxing it to plugging and playing which means expect very little user modification due to its non-detachable type-c nature. Beware of compatibility issues, however. RECOMMENDED WITH CAVEATSThank you so much for checking out my review on the Simgot EW100 DSP! I would like to thank Betty and Fia of Simgot for giving me and my fellow reviewers the chance to review the EW100 DSP. If you would like to buy one for yourself, consider using the non-affiliated link below: https://www.linsoul.com/products/simgot-ew100p?variant=44032329908441
Consider following me on my social media as well!
Head-fi: https://www.head-fi.org/members/kesobie.554565/
YouTube: https://www.youtube.com/channel/UCRv42fx1TIcEpP_QBbkhEOA
Facebook: https://www.facebook.com/OB.ODIO
Twitter: https://twitter.com/obodioreviews
Instagram: https://www.instagram.com/obodioreviews/
If you have any comments or concerns, you may contact me by email at obodioreviews@gmail.com
Have a nice day, and enjoy music!
Attachments
MOONDROP CHU 2: The Upgrade.
WATCH FULL REVIEW HERE:
PROS:
- Fun all-rounder sound
- Removable cable
- Solid build quality w/ detachable nozzle lip
- Fantastic fit
- More versatile than OG Chu
- Energetic but fatigue-free
CONS:
- Slightly thin, recessed mids
- Loss of Spring Tips
- Similar sound to recent releases
- Not as detailed as Chu
WHO THIS UNIT IS FOR:
- People looking for a fun sounding budget IEM
- People who found the Chu fit nice but hated the non-removable cable
- People looking who are into the Moondrop VSDF Target
- People who want a solidly build budget IEM
WHO THIS UNIT ISN’T FOR
- People who wanted a similar sound to the OG Chu
- People who don’t like paint chipping
- People who want a more analytical sounding set
- People expecting Chu 2 to have Springtips
FAVORITE GENRES:
- Hiphop
- Pop
- R&B
- Funk
SHORT REVIEW:
“The Moondrop Chu 2 is the logical upgrade to the Chu wherein it drops the Springtips and the neutral-bright tuning for a detachable cable and a more consumer-friendly tuning based on Moondrop’s VSDF Target. While it may lose the magic that made the original special (and hated), it’s a much more versatile set in return.” RECOMMENDED
Thank you so much for taking the time to read my review. Thank you to Shenzhenaudio for sending the Chu 2 for a review. If you would like to see more of my content, please consider following my Facebook page and my other social media accounts:
Head-fi: https://www.head-fi.org/members/kesobie.554565/
YouTube: https://www.youtube.com/channel/UCRv42fx1TIcEpP_QBbkhEOA
Facebook: https://www.facebook.com/OB.ODIO
Twitter: https://twitter.com/obodioreviews
Instagram: https://www.instagram.com/obodioreviews/
If you would like to avail the product reviewed today, check the non-affiliate link below!
https://moondroplab.com/en/products/chu-ii
If you have any comments or concerns, you may contact me my email at obodioreviews@gmail.com
Have a nice day, and enjoy music!
Attachments
Hidizs XO Review: Party On The Outisde, Business on The Inside
PRICE: $99 (PHP. 5,000.00)
PROS:
- Unique 15-mode RGB Feature
- Digital Filters
- Sleek, lightweight, compact design
- Detachable Type-C input for solid device compatibility
- Intuitive controls
- Noise Free Output
- Decently Powerful SE and BAL
- Uncolored and neutral sound
- MQA (16x), DSD256 and Hi-Res (32bit, 384khz) support
CONS:
- Gets hot pretty fast
- Battery drain can be a little bit much
- RGB is more of a party trick than something practical
- Digital Filters only have a minimal effect
- No physical volume rockers
- No LO
- 2.5mm (nitpick, I just prefer 4.4mm)
- Might come across as too clean/clinical
WHO THIS IS FOR:
- People looking for a compact DAC with 2.5mm BAL output
- People who like quirky features on their DAC
- People who are looking for a powerful but portable source
- People looking for a clean, versatile DAC
WHO THIS ISN’T FOR:
- People looking for the most powerful DAC for the price
- People who want an unadulterated, no frills source
- People who want dedicated physical volume rockers
- People who want a vibrant, energetic sounding DAC
SHORT REVIEW:
FULL REVIEW:
When it comes to sources, you can’t really get much variations in terms of how it is presented. Most DAC’s are a piece of metal with plugs and buttons with varying shapes. Recently, some manufacturers have decided to switch it up by presenting the DAC in a unique manner. And today, we’ll be taking a look at one such DAC. Let’s take an in depth look at the Hidizs XO!SPECS:
DAC CHIP: ESS Tabre ES9219C x2
BIT AND SAMPLE RATE: 32bit/384khz PCM
DSD SUPPORT: DSD64/128/256
MQA SUPPORT: MQA 16X Unfolding
INPUT: Type-C
OUTPUTS: 3.5mm SE, 2.5mm BAL
POWER:
- 78mw x2 @ 32ohms 3.5
- 195mWx2 @ 32ohms 2.5
OTHER FEATURES:
- Independent Crystal Oscillators
- Single 5-axis Aluminum CNC
- Sample rate based on the color
- Hiby Music App support
- Hi Res and MQA certified
THD: -114dB
WEIGHT: 11 Grams
SUPPORT: Windows, Mac, iPad OS, Android, iOS
CROSSTALK:
- 3.5mm: 76dB
- 2.5mm: 128dB
UNBOXING:
Watch Unboxing here:
The Hidizs XO comes in a rather small box with a pretty exterior that shows the XO with an iridescent finish. Removing the outer packaging, you’re met with a solid plastic case that holds the XO, the paperwork, a Type-C to Type-C cable and a USB C female to USB A male.
BUILD QUALITY, INPUT AND CONTROLS:
The same can be said with both the jacks with the 2.5mm jack being considerably tighter than the 3.5mm. I’m not much of a fan of 2.5mm connectors as I find them a little too thin for comfort, but I understand that it’s necessary to keep the XO compact.
There are two buttons located at the very top with the O being the button to change the digital filters and the X being able to change the RGB. The buttons are responsive and clicky and quite satisfying without feeling too hard. The sides are patterned in a way that makes the RGB pop out in an aesthetically pleasing way that compliments the colors well.
DEVICE SUPPORT SUPPORT:
I used this on my PC, Hiby R2 Gen II and my Huawei Nova 7 SE. All devices worked wonderfully with the XO, including my Nova 7 SE which is usually problematic with DACs.
FEATURES:
As stated above, the XO’s main features digital filters and a total of 15 RGB modes. They are also capable of decoding MQA 16x, DSD supports up to 256, and are powered by two ES9219C chips. While omitting any physical volume rockers or mic support, it’s a relatively adequate and unique feature set that separates it from other DACs. The digital filters don’t provide much of a difference personally and the RGB modes, while cool, is arguably gimmicky and could have been put into something more practical. Still, I can’t blame the Hidizs for including such a weird feature.
POWER AND BATTERY:
The XO has a more than decent SE output with 78mW x2 which is more than capable of powering IEMs and some low-impedance headphones, but these pack over 195mW x2 on its 2.5mm Balanced output which is more than capable of powering even harder to drive headphones, but might struggle with planars. Unfortunately, I do not have any properly hard-to-drive headphones on hand to test out its performance. But I’m going down as low as 15/100 on Windows with the PR2 where I usually go over 25/100, so these are definitely powerful.
However, it does have two drawbacks with that amount of power. One is its power consumption is a little bit on the heavier side. Plugging it into the R2 Gen II at an average of 40-60 volume, I found myself draining more than 30% of the battery in a single album and over 15% with my smartphone. The other is the heat generated on the DAC is quite a lot. Even leaving it on idle will make it quite toasty to hold.
SOUND:
There is virtually no noise floor with the Hidizs XO, even on sensitive IEMs like their very own MS5 which I found to be prone to producing such noise floor on more powerful DACs. This was the case for both the 3.5mm SE and the 2.5mm BALThe sound of the XO is neutral and clean. Coloration is put to a minimum while also providing a very crisp and technical sound. Comparing this to something like my Audioquest Dragonfly Red, the DF Red still pulls ahead in terms of clarity, detail, and openness. But the XO sounds smoother with a less colored sound and slightly improved low-end dynamics.
Plugging my Aful Performer 5 into the 2.5mm output, the XO smoothened the treble out while still maintaining a clean balance throughout the frequency. It also allowed the P5 to be pushed to its potential as I found the P5’s overall bass dynamics and transients to have been sharpened and more incisive without harshness or distortion. The usually rounded-sounding bass of the P5 was given a little bit of punch and texture, although only by a tad bit. The real improvement the XO brought about to the P5 was definitely opening up the midrange and smoothening the treble. Stage unfortunately doesn’t seem to have changed a lot despite the midrange sounding a tad bit more open, even in the Balanced output.
Plugging it into the Simgot EA500 and right out the gate, the XO improves on what makes the EA500 solid while also smoothing out the edginess that some might find harsh or unnatural. The bass sounds tighter with better texture and a smoother transition into the midrange where it retains a well bodied lower mids but also opening up the vocals and instruments to have more breathing room. The refinement to the upper mids and treble was also quite phenomenal as it still presents the EA500 as the sparkly beast that it is but making it smoother and overall more euphonic to listen to.
However, this definitely isn’t for those looking to make their IEMs more fun on both ends. The XO delivers a more neutral sound rather than an energetic one. It doesn’t boost the bass quantity as much as it tightens it to sound clearer while still maintaining an adequate body. The treble is about the same story with the treble being well extended but not elevating much from the usual sound.
VERDICT:
The Hidizs XO is a quirky, tiny but powerful piece of DAC that is perfect for those looking for a compact, portable but versatile source with a colorful presentation that’s perfect for those who like to listen in style. While it may omit the usually useful features like volume controls, it instead features a quirky 15-mode RGB and digital filters that are supposed to give you a different listening experience per filter. And while I did find both more gimmicky than useful, it doesn’t change much from the fact that this is a very solid DAC solution for the price. Heat may come as an issue, as well as power consumption. But for the power that it brings out, I’d say it’s more than justified. Overall, the XO allows both your eyes and ears to feast in its beauty.
Thank you so much for taking the time to read my review. I would also like to thank Hidizs for sending over the XO for me and my fellow reviewers to share our thoughts on. If you would like to see more of my content, please consider following my Facebook page and my other social media accounts:
- Head-fi: https://www.head-fi.org/members/kesobie.554565/
- YouTube: https://www.youtube.com/channel/UCRv42fx1TIcEpP_QBbkhEOA
- Facebook: https://www.facebook.com/OB.ODIO
- Twitter: https://twitter.com/obodioreviews
- Instagram: https://www.instagram.com/obodioreviews/
https://www.hidizs.net/products/hidizs-xo-single-ended-balanced-mqa-dongle
Have a nice day, and enjoy music!
LETSHUOER DZ4 Review: Lean Into The Vocals!
PRICE: $89 (PHP. 4,800.00)
PROS:
- Superb unboxing experience
- Decent set of accessories with an interesting screw-style case
- Comes with one of my favorite stock cables (similar to Galileo)
- Pretty shade of beige with an interesting design and colorway (subjective)
- Clean, generally neutral sound
- Detailed, well-defined bass
- Fantastic vocal clarity and detail for the price
- Relaxed but still decently detailed treble presentation
- Solid separation and layering
- Great value considering the driver configuration
CONS:
- Driver configuration doesn’t really match what it sounds like
- Larger nozzle might cause fit issues
- Material might corrode over time
- Might be too lean sounding
- Bass lacks texture and weight
- Lower mids are featherlike and borderline thin
- Upper mids have tendency of shout
- Treble might come across dark to people who prefer more extension
- Narrow staging
WHO THIS UNIT IS FOR:
- Driver aficionados
- Mid-heads
- People who want a clean but detailed low end
- People who want a fatigue free treble
- People who want a complete package on a budget
- People who want a more than decent separation and layering capabilites
WHO THIS UNIT ISN’T FOR:
- Shoutlets
- People who don’t like lean sound signatures
- People who want a textured, tactile or weighty bass
- People who want sparkly treble
- People who want wide stage
- People who have small ears (due to the large nozzle)
FAVORITE GENRES TO LISTEN TO:
- Classical
Jazz - Vocal-centric (like adult contemporary)
SHORT SUMMARY OF REVIEW:
“The Letshuoer DZ4 provides a lean, vocal-centric presentation with really good vocal nuance along with a solid unboxing experience and great accessories for the price. However, the 3 dynamic drivers and passive radiators seem to not do much to give body and weight into the music, as well as the somewhat poor fitting makes it a little cumbersome to wear. Regardless, the DZ4 is a competent set for vocal lovers and neutral-heads on a budget.” RECCOMENDED WITH CAVEATS
FULL REVIEW:
We’ve recently gotten a plethora of IEMs with weird or unusual configurations in the market with varying levels of effectivity. Granted, it is quite difficult to pull off a completely unorthodox driver configuration without going really deep into the R&D. But what if a brand who’s been in a market for quite a while and have proved themselves capable of working with multiple driver types takes a gander? Well, then you get something interesting.
DISCLAIMER:
This unit was tested as a tour unit provided by Lethuoer and managed by Mr. Eiji Romero of KVLT on Euphonia. I am eternally grateful for the opportunity. However, I was not paid to say anything and all my thoughts and opinions on this review are mine and mine alone. Audio is a very subjective hobby and as much as I try to objectively explain my thoughts and opinions, your mileage will vary. My preferences will also affect how I perceive the gear that I review. Sources and other accessories will also modify your experience. Lastly, my reviews should always be used only as a guide and not as the definitive bible. Trust your ears to know what’s good.
SOURCES USED:
- Zishan U1 (AKM variant)
- Hiby R2 Gen II
- Audioquest DF Red
- Not-by-VE Avani
- Non-HiFi Phone (Huawei Nova 7 SE)
TRACKS USED:
A mixture of lossy, lossless and Hi-Res files will be used to give a general overview of the different formats in which the gear will be used.
Docs file explaining each track and what to look for: https://docs.google.com/document/d/1oMa7GPLaqtpnnoR9tixvWI4aK-7tXMyTEZCJAVkIZx0/edit
Spotify Playlist:
PREFERENCES:
I currently prefer a lot of R&B, Indie, Funk and Adult Contemporary/Vocal centric. However, I am very flexible with the music that I listen to and always try to look for the best genres for the gear.
ACCESSORIES USED:
Tips:
- Stock tips (in S&M)
- Final E (in S&M)
- Newbees (in S&M)
- TRI Clarion (in S&M)
Cable:
Stock Cable (3.5mm)
NOTE ON ACCESSORIES:
The stock tips were adequate for the DZ4, but using smaller tips improved on the overall stability. It also tames the upper mids, but also affects the already narrow stage. For this review, I primarily used the stock tips in Medium, but tip-rolling is recommended.
BRAND BACKGROUND:
Letshuoer is a brand many of us are familiar with in the hobby with their legendary planar prodigy, the S12 and their EJ series taking up the mid-fi market by storm and even having the likes of HBB, Zeos and Timmy collaborating with them. Least to say, they’re no unknown Chi-Fi brand in 2023. However, not only is this their first 3DD + 1PR IEM, this is THE first 3DD + 1PR in the market. So whether this is merely a tech demo or something compelling, we’ll find out today.
UNBOXING:
Of course, we can’t talk Letshuoer without talking about their unboxing. I’ve really only unboxed 2 Letshuoer’s as of writing, but both provided some of the cleanest yet prettiest external packaging in my experience. The Letshuoer Galileo being one and the DZ4 now keeping up the pace (spoiler: that won’t be the only similarity they have)
Greeting you as you receive your box is a clean, white background with what seems to be a series of lines and circles that, presumably, represents the 4 drivers that are inside of the DZ4. Clever stuff, haven’t seen it before. But what else have I not seen before? Different printing textures and different paper materials. Yes, I know I’m probably the only one who is amazed by this but the orange bits and the printing of the DZ4 and Letshuoer are debossed and embossed respectably, giving a three-dimensional tactile experience to the DZ4’s packaging. This also applies to the Letshuoer logos on the side of the box which is a pretty awesome touch. Flipping the packaging, you’re met with the usual specification sheet, warnings and contact info on different languages.
Removing the sleeve reveals a clean, white box with Letshuoer’s logo printed in silver in the middle. Removing the top box, you’re met with a couple of paperwork and a rather pretty instructional manual printed in a thematic orange. It’s not as intricate as the Galileo’s pamphlet, but still very much creative in intention I’d say. Removing the paperwork reveals the dope looking IEMs, as well as the puck case right below it, housed in a foam cutout. And that’s about it.
Here is a full list of the inclusions:
- The IEMs themselves
- Puck Case
- 3 Pairs of Vocal eartips
- 3 Pairs of Balanced eartips
- Cable
- Warranty Card
- Instruction manual
Inspecting the puck further, you’re met with the nice 4-core braided cable that I’m quite a big fan of along with a circular tip-holder and some silica gel packets.
The puck itself is very sturdy, akin to the Galileo’s case which is made from a very sturdy material that I’m not so sure what. And just like the Galileo, Letshuoer decided to challenge their consumers with their case as I was a little dumbfounded at first on how to open the case. Eventually, I realized that it was a screw-on cap which was nothing I’ve seen prior. It’s a decently spacious although definitely not pocketable case that is best to store whatever the DZ4 came in with (along with the IEMs) and nothing more.You can opt to store more than 1 IEM, but that could be a little cramped if I may say.
The tips are decent with a slightly wider bored clear tips and black narrower bored tips. The clear tips seem to be the vocal tips, although the labeling seriously needs some work because it was not aligned to a specific tip. The balanced tip on the other hand is of a similar style and material with different color schemes. They’re alright tips, the clear ones being reminiscent of the KBEar07/AET07 tips which are my darlings, but upon further inspection, they are quite different on the stem area. Whether this affects the sound, I couldn’t really tell as both the tips sealed crap with the IEM itself, but they do feel nice and might work for you.
Overall, a decent unboxing experience that is akin to the Letshuoer Galileo in which it’s more than satisfied with what it comes with for the price. The box is intricate but tasteful, the presentation is good and the inclusions are alright. Nothing much to say about it, honestly.
BUILD AND FIT
Cable:
The cable that the DZ4 use is a 4-core, 216 strand 0.05mm Silver Plated Copper Cable with a 3.5mm SE termination and a 0.78mm 2-pin interface.
If you’ve seen the Galileo, this is exactly like the Galieo’s cable in a different color scheme. No kidding. So here’s my cable impressions from my Galileo review since I’ll just be saying the same things.
The build is definitely on the beefier side with an interesting stiff but malleable material that allows it to behave while feeling durable. Each strand feels quite thick and durable but never felt too hefty or weighty in any way. It is, however, definitely on the stiffer side which would occasionally make it feel a little bit janky to pull around. Due to the thickness, it does not tangle easy and when it does, it's quite easy to untangle.
There are thankfully no microphonics despite the textured and beefier nature which I absolutely adored as I really liked the stock cable.
Starting with the jack, it’s your standard 3.5mm gold plated jack housed in a minimalist cream housing with Letshuoer’s typography printed near the jack itself. It then tapers off with a jack tail to the 4 core strands.
There 2 grey strands and 2 silver strands and they are both housed in a textured material that allows them to feel quite durable.
Moving up then reveals the y-split which uses the same material as the jack and a chin-cinch which, interestingly, is of a clear material and seems somewhat out of place. Thankfully, due to the combination of the cable material and the shape of the chin cinch, it is quite usable and I’d argue is one of the most sturdy chin cinches that I’ve tried.
Moving up, the cable then split to the two 2-core strands all the way to the preformed ear hooks and the 2-pin interface. The earhooks, for the first few hours of listening, is definitely on the more aggressive in terms of fitting as I found that it really dug into the back of my ears and gave me some discomfort not only behind the ear but also in the inner ear due to the fitting.. However, the earhooks would then form into your ear and it becomes more comfortable. Of course, if you choose to do it manually, you may use a hairgun or heatgun to form it to your desired shape. The interface itself are smooth and uses the same material as the jack and y-split and has a small engraved section for easier pulling. The right side is indicated with a red ring covering the interface while the left is covered with a plain opaque material.
Overall, a solid stock cable that rivals even more expensive IEMs. I seriously wouldn’t mind using this cable for my other IEMs and even more expensive IEMs. It feels durable but not beefy, although a little bit stiff for my liking. The chin cinch, as mentioned is one of the best that I’ve tried in stock cables. The texture definitely helps making it feel more premium than it is. But definitely keep the preformed earhooks in mind, especially if you’re buying a new unit. And honestly, them using a similar cable to the Galileo is a very smart way to save money because as the famous saying goes: if it ain’t broken, don’t fix it.
IEM:
The DZ4 features a total of 4 drivers. Three 6mm Dynamic Drivers and One passive radiator. This is all housed in a 3D Printed Resin topped off with a CNC-milled Aluminum with a semi-open design. Letshuoer also states that the drivers are connected to the dual-pin receptacle via a flexible printed circuit or an FPC crossover board. They also collaborated with HeyGears in the creation of the IEM itself
To those uninformed, a passive radiator according to Sweetwater is defined as;
“A passive radiator is an element that is designed to move sympathetically with the energy in the cabinet. They generally resemble a low frequency driver or woofer, but have no voice coil or any element to actively generate sound.”
The faceplate features an awesome looking pattern that is similar to the packaging of the DZ4. Looking closer into the faceplate, you are met with the design actually showing a somewhat grill that could potentially be the faceplate vent to make the DZ4 a semi-open back IEM. It’s effectiveness is debatable, but that’s a really cool touch to see the small circles or vents in between the pattern. The faceplate itself feels like a metal with a distinctive tactile feel when you rub your finger against it. It then transitions into a different material for the inner shell that holds the drivers and the 2-pin connectors. It’s a very smooth construction with a very small wing to hold the IEM in place. The nozzle is very reminiscent of the Galileo as it is absolutely massive. I found myself needing to use my smallest tips in order to properly fit into my ear as the stock tips just would not fit. More on this later. I’m quite a big fan of the usage of cream as I don’t really see a lot of IEMs having a cream or skin color which I think is a shame. Cream or beige is a very pretty color when done right, and I’d say that the DZ4 has got that in the bag.
The IEM itself admittedly feels a little bit cheap. Reminiscent of the Hola, it has this somewhat matte texture giving off this somewhat smooth, rubbery but concerning feel. You know, the type of plastic that if enough heat from long periods of use will cause it to melt or just feel icky.
As for fit, the IEM does feel comfortable, but that large nozzle definitely causes some problems. Initial fitting may be problematic for those who aren’t used to large nozzles and long term fitting may cause fatigue around the ear. This is also due to the earhook angle being so darn aggressive and ending up causing more pain than stability. Stability however is very good as, when I get a good seal, it really stays in my ear.
This then transitions into its surprisingly impeccable seal and isolation without causing and air pressure build up or driver flex. Occlusion effect is also very well controlled as I didn’t find my voice too annoying while I spoke with the IEM which was seriously surprising considering its seal.
Comparing this to other IEMs, I can’t help but really find that this and the Galileo fit very much alike. No other set has given me a mixture of comfort and discomfort as the nozzle can be quite problematic, yet a good seal with this is absolutely perfect.
Overall, it’s a mixed bag for me as the build can raise concerns over its longevity due to the material and the comfort due to the larger nozzle, but on the other hand, the cream color as well as the unique stylings and its solid isolation and comfort, when paired with the right tips, give it a pass for me as I genuinely think that this is a very nicely built IEM that has had to take some compromises somewhere to keep it as cheap as it is.
SOUND:
Sound Signature:
The DZ4 follows a neutral sound signature with extra energy in the vocals, reminiscent of a diffused-field target like an Etymotic. Although not exactly, they follow a very similar lean and vocal centric tuning that should appeal to those allergic to bass and like a lot of vocal energy.
Efficiency and Source Pairing:
The DZ4 is middle of the ground in terms of efficiency. It’s not the easiest to run set with it still needing to crank the volume quite some ways but also not insanely difficult to drive that a smartphone can’t effectively power it. Speaking of, a smartphone can decently power it but not at its full potential. Pairing it with a dedicated DAC/AMP will improve your listening experience and it does scale quite decently with power in smoothing out the edges of the treble and vocals
Bass:
The overall bass presentation is sub-centric with a very lean, clean and tight midbass that is more quality over quantity.
The subbass goes in decently deep but not necessarily hitting harder than it should. It’s quite tight too, despite the 3 dynamic drivers pointing out that it would be a very bassy set along with the passive radiator to enhance than even more. But to my surprise, it was a very clean, non-boomy subbass. This is DEFINITELY not for bassheads as there is barely enough bass to get you to shake your head.
Midbass is even cleaner and tighter. You hear the notes more than you feel them, which means the texture is virtually absent. Grunginess and engagement in this region is low, but details and tightness is very high, just like the subbass. This then gives it a leaner, more grounded and clearer bass listening rather than being immersed into it. What it lacks in authority, it makes up for in clarity.
Tracks that have any thick bass, the DZ4 really won’t do any justice. But it does bring out a lot of the notes and is quite articulate in providing some of the tigthest bass I’ve heard in an IEM in a very long time. The intro to Do I Wanna Know by Arctic Monkeys is very clean with the electric and bass guitar having quite the detail, but not so much the warmth as well as the impact coming from the kick drum or the heaviness of the bass guitar.
Mids:
The overall midrange of the DZ4 is very neutral, but starts to fall into the leaner side due to the upper mids being prominent and lower mids being quite pulled back.
The lower mids have the tendency to sound quite thin and, dare I say, a little bit stale when listening to tracks that need more energy in the low end. Vocals are affected by this too as male vocals, while not entirely recessed or pulled back, tends to sound a little bit underemphasized and thin on certain tracks. Generally however, male vocals come across as very articulate and clean without any semblance of bleed from the midbass and a tightness in the vocals that never gave out any coloration or unnaturalness in that region.
Upper mids however tells a mixed story. One one hand, vocals and instruments are phenomenal in terms of the clarity and detail being put out which makes critical listening on this set wonderful. However, there are instances of vocals and instruments in this region sounding a little bit too forward which affects the timbre of some vocals, particularly with a more contralto vocal quality. This in turn induced shout on higher volumes which was quite uncomfortable, especially paired with the leaner and thinner midbass not really counteracting the forwardness and elevation of the upper mids. Regardless, it presents vocals and instruments in such a way that really puts them front and center and quite intimate that gives such a crisp image.
A track like Mess U Made by Michelle sounded a little thin in the lower end, but my goodness the vocals of the band sparkled like never before with the DZ4. The ensemble of the vocals along with the percussives gave such a crisp and clean listening experience that truly made me fall in love with vocals in general with this set.
Treble:
With the shout coming from the upper mids, you might expect a similar story to the treble. Yet, this is arguably one of the most baffling parts of the DZ4 as it’s both smooth and insanely resolving and detailed. However. Extension can definitely still be improved on this set, but never coming across as dark. Just closer to a Diffused Field type of treble.
Lower treble thankfully does not follow the upper mids by not inducing and harness and sibilance, yet still forward enough to be able to pump out percussives, air and string instruments to such a degree that gives them a very articulate and detailed presentation while keeping it silky smooth. I usually find smoothness attributed to the lack of incisiveness or attack in the upper frequencies, but in this case, it was genuinely so smooth and refined that I was shocked not to find any hints of sibilance.
This was even more evident in the mid treble where I often find the problems with leaner sets as the lack of bass to compliment the treble presentation give a somewhat grainy or sharp sound that can get uncomfortable which the DZ4 did not exhibit any. Microdetail was absolutely superb with each note sounding very crisp and fast which, considering this is an all DD set, was a splendid surprise.
Upper treble does relax the overall treble presentation a little bit as the air wasn’t as much as I wanted, yet sufficient enough for most people who will try this set. It has enough extension to not make vocals and instruments choked or compressed, but not elevated enough to tickle my ears.
Can’t Hide Love by Earth Wind and Fire will always be a perfect treble test for me because this track often induces quite the harshness on sibilant sets, but the DZ4 passes almost perfectly without any harshness, barring the shout region being quite problematic. Each cymbal strike sounds so detailed and fast with cleanliness that compliments the vocals more than it takes away from the mix.
Technicalities:
While stage may be a little disappointing, DZ4’s separation capabilities are superb with a fantastic layering between instruments minus bass as I just found most tracks to be single noted in that region. Stage is definitely affected by the upper mids having a little bit of a hump at around 1-1.5k which I also noticed in other sets with a similar quality and found that toning this area down makes a difference in the perceived stage.
COMPARISONS:
Vs Letshuoer Galileo ($109)
- Similar overall unboxing experience and inclusions
- Galileo has a more traditional resin finish that feels more durable but similarly cheap
- Both have a similar neutral sound signature
- Bass is clean and tight on both, but Galileo has more weight while DZ4 has more impact
- Mids are also similar, but Galileo sounds more natural while DZ4 sounds more analytical
- Treble is MUCH more extended and crisp on the DZ4
- DZ4 has better overall technicalities
Vs 7hz Legato ($109)
- Legato has more inclusions, but DZ4 has a better overall unboxing experience
- Legato has a more confident yet more awkwardly fitting build
- Legato has a BIG bass v-shape sound signature
- Legato has MUCH more bass, but DZ4 sounds cleaner and together
- Legato has recessed and colored mids with DZ4 having a much more neutral and vocal centric mids
- Legato has slightly sibilant treble with DZ4 having a smoother yet more detailed treble
- DZ4 has MUCH better technicalities
vs TRI Star River
- DZ4 has a better overall unboxing and inclusions
- Star River has a shinier resin that fits better in my ear, but both have a similar build quality
- Star River has a U-Shaped sound sound signature with more energy on both ends
- Star River has more bass quantity, but considerably less bass quality and clarity
- Star River has considerably worse midrange presentation, although have a similar shout quality but not at the level of the Star River
- Star River has a more elevated, more extended but harsher and more sibilant treble
- DZ4 and Star River has similar staging but DZ4 has better separation and layering
VERDICT:
The Letshuoer DZ4 is an IEM that tests the grounds for weird driver types that are often found in full sized speakers or ballsack looking IEMs. Yet, execution was quite well done with enough technical chops to make it a compelling choice not only to those looking for weird IEM setups, but for those who want a lean, clean and crisp sounding IEM.
The argument whether the passive radiators actually work is anyones guess, at least until someone breaks one apart and compares the measurements. To me, I don’t think that they work as well as they intend it to be. I mean heck, I’m in doubts whether all the DDs work due to how lean it sounds.
But regardless, these definitely have its shortcomings when it comes to bass impact, note weight and potential shoutiness, but I would say that the DZ4 does not target those big, bassy tracks moreso than taking their usually neutral mid and flagship sets to a much cheaper demographic. And if that indeed is their goal, then they’ve provided one lean, mean crispy machine with the DZ4.
Thank you so much for reading my review! I would appreciate it if you followed my page if you enjoyed.
If you would like to avail the product reviewed today, check the non-affiliate link below!:
https://letshuoer.net/products/lets...ngle-passive-radiator-edc-hifi-in-ear-monitor
Have a nice day and enjoy music!
Attachments
Zerstorer_GOhren
Bravo! nice review, mate.
kesobie
@AudioNewbie76 the PR2 sounds thinner with a less natural timbre and potentially sibilant treble, but PR2 has a more impactful bass and better overall technicalities (which is to be expected for a planar).
Hiby Zeta Review: The Bass That Shook The World
WATCH MY UNBOXING HERE
PRICE: $1400 (PHP. 72,000.00)
PROS:
- One of the most fun sounding TOTL
- Powerful, tactile and punchy bass
- Superb, confident build quality
- Generous amount of inclusions
- Relatively easy to drive
- Great seal
- Comfortable fit
Great coherency between the drivers
CONS:
- Potentially too much midbass
- Mids aren’t the most engaging or nuanced
- Lacking sparkle and air (treblehead nitpick)
- Not the most technical or most detailed for the price
- Cable might be too hefty
- Air pressure/suction effect is near unbearable
- Not the cleanest sound
- Non-modular cable (nitpick)
- Not the best value
WHO THIS UNIT IS FOR:
- BASSHEADS who like tactile, thumpy and engaging bass
- People who want a fun-sounding but technically capable IEM
- People who like a confident, solid and high quality build
- People who are looking for a good multidriver implementation
WHO THIS UNIT ISN’T FOR
- People who hate bass
- People who want a neutral, “reference-like” tuning
- People who want the best techs for the price
- People who want a crisp, clear, and open midrange
MY RECOMMENDED GENRES:
- Rock (emphasis on guitars with heavy distortion)
- R&B
- Funk
- Disco
FULL REVIEW:
TOTL or Top of the Line products in any hobby always cater to the most dedicated (or richest) and often depict the pinnacle of what you can get for your money. While not always true, there are some stigmas built up for such products of magnitude. One of these stigmas is a rather safe tuning that aims to reproduce music in the most neutral or reference manner. But today, we’ll be taking a look at a TOTL IEM from a brand known for their music players that defy the usual conventions for tuning and whether they succeeded in creating something different but appropriate for its price.
DISCLAIMER: This unit was provided by Hiby as a part of their spring tour managed by @Joe Bloggs. I am eternally grateful for this opportunity. However, I am not affiliated, paid, or compensated in any way to review this product. All my thoughts and opinions about the products are unbiased by the facts previously mentioned.
Audio is a very subjective hobby and as much as I try to objectively explain my thoughts and opinions, your mileage will vary. My preferences will also affect how I perceive the gear that I review. Sources and other accessories will also modify your experience. Lastly, my reviews should always be used only as a guide and not as the definitive bible. Trust your ears to know what’s good.
SOURCES USED:
- Zishan U1 (AKM variant, used with a 4.4 to 3.5 adaptor)
- Hiby R6 Pro II (Balanced 4.4, Low Gain, Class A)
- Not-by-VE Avani
- Non-HiFi Sources (Huawei Nova 7 SE, iPhone 5s)
TRACKS USED:
A mixture of lossy, lossless and Hi-Res files will be used to give a general overview of the different formats in which the gear will be used.
Docs file explaining each track and what to look for: https://docs.google.com/document/d/1oMa7GPLaqtpnnoR9tixvWI4aK-7tXMyTEZCJAVkIZx0/edit
Spotify Playlist:
PREFERENCES:
I currently prefer a lot of R&B, Indie, Funk and Adult Contemporary. However, I am very flexible with the music that I listen to and always try to look for the best genres for the gear.
ACCESSORIES USED:
Tips:
- Stock Shallow Fit Tips (S,M)
- Stock Deep Fit Tips (S,M)
- Stock Medium Brace Tips (S,M)
- TRI Claron (S,M)
- Newbees (S,M)
Cable:
- Stock Cable in 4.4mm
- Jcally PJ2 in 3.5mm
NOTE:
The best fitting out and sounding out of the stock tips were the medium brace tips akin to the KBEar07. The Shallow Fit tips were prone to popping out of my ears while the Deep Fit tips induced the vacuum effect
Hiby isn’t the first brand you think of when it comes to IEMs. They’re more known for their portable players and DACs like the Hiby R2, R5, R6 and FC series. However, they’ve released quite a few in the past with varying degrees of success. You have the likes of the Crystal 6, the Thor, and the Lasya to name a few. The Zeta is currently their most expensive IEM to date, priced at $1399 and calls itself “The Most Revolutionary IEM Flagship”. Let’s see if that statement has merit or is merely just a marketing ploy.
SPECIFICATIONS:
- Price: $1,399.00 USD
- Impedance: 9ohms
- Sensitivity: 112 db/mw
- Frequency Range: 20hz to 40khz
- Cable Length: 1.25m
- Cable Material: Continuous Crystal OFC Copper (PCOCC)
- THD: <1%
- Weight: 10.6g
- Cable Type: 0.78 2 pin detachable
UNBOXING:
The unboxing of the Hiby Zeta is a nice balance of minimalist and extravagant. You are met with a nice, large shoe-box style packaging with HIby Zeta printed along with the words “Tri-Hybrid | Quad-EST | Penta-way Fullrange Artistic IEM. Quite the odd choice to call it an artistic IEM but that’s what they chose, I guess. at the front with golden shapes akin to either the number 7 or a lightning bolt which is a recurring motif for the Zeta. Under the box shows some contact details in multiple languages that include English, Chinese, and Japanese.
Removing the outer sleeves reveals a more minimalist box with the same prints as the sleeve up front on the top and sides and an overall clean black color on the rest of the box with a thin silver print that frames every side.
Opening this box reveals a small cardboard infographics of the Hiby Zeta with an illustration of the IEM printed on the left and some specifications printed on the right. The IEMs are vectorized with a nice golden stroke that evokes a sense of luxury which is something you expect to see at this price point. On the other side of the cardboard is the frequency response graph as well as more specifications of the Zeta.
Finally, we are in the presence of…nothing? Well, at least for my unit, the Zeta seem to have fallen out of their cardboard thrones deeper into their palace. That definitely sparks up some concern regarding the stability of the unit if it’s that easy for the IEM to fall into the case. Anyways, you can also see the box that contains the storage bag or the carrying pouch of the IEM that holds the cable and some protective pouches. Pulling the cardboard throne of the Zeta’s then reveals the accessories that include the tips.
In total, the Zeta comes with the following:
- Zeta IEMs
- 8-Core Cable
- 8 Pairs of tips + 1 Pair pre-applied
- 2 Breathable net-like protective pouches
- Leather Puck-style Case
The tips included with the Zeta’s are the following:
- 3 pairs of Enhanced-Brace for Shallow Fitting
- 3 Pairs of Soft Brace for Deep Wearing
- 3 Pairs of Medium Brace for Most Situations
The Enhanced-Brace are akin to symbios as they are a hybrid silicone/foam style of ear tips. The soft brace is your run-of-the-mill narrow bored tips with a nice and soft dome while the medium brace is the tried and tested KBEar/AET07.
Overall, it’s an unboxing that is worthy of being in the TOTL. However, I am slightly spoiled with the overly extravagant unboxing experience that I had with the Letshuoer Cadenza 12 which left me feeling slightly underwhelmed with the unboxing of the Zeta. Inclusions are definitely more than enough, but I do wish there were a little bit more in terms of distinctiveness to make the Zeta stand out in the unboxing and inclusion department.
BUILD AND FIT:
Cable:
The Zeta’s come bundled with a fully balanced 4.4mm PCOCC 8-core continuous crystal OFC Copper with a PVC sheath that imbues Lapis Lazuli in the insulation of the cable.
The color of the cable is quite pretty despite somewhat looking bland. The shade of blue is very blue, more so in real life. But you can see some detail put into the cable that gives it character rather than just some basic blue 8-core cable. This could definitely be thanks to the Lapis Lazuli, but I genuinely do not care what material you use to color your cables as long as it looks good and isn’t toxic.
The cable overall feels and is built very well and much deserving to be paired with such an expensive IEM. It has just the right amount of stiffness to be sturdy while also being malleable enough to be stored. However, it’s definitely on the weighty side thanks to it being an 8-core and is definitely stiffer than most 4-cores that I’ve tried. However, I found some inconsistencies with the braiding especially when rodey wrapped. There would be protrusions of some strands that may or may not be problematic for those sensitive to the aesthetics of their IEM.
I’m also quite disappointed that they only shipped the Zeta with a balanced output and not a modular cable as I honestly think that at this price point, providing a modular cable for an IEM regardless of its scalability should be commonplace.
The chin cinch of the Zeta is definitely on the stiffer side which means that there is a level of secureness in keeping that cable cinched on your chin but also being a little too stiff that it ends up being a chore to pull down. It isn’t as tedious as the likes of the 7hz Legato, but it’s much more than I prefer.
Microphonics is generally well-controlled thanks to its thicker nature being able to absorb external noises rather than transmit them to the transducers. However, I should mention that microphonics and the occlusion effect have a strong connection and no matter how well done the cable is in that regard, if the IEM has a really bad occlusion effect then microphonics will always be present. That is the case with the Zeta, unfortunately, but I will expound on this further in its own section.
The earhook is also shaped somewhat awkwardly as it doesn’t really hook into my ears due to its size, but maybe people with larger ears might find it to just be adequate. Besides, you can just heatgun/blow dryer it to fit your ear anyway (or cut it if you’re a maniac).
Overall, it’s quite a pretty and quite impressive cable with a solid and premium build that is slightly barred by its lack of modularity. I will say though that the overall pairing with the Zeta feels like a second thought more than a proper pairing as I’d argue that the blue doesn’t really compliment the industrial silver design of the Zeta. Speaking of which;
IEM:
The Zeta uses a tribrid, 5-way electric crossover that includes 4 3rd generation Sonion ESTs, 4 BAs from Knowles and Sonion and 1 custom Kelvar Diaphragm LCP Dynamic Driver housed in a Titanium Alloy Shell.
The very first thing that came out to me upon holding the Zeta’s were how surprisingly light they were. I did my research prior and expected the Zeta’s to feel like a dumbbell with how “heavy” 9 drivers per side housed in a titanium alloy sounds. I was gladly surprised to find out that the Zeta’s were light, lighter than some zinc alloy single DD’s in fact! And it’s weight does not mean it does not feel premium.
It feels very smooth and refined to the touch with its semi-gloss, somewhat frosted inner finish and the lightning motif printed atop a glossy surface. You can also find the word Hiby embossed into the faceplate which, whether you’re a fan or not, can’t deny how bold and well-made it looks. The sides of the IEM are generally bare with Zeta’s name seen on the bottom side of the nozzle, the serial number, a vent across the vent side, and the 2-pins with indicators on the top side. The inner shell then sports a rather smooth curvature that is neither aggressive nor nonexistent in terms of the wing. The nozzle is a separate part of the IEM and looks somewhat odd but does look good on certain angles. You can also see a distinct lack of a pressure relief vent across the driver's side which often means trouble for an ear like mine that cannot handle air pressure build-up.
Comfort is surprisingly good considering the number of drivers it has. It reminded me of the Letshuoer Galileo in fitting as I think the size of both IEMs are quite similar (although I do not have a picture to compare). The less aggressive wing definitely helps in making it a much more comfortable IEM to wear over long periods of time. I also never found an issue putting the IEM in with the tips included with the Zeta, which is why I ended up using those tips for the rest of my review.
However, due to the lack of pressure vents, air pressure build up is bordering unbearable for me. It wasn’t as bad as some IEMs like the TRI Starsea, but it exhibits the phenomenon to a degree where I need to constantly readjust the fitting in order to get a proper seal without the vacuum effect. This also affects the occlusion of the IEM as I found myself hearing a lot of the external haptics such as my jaw moving, cable moving, and walking around which has a rather negative effect on the sound whenever you aren’t stationary. I tried changing tips and no matter what I picked, it always exhibited such an issue.
Seal however was good due to this. Having 9 drivers and a tribrid does leave quite little room for leakage in which the Zeta is able to exhibit a good sense of passive noise cancellation.
Overall, it’s a fantastically built IEM with great fitting and the unfortunate side effect of pressure build-up due to its nature. The aesthetics is definitely an acquired taste for those who like this somewhat edgy, extravagant design thanks to its lightning motif and massive Hiby embossed. Regardless, solid build and fit.
SOUND:
Sound Signature:
The Zeta is fundamentally a musical IEM. It has a slight U-shape sound signature with a LOT of bass emphasis and energy, slightly recessed but still clear mids, and an elevated treble with good microdetail retrieval.
Driving Power:
It can run out of a smartphone, but it LOVES power and scales very well with power. Throwing this to a more powerful source will make it absolutely sing and make the treble even smoother while evening out the midrange more.
BASS:
This is by far the absolute best thing about the Zeta that made me call it an anti-TOTL TOTL. The bass goes quite deep with a very tactile and punchy presentation to tickle your ears just the right way.
The sub bass, while not the deepest or heaviest, is quite impactful with heaps of slam to let you know and feel the bass when it hits. The quality of the rumble is also quite respectable with notes retaining their nuance while delivering hard-hitting drops. This is definitely a bass that bassheads will adore, which means those who dislike heaps of sub bass will probably want to turn away from this bass beast.
The midbass however is arguably why you want to get the Zeta. This is, by far, the punchiest, most textured and most tactile bass I’ve heard in any IEM. I was seriously blown away with how much detail and nuance I got from listening to songs with usually mellow midbass detailing where the Zeta lets you be endowed in every single pluck, punch, and kick. However, this is arguably something that only those who seek the heavenly bass would love as even I found the midbass a little much. It’s not bloated or muddy in any sense which seriously surprised me. It was a well-controlled, speedy bass with a tasteful decay to allow for trailing notes to give that tactility. Quantity however is quite definitely far north of neutral which means openness in the midbass leading to the lower mids will have a clear compromise that I will mention soon. Regardless, this is seriously one of the most dynamic-sounding bass presentation that I’ve heard which I did not expect, especially coming from a brand like Hiby.
A perfect example of this is Michael Jackson’s Get on The Floor which was actually what led me to use this track to determine the punchiness, texture and tactility of an IEM in the first place. This was my definitive perfect set to bring out the detail in the bass guitar and kick drum that I did not hear in IEMs prior. It was so rich, so nuanced and characterized that I’ve found nowhere else.
MIDS:
This is the region where I expected the Zeta to take the biggest hit as from my experience, giving your IEM a bass that prominent and powerful will kill midrange clarity, openness, and coherency. Surprisingly, not quite.
Starting with the midbass, this is where the Zeta took the biggest hit. While still generally close to neutral, there is a considerable coloration to the tonality of the Zeta’s lower mids. Vocals have a thicker, more organic note weight and are musical with instruments having an overall sense of depth and body. Detail and nuance were surprisingly good despite the emphasized midbass but arguably note definition took a considerable hit as instruments that exhibit weight more than bass tended to sound a little bit less nuanced compared to the much bassier instruments. Vocals in this region tend to have a little bit of a colored tint to them that I would say doesn’t really take much away from the naturalness of the vocals but instead affects openness and cleanliness in the presentation. Instruments fall about under a similar quality but with better nuance as electric guitars have this grungy, gritty quality that gives it a lot of character that admittedly fights for emphasis against the vocals. The higher up it goes, the more evident the recession is as well. But I would say it handles the recession well more so than the coloration and openness of the lower mids.
Upper mids on the other hand fair a little bit better. It is still quite affected by the lower mids being quite warm and colored but the well-controlled ear gain gives female vocals, particularly with warmer undertones a very rich and full-bodied timbre that I enjoyed tremendously. Again, openness is affected but when vocals and instruments sound this rich and mellow, you get an appreciation for a slightly colored midrange. But again, this means it probably won’t be for those seeking a more neutral timbral quality. Due to this, harshness is thankfully omitted while still keeping a respectable amount of nuance despite the aforementioned richness and body.
A track that plays well with this is Oxytocin by Billie Eilish. The empowering bass in that song often makes Billie’s vocals sound sunken on IEMs with poorly done midrange, but the Zeta plays well with the mix being so bass prominent. Her vocals still sound crisp and nuanced but on the side of warmth and smoothness over clarity and precision.
TREBLE:
This is the part of the Zeta where I was most underwhelmed by yet also quite impressed how well it played with the rest of the frequency.
I was rather underwhelmed due to, well, the fact that the ESTs sounding more like they’re there to smoothen out the treble than to give it proper air and microdetai. Don’t get me wrong, the microdetail retrieval of the Zeta is quite impressive considering this is a generally bassy set. But it’s not as crisp as I honestly want it to.
Regardless, the lower treble region is definitely its strongest point as coming from the upper mids, there is a lot of energy and richness to balance out the higher frequencies from being fatigue free while still having a respectable amount of detail and nuance. Upper octave female vocals and instruments exhibit a lot of character and detail with a snappy attack and a vibrant decay. Just like the Upper mids, the lower treble exhibits good control over this region not being shouty or harsh in any way.
Mid treble is where the Zeta reminds us that this is still a basshead set through and through as while the percussive and higher notes come across as respectably nuanced, they’re definitely on the tamer side with details being more complimentary rather than playing side by side in the mix. I honestly don’t mind it as much (if it wasn’t for the upper treble) but I would’ve definitely loved to have a little bit more sparkle in this region as a treblehead like me likes hard hitting and sparkly treble. However, this also means that most people who are sensitive to this region will adore how smooth the treble of the Zeta is
And we then top it off with the upper treble which, least to say, was quite lackluster. Extension was average with the lingering high notes decaying a little faster than I wish. However, it’s not all negatives as the ESTs somehow make it smooth enough for me not find it grainy or unresolving as would most IEMs with a rolled off treble do. It’s smooth all the way which I can totally respect. But again, I’d like more shimmer on the very tail end of notes and the lovely airiness.
The unexpected track to perform really well in this regard is Earth, Wind and Fire’s Fantasy. While I usually really like sparkly sets on this track, the Zeta made me realize how well balanced it’s tuned that it turned Fantasy into an absolutely wonderful experience. Normally I’d just talk about the specific aspect like the Treble in this region, but the Zeta just plays so well with their discography, especially Fantasy. The crispness of the cymbals was just perfect in every way that is paired up with the bass giving that track so much depth and power. Honestly, that band plus Zeta was just an absolute listening experience all the way.
Technicalities:
This is by far the most surprisingly competent aspect of the Zeta as the bass presence can also often affect technicalities, but not in the Zeta
Stage is surprisingly wide and deep. There is a good sense of placement of instruments around you and the space in between each instrument in a space. Of course, stage is one of the most difficult things to really describe and YMMV as per but to my ears, these sound quite spacious and deep with how vocals and instruments are presented. However, airiness definitely took a hit in the height department as I didn’t really find the experience to be out of your head more than it’s on a flat plane in front of you. Vocal openness also took a hit which makes especially female vocals more in front of you rather than further away or in a dedicated space around you.
Separation and layering is probably the best aspect of the Zeta in terms of technicalities as the insane bass levels as so well controlled and detailed that instruments are still very much audible with a superb amount of layering. Of course, this doesn’t inherently beat cleaner sets especially for the price, but a bassy set that doesn’t compromise technicalities will always be a win for me. However, busier tracks will definitely give the Zeta a challenge. It passes generally well for a lot of rock and metal tracks and gives a very engaging listen too, but it has the tendency to get a little confused on what is supposed to be on top of the mix occasionally with bass often being a little bit too tender and thick for the midrange to catch up.
Imaging isn’t the most accurate I’ve heard, especially for the price, but it’s respectable enough for me to give it a pass. L/R panning is wonderful with instruments having a solid placement around the field that gives a sense of image in your head of where instruments are. But just like in the separation, it gets a little confused in extremely busy tracks with the bass often seeming to sound like they’re everywhere and the rest of the mix start to get a little mushy around the mix.
COMPARISONS:
Vs Letshuoer Cadenza 12 ($2300)
- Has a much more extravagant unboxing experience
- Build is similar but the Zeta has a more confident and less scratch prone design
- C12 has a more neutral, balanced and brighter tuning
- Bass is much more neutral, controlled and open but less impactful, textured and punchy
- Mids are MUCH more neutral, natural and nuanced on the C12
- Treble is not as smooth or inoffensive but much more nuanced, detailed and extended
- Technicalities is slightly better compared to the Zeta
Vs CA Andromeda ($1400)
- Andromeda has an edgier but less confident build compared to the Zeta
- Andromeda is a more neutral leaning bright IEM
- Andromeda has faster, more detailed but less dynamic and textured bass
- Andromeda has a more natural, smoother but not as open or clean midrange
- Andromeda has a more elevated, nuanced but harsher and less controlled treble
- Technicalities is about similar for both IEMs
Vs SA6 MKII ($579)
- Has a surprisingly better unboxing experience and overall inclusion
- Build feels much better on the Zeta but doesn’t fit as well as the SA6 MKII
- A less u-shape sound signature compared to the Zeta
- Bass is MUCH less textured, tactile but also MUCH more open, clean and impactful
- Mids are more neutral and nuanced with less upper midrange emphasis
- Treble is more elevated, potentially harsher but also more detailed and nuanced
- Technicalities are similar on both units
VERDICT:
The Zeta is definitely an interesting entry into the TOTL scene as it does what very little amount of TOTLs do which is create a unique, fun but largely uncompromised experience with a solid technical chop to compliment it. The anti-TOTL TOTL IEM.
But that’s what also makes it undesirable for some. Besides the somewhat lack luster unboxing experience for the price, it’s also a departure from most neutral sets that people are used to at this price point. It’s musical over analytical. Fun over accuracy. It’s not your most neutral, precise and reference choice. Far from it.
But that’s exactly why I personally love it. It’s a very engaging and fun sound that breaks the mold of what TOTL’s can be. They don’t have to be a borefest of neutral/balanced tune IEMs that cater only to those who want a reference like sound. TOTL’s should be able to do everything and anything with a level of refinement or quality that you cannot find in cheaper IEMs. This and the fact that this came from a brand like Hiby who doesn’t really have a good track of making IEMs is seriously surprising.
Will hardcore audiophiles love the Zeta? Probably not. But if your pocket is deep enough and you REALLY want that TOTL-level fun, then the Zeta is that oddball that you can roll with.
Thank you so much for taking the time to read my review. If you would like to see more of my content, please consider following my Facebook page and my other social media accounts:
YouTube: https://www.youtube.com/channel/UCRv42fx1TIcEpP_QBbkhEOA
Facebook: https://www.facebook.com/OB.ODIO
Twitter: https://twitter.com/obodioreviews
Instagram: https://www.instagram.com/obodioreviews/
If you would like to avail the product reviewed today, check the non-affiliate link below!
https://store.hiby.com/products/hiby-zeta
Have a nice day, and enjoy music!
Attachments
kesobie
@gLer Thanks for the feedback! The Zeta's actually somewhat awakened the inner basshead in me as a lot of the music I listen to have pretty thick and punchy bass and the Zeta gave the songs an almost perfect replay! I wished they were cheaper, but they're still absolutely fantastic for the price.
gLer
I agree, though I think compared to the likes of Z1R and even the 'bass quantity king' MSE, they're very good value for what they offer. Easiest listening IEM out of my bass-first TOTL IEMs for sure. I'm just surprised more people haven't caught on to the quality of this IEM.
kesobie
@gLer I think the Zeta falls prey to IEMs made by music player brands as there's a stigma that IEMs made by such brands are not very good quality (which I can somehow attest to) so they think that Zeta falls under that moniker. I could not disagree more, however as I genuinely think the Zeta can compete with kilobuck sets, at least in its basshead centric niche.
BQEYZ Winter: The End of Seasons
“A cold winter does not have to be a lonely time.”
PRICE: $239 (PHP. 13,000.)
PROS:
CONS:
WHO THIS UNIT IS FOR:
WHO THIS UNIT ISN’T FOR
RECOMMENDED GENRES:
SHORT REVIEW:
The BQEYZ Winter marks the end of the seasons and a rather melancholy end to the series. A warm, inviting sound akin to a fireplace in the cold gives Winter an analogue-like replay with its soothing bass, intimate midrange and respectable treble. However, this definitely won’t cater for a more lively or analytical sound. The inclusion of a bone conductor at this price is definitely interesting. Regardless of driver setup, the Winter cements itself as one of the most unique IEMs in the price range, for better or worse. RECOMMENDED WITH CAVEATS
FULL REVIEW:
With most brands opting to jump in the trends such as planars and a familiar slight u-shaped or Harman-like tuning, it can become quite a borefest when almost everything just sounds the same. But one company strives to stay consistent with their sound while continuing to explore the different existing technologies that have been out in the market. This then begs the question, is resiliency enough to keep you in relevancy?
SOURCES USED:
TRACKS USED:
A mixture of lossy, lossless and Hi-Res files will be used to give a general overview of the different formats in which the gear will be used.
Docs file explaining each track and what to look for: https://docs.google.com/document/d/1oMa7GPLaqtpnnoR9tixvWI4aK-7tXMyTEZCJAVkIZx0/edit
Spotify Playlist:
ACCESSORIES USED:
Tips:
Cable:
NOTE:
I found that using wider bore tips opens up not just the soundstage but also a cleaner overall presentation that also improves technicalities by a bit. Using the reference tips is the best pairing by far, but the fitting will definitely vary as I found it to be too shallow with the provided tips. Newbees, KBEar07 and Atmosphere tips paired the best in comfort but suffered slightly from the congestion more than the reference tips. Using 4.4mm termination with the Megatron also caused a very weird interference where there would be clicking sounds on top of the very audible noise floor whenever I squeezed the cable
BQEYZ Winter is the 4th and last entry into the seasons series of BQEYZ that features Spring (1 and 2), Summer, Autumn and finally, the Winter. The Winter, just like its predecessors, use a unique driver configuration that is unlike those that come before it. Today, we will check out whether the Winter leaves BQEYZ out in the cold or warms up the future of the brand.
DISCLAIMERS: This unit is part of a tour provided by Ms. Elle Zhou of BQEYZ and handled by Mr. Bradley Loo. I am eternally grateful for this opportunity, but this does not in any way, shape, or form affect the quality of my review. This review will be based entirely on my experience with the IEM itself and I was not paid or told to say anything regarding the IEM. Lastly, I am only one reviewer; this is my personal experience with the unit. Many variables come to play to make everyone’s experience different and your mileage will vary depending on the circumstance.
SPECIFICATION SHEET:
FULL INCLUSIONS AND ACCESSORIES:
BUILD AND FIT:
Cable:
The cable included with the BQEYZ Winter is a gray, 4-strand, 49 core single crystal copper plated silver hand braided cable.
It’s on the lighter side and is quite soft to the touch with each strand being sturdy to give confidence of the build and braid of the cable. I never found myself fumbling about with the cable as its thickness makes it quite tangle-free while soft enough to respond well to being rodey wrapped or stored easily.
The jack is your standard gold plated 3.5mm jack housed in a basic metal housing with BQEYZs logo on it. You may also opt in for the 2.5 or 4.4 BAL termination.
The Y-Split and chin cinch are of a similar material to the jack, but I will have to point out that the chin cinch is quite annoying as it keeps sliding down whenever I try to drag it up to my chin. It’s somewhat unusable to me personally, but your mileage my vary.
The strands are soft which thankfully do not irritate my sensitive face.
Moving up to the earhooks and interface, the earhooks are quite well implemented with a nice softness to mold around my ear but not too lose to drag down. The ligther cable also helps with the cable not dragging down unto my ear. The interface is 2-pin 0.78mm.
There are no instances of microphonics even when a fan is blowing straight at the cable which makes it quite nice if you move around or just hate microphonics in general.
Overall, the cable is a very nice and good quality cable that doesn’t really stand out aesthetically but compliments the smooth and minimalist design of the Winter. It’s soft but durable while not feeling like you’re dragging chains around your ears constantly. The option of a balanced cable is definitely nice as you’ll see later that it scales very well with power, however I can’t help but feel like a modular cable should be mandatory for IEMs that are harder to drive than usual and cost $239. Regardless, a faultless cable that people would probably be happy enough to pair with their Winter
IEMs:
The IEMs are made from an aluminum material machined with CNC and uses sandblasting, anodize oxidation and highlight processing technology for its coating. They claimed that it makes the surface rich in color while bearing wear and corrosion resistant.
Just like the seasons before it (minus Summer), its metal build instills confidence and quality in its build while remaining smooth, lightweight and understated. The smooth faceshape design was, according to BQEYZ, comes from [a] figure skating rink [where] it has been modified over 17 times to establish the smooth like aesthetic of Winter.
The shape on the inside is also very similar in a sense that it still awkwardly fits into my ears, just like previous seasons. While the wings do help in keeping it snug in my ears so as to not make it fly out with the smallest movement, the nozzle and the space near its base definitely does not fit my ear as snug as I want to. It’s the best fitting seasons by far, but that’s not a very high bar.
I will admit that when I can plug it snuggly, it’s quite comfortable and does not induce stress or pressure points around my ear. However, this affects seal as I found it to be too loose to have proper seal. The cable thankfully compliments the IEMs well as I never found myself fumbling about the earhooks just to get it to fit in my ear properly.
Sadly, and this is arguably the worst part of the Winter personally, there is driver flex. Not terrible thanks to its loose fitting, but it guarantees that when I do get a good fitting, I’ll be forced to use foams to even enjoy the Winter.
Overall, amazingly built with a sleek and understated design that speaks confidence and premiumness that is unlike any IEMs that I’ve tried that are not of BQEYZ. However, it reminds you that it is from BQEYZ due to its awkward fitting and that driver flex is quite nasty but is saved by the double edged sword that is its seal and isolation. However, I have to give it to BQEYZ ending the seasons with a very tasteful build that the Winter is.
SOUND:
Sound Signature:
Neutral with a very slight boost in both the lower end and higher end but does not make it sound v-shaped or even u-shaped.
Driving Power:
It’s quite difficult to drive as I found myself pumping up the volume all the way to 6 out of 100 on my Megatron and halfway on the U1. Having at least a dongle dac will definitely improve your experience with the Winter, but using a 4.4 termination and source will immensely improve dynamics of the Winter.
Bass:
The overall presentation of the bass is on the leaner but still bodied and lush side. Subbass and midbass have equal emphasis and compliments each others presence well with a linearity that extends to the lower midrange.
Starting with the subbass, it’s more subdued which gives the impression of a leaner presentation. But it still packs enough rumble when the track calls for it. I’d say it’s more quality over quantity type of subbass as the reverberations were satisfyingly immersive and tastefully hefty. It’s not a bassheads type of bass with insane rumble and power, but more than enough for those who want a cleanly done subbass
Moving to the midbass, this is where the Winter shines as it presents instruments and vocal nuance in such a soothing and relaxing manner while providing a decent amount of texture, detail and punch. It’s definitely on the warmer side than lean, so you should expect a lot of body in instruments and vocals. Despite this however, it never sounded muddy or bloated to my ears as the elevation is quite linear throughout the lower subbass and the higher lower mids. Texture is quite nicely done but note definition and overall detail leaves more to be desired. This in turn gives it a more lush midbass presentation where the bass doesn’t sound the most controlled but does not sound sloppy or slow. Dynamics are quite alright but I definitely found myself wanting more texture and clarity on the track “Bombtrack” by Rage Against the Machine where the bass guitar can often get blurry with the higher octave guitar and vocals join the mix.
Overall though, it’s a lush but well textured bass presentation that I really wished had just better detail and clarity, but well presented in the end.
Mids:
The midrange of the BQEYZ Winter has, bar none, one of the best balance of tonality and technical ability. While I usually find my gripes over u-shaped or Harman-like IEMs in the midrange, the Winter perfected my preference in midrange almost to a T.
Starting with the lower mids, there is a sense of warmth and body carried over from the midbass. This does not muddy or bleed into the mids more than it gives ample amount of warmth and lusciousness to the lower mids. Male vocals sound rich and bodied with instruments having a very satisfying amount of bite and texture. It’s definitely on the warmer side but not by a lot that it loses detail and clarity. There’s this intimate but immersive feel to instruments and vocals in this region that make it so relaxing to listen to. I never found myself feeling like the lower mids were ever underemphasized, dry or too lean sounding. The amount of detail and nuance can definitely still be put up a notch by giving them more clarity and texture, but I honestly think that the lusciousness presented is more than enough to make up for the very very slight loss in texture. Thanks to the quicker decay of the bass, the warmth is supplemented with a lot of nuance, especially when it comes to vocals where the likes of Jacob Collier in Time Alone With You where his (and Daniel Caesar too!) vocals just oozes with personality and detail. It feels as if they’re singing close to your ears like a smooth lullaby.
Moving unto the upper mids, it’s quite naturally presented with ample forwardness in the vocals and instruments in this region without being to aggressive or harsh. Female vocals don’t have my preferred sparkle and edge, but instead, soothe the ears with a natural elevation and a lovely sense of body. Upper mids never sounded grainy even on tracks that are usually presented as such like in “You Should Head North” by Necry Talkie. On that note, the Winter passed the shout test with flying colors, as I expected it to do so. Instruments in this region are especially nice, particularly string instruments like pianos, violins and guitars, which sound soothing and relaxing while still being articulate and detailed. On that note, I was pleasantly surprised by how detailed and articulate the upper midrange of the Winter is for how lush it sounds. Usually, these kinds of warm tuning sacrifice the upper mids quite significantly (i.e. BQEYZ Topaz) but I did not find the same to be true in the Winter. Levels of clarity were high but it does not sound dry or harsh in any way. The Winter genuinely made me question my own preference in midrange whether I wanted something more aggressive or something like the Winter’s more enveloping upper mids. The Feeling by Sammy Rae & The Friends is a very energetic song with Sammy Rae’s vocals having a lot of nuance in its presentation while having a warm and enveloping presentation. I’ve gotten used to hearing Sammy Rae’s voice in the colder light but the warmth brought about the Winter gave me a completely different perspective on enjoying her vocals.
Regardless, there’s very little to fault about the midrange of the Winter, with the lower mid-detail just being a bit blunted for my preference. But bar none, this is one of the best midrange presentations I’ve had the opportunity to spend a while with.
Treble:
Contrary to its name, I personally think that the treble is not that “cold” sounding as it’s smoother and more laid back in presentation. However, this does not mean that it’s not capable of crisp articulation and detail as it presents them in quite a soothing manner!
Starting with the lower treble, the Winter takes a calmer approach from the more forward upper mids as it’s on the darker side of things. Detail is still retained, however clarity somewhat took a hit as while I can still hear the nuances in vocals, they do sound a lot darker as compared to the upper mids. Instruments in this region still retained the naturalness of the upper mids however as I didn’t really hear any oddness in its timbre despite having a piezo driver. Instruments and vocals are well defined with good body and nuance.
Moving unto the mid treble, detail in this region is crisp and detailed while still retaining a realistic overall presentation. A track like “Got to Get You In My Life” by Earth, Wind & Fire has a usually bright presentation with percussives having this dry and occasionally somewhat metallic sound is perfect on the Winter however as there were no oddness or harshness found in the track and even gave the brighter mixing of Earth, Wind & Fire the much needed warmth.
Lastly, the upper treble is presented much tamer compared to the rest of the treble. The amount of air is sufficient, but personally lacking as there are instances where instruments sound choked or congested. The extension to vocals and instruments are realistic, but lacking personally as it does not have that lingering sparkle I look for in treble. It is, however, undoubtedly safe and well presented considering that it has a BC and Piezo dealing with the upper frequencies and I am quite experienced with the tendency of piezo to ring in your ears.
Transient ability is very impressive as it’s able to be quite snappy without sounding dry or grainy.
Overall, it’s a clean but articulate treble response that admittedly lacks a bit in the air department personally but is perfectly adequate and realistic in its extension.
TECHNICALITIES:
Overall technicalities of the Winter is quite impressive albeit definitely not the most expansive, clear or accurate that I’ve tried
Starting with stage, there’s a good sense of width and height but somewhat lacking in depth. Instruments sound well expanded but more in a plane rather than in a room. Separation, imaging and layering are very impressive as it breezed by even more complex tracks without a problem, however it was not the cleanest presentation that I’ve heard. The warmth definitely made its overall ability to separate, layer and place instruments and vocals in the room a bit clouded. But again for how lush the overall sound of the Winter is, this is very impressive as you don’t really find warmer IEMs with technical chops this good
Overall, very impressive considering it’s tonality but it did slightly affect its performance due in part to its warmth.
COMPARISONS:
Vs TangZu Heyday ($200)
Vs AFUL Performer 5 ($219)
Vs SeeAudio Yume 2 ($200)
CONCLUSION:
The BQEYZ Winter is a perfect closer to the seasons of BQEYZ with a warm, soothing but technically capable set of in-ears. It’s very well built with a considerable amount of inclusions, albeit lacking a modular cable which I’d argue it needs. It has a wonderful build quality akin to its seasonal brethren, along with the poor fitting but a cable that makes up for it just a little bit. It has a very natural sounding timbre with the entire frequency response, especially in the midrange being a love letter that honing ones house sound will refine it to near perfection.
However, I can’t deny that along with the price of the Winter, it’s hard to suggest it to people who are used to something more U-shaped or Harman. It’s what people would call “quirky” tuning but I honestly think that this is an experience that anyone into audio should experience at least once. The amount of refinement they have made from the Spring 1 all the way to the Winter is insane with the mids being near perfect and the piezo zing being the least evident here.
I think what BQEYZ is doing with their IEMs is wonderful. In a sea of what seems to be the same tuning with small adjustments, BQEYZ offers not only different driver configurations per release but also different but more refined sound. On that note, the Winter is also one of the most affordable IEMs with a bone conduction driver. Whether you believe that BC is a meme or it does something, it’s up to you. I personally don’t care about whatever driver an IEM uses, as long as they sound good and I will make some connections if need be. They are a completely unique but still technically capable and smooth-sounding IEM that no one should ever give the cold shoulder to. The Winter may mark the end of the seasons, but I believe it’s just the beginning to a beautiful future that BQEYZ has in store for those who adore their unique sound.
Thank you so much for taking the time to read my review. If you would like to see more of my content, please consider following my Facebook page and my other social media accounts:
YouTube: https://www.youtube.com/channel/UCRv42fx1TIcEpP_QBbkhEOA
Facebook: https://www.facebook.com/OB.ODIO
Twitter: https://twitter.com/obodioreviews
Instagram: https://www.instagram.com/obodioreviews/
You may also read this on our website, AudioNotions: https://audionotions.com/bqeyz-winter-the-end-of-seasons/
If you would like to avail the product review today, check the non-affiliate link below!
AliExpress: https://vi.aliexpress.com/item/1005004967936559.html?gatewayAdapt=glo2vnm
Linsoul: https://www.linsoul.com/products/bqeyz-winter
Have a nice day, and enjoy music!
“A cold winter does not have to be a lonely time.”
PRICE: $239 (PHP. 13,000.)
PROS:
- Good unboxing and inclusions
- Fantastic build quality and finish
- Warm, relaxing but technically capable sound
- Rich, meaty but well textured bass
- Articulate but engaging midrange
- Well extended and detailed treble
- Solid overall technical ability
CONS:
- Subpar fitting
- No modular cable (nitpick for the price)
- Lacking subbass energy
- Midbass may come across too warm
- Midrange slightly colored due to midbass elevation
- Uneven treble that might be peaky for some
- Slight congestion in the midrange
WHO THIS UNIT IS FOR:
- People who like an analogue-esque sound
- People who like a musical, warm playback
- People who are curious about different driver techs (bone conduction)
- People who like a very organic sounding midrange and vocal presentation
WHO THIS UNIT ISN’T FOR
- People who are skeptical of non-traditional driver setups
- People who want a more energetic sound
- People who want a more open technical chop
- People who want a snappy, quick decaying overall sound
RECOMMENDED GENRES:
- Rock (in general, but I loved prog rock on these)
- Metal (or any busy genres in general)
- Funk
- R&B
SHORT REVIEW:
The BQEYZ Winter marks the end of the seasons and a rather melancholy end to the series. A warm, inviting sound akin to a fireplace in the cold gives Winter an analogue-like replay with its soothing bass, intimate midrange and respectable treble. However, this definitely won’t cater for a more lively or analytical sound. The inclusion of a bone conductor at this price is definitely interesting. Regardless of driver setup, the Winter cements itself as one of the most unique IEMs in the price range, for better or worse. RECOMMENDED WITH CAVEATS
FULL REVIEW:
With most brands opting to jump in the trends such as planars and a familiar slight u-shaped or Harman-like tuning, it can become quite a borefest when almost everything just sounds the same. But one company strives to stay consistent with their sound while continuing to explore the different existing technologies that have been out in the market. This then begs the question, is resiliency enough to keep you in relevancy?
SOURCES USED:
- BQEYZ Winter > VE Megatron > Foobar2000/Musicbee/Spotify
- BQEYZ Winter > Zishan U1 > Foobar2000/Musicbee/Spotify
- BQEYZ Winter > Not-by-VE Abigail > Foobar2000/Musicbee/Spotify
TRACKS USED:
A mixture of lossy, lossless and Hi-Res files will be used to give a general overview of the different formats in which the gear will be used.
Docs file explaining each track and what to look for: https://docs.google.com/document/d/1oMa7GPLaqtpnnoR9tixvWI4aK-7tXMyTEZCJAVkIZx0/edit
Spotify Playlist:
ACCESSORIES USED:
Tips:
- Stock “Atmosphere” tips (S&M)
- Stock “Reference” tips (S&M)
- Stock basic tips (S&M)
- Newbees (S&M)
- KBear 07 (S&M)
Cable:
- Stock cable
- Hakugei Rubine in 4.4mm termination
NOTE:
I found that using wider bore tips opens up not just the soundstage but also a cleaner overall presentation that also improves technicalities by a bit. Using the reference tips is the best pairing by far, but the fitting will definitely vary as I found it to be too shallow with the provided tips. Newbees, KBEar07 and Atmosphere tips paired the best in comfort but suffered slightly from the congestion more than the reference tips. Using 4.4mm termination with the Megatron also caused a very weird interference where there would be clicking sounds on top of the very audible noise floor whenever I squeezed the cable
BQEYZ Winter is the 4th and last entry into the seasons series of BQEYZ that features Spring (1 and 2), Summer, Autumn and finally, the Winter. The Winter, just like its predecessors, use a unique driver configuration that is unlike those that come before it. Today, we will check out whether the Winter leaves BQEYZ out in the cold or warms up the future of the brand.
DISCLAIMERS: This unit is part of a tour provided by Ms. Elle Zhou of BQEYZ and handled by Mr. Bradley Loo. I am eternally grateful for this opportunity, but this does not in any way, shape, or form affect the quality of my review. This review will be based entirely on my experience with the IEM itself and I was not paid or told to say anything regarding the IEM. Lastly, I am only one reviewer; this is my personal experience with the unit. Many variables come to play to make everyone’s experience different and your mileage will vary depending on the circumstance.
SPECIFICATION SHEET:
- Driver Size and Setup: 1 12mm Dynamic Driver PAR Diaphragm + 11.6mm PZT Bone Conduction
- Impedance: 38ohms
- Sensitivity: 113db
- Frequency Range: 5-40khz
- Build: CNC Aluminum Alloy
- Cable Length: 1.2m
- Cable Material: Single Crystal Copper Plated Silver
- Termination: 2.5/3.5/4.4
- Interface: 2-pin 0.78mm
FULL INCLUSIONS AND ACCESSORIES:
- BQEYZ Winter drivers
- 4-strand Silver Plated Cable
- 1 Pleather Carrying Case
- 1 Cleaning Brush
- 1 Metal Tip Holder
- 1 Plastic Tip Holder
- 3 Pairs of “Atmosphere” Tips
- 3 Pairs of “Reference” Tips
- 1 Pair of Foam Tips
BUILD AND FIT:
Cable:
The cable included with the BQEYZ Winter is a gray, 4-strand, 49 core single crystal copper plated silver hand braided cable.
It’s on the lighter side and is quite soft to the touch with each strand being sturdy to give confidence of the build and braid of the cable. I never found myself fumbling about with the cable as its thickness makes it quite tangle-free while soft enough to respond well to being rodey wrapped or stored easily.
The jack is your standard gold plated 3.5mm jack housed in a basic metal housing with BQEYZs logo on it. You may also opt in for the 2.5 or 4.4 BAL termination.
The Y-Split and chin cinch are of a similar material to the jack, but I will have to point out that the chin cinch is quite annoying as it keeps sliding down whenever I try to drag it up to my chin. It’s somewhat unusable to me personally, but your mileage my vary.
The strands are soft which thankfully do not irritate my sensitive face.
Moving up to the earhooks and interface, the earhooks are quite well implemented with a nice softness to mold around my ear but not too lose to drag down. The ligther cable also helps with the cable not dragging down unto my ear. The interface is 2-pin 0.78mm.
There are no instances of microphonics even when a fan is blowing straight at the cable which makes it quite nice if you move around or just hate microphonics in general.
Overall, the cable is a very nice and good quality cable that doesn’t really stand out aesthetically but compliments the smooth and minimalist design of the Winter. It’s soft but durable while not feeling like you’re dragging chains around your ears constantly. The option of a balanced cable is definitely nice as you’ll see later that it scales very well with power, however I can’t help but feel like a modular cable should be mandatory for IEMs that are harder to drive than usual and cost $239. Regardless, a faultless cable that people would probably be happy enough to pair with their Winter
IEMs:
The IEMs are made from an aluminum material machined with CNC and uses sandblasting, anodize oxidation and highlight processing technology for its coating. They claimed that it makes the surface rich in color while bearing wear and corrosion resistant.
Just like the seasons before it (minus Summer), its metal build instills confidence and quality in its build while remaining smooth, lightweight and understated. The smooth faceshape design was, according to BQEYZ, comes from [a] figure skating rink [where] it has been modified over 17 times to establish the smooth like aesthetic of Winter.
The shape on the inside is also very similar in a sense that it still awkwardly fits into my ears, just like previous seasons. While the wings do help in keeping it snug in my ears so as to not make it fly out with the smallest movement, the nozzle and the space near its base definitely does not fit my ear as snug as I want to. It’s the best fitting seasons by far, but that’s not a very high bar.
I will admit that when I can plug it snuggly, it’s quite comfortable and does not induce stress or pressure points around my ear. However, this affects seal as I found it to be too loose to have proper seal. The cable thankfully compliments the IEMs well as I never found myself fumbling about the earhooks just to get it to fit in my ear properly.
Sadly, and this is arguably the worst part of the Winter personally, there is driver flex. Not terrible thanks to its loose fitting, but it guarantees that when I do get a good fitting, I’ll be forced to use foams to even enjoy the Winter.
Overall, amazingly built with a sleek and understated design that speaks confidence and premiumness that is unlike any IEMs that I’ve tried that are not of BQEYZ. However, it reminds you that it is from BQEYZ due to its awkward fitting and that driver flex is quite nasty but is saved by the double edged sword that is its seal and isolation. However, I have to give it to BQEYZ ending the seasons with a very tasteful build that the Winter is.
SOUND:
BQEYZ Winter Frequency Response Graph from Gizaudio
Sound Signature:
Neutral with a very slight boost in both the lower end and higher end but does not make it sound v-shaped or even u-shaped.
Driving Power:
It’s quite difficult to drive as I found myself pumping up the volume all the way to 6 out of 100 on my Megatron and halfway on the U1. Having at least a dongle dac will definitely improve your experience with the Winter, but using a 4.4 termination and source will immensely improve dynamics of the Winter.
Bass:
The overall presentation of the bass is on the leaner but still bodied and lush side. Subbass and midbass have equal emphasis and compliments each others presence well with a linearity that extends to the lower midrange.
Starting with the subbass, it’s more subdued which gives the impression of a leaner presentation. But it still packs enough rumble when the track calls for it. I’d say it’s more quality over quantity type of subbass as the reverberations were satisfyingly immersive and tastefully hefty. It’s not a bassheads type of bass with insane rumble and power, but more than enough for those who want a cleanly done subbass
Moving to the midbass, this is where the Winter shines as it presents instruments and vocal nuance in such a soothing and relaxing manner while providing a decent amount of texture, detail and punch. It’s definitely on the warmer side than lean, so you should expect a lot of body in instruments and vocals. Despite this however, it never sounded muddy or bloated to my ears as the elevation is quite linear throughout the lower subbass and the higher lower mids. Texture is quite nicely done but note definition and overall detail leaves more to be desired. This in turn gives it a more lush midbass presentation where the bass doesn’t sound the most controlled but does not sound sloppy or slow. Dynamics are quite alright but I definitely found myself wanting more texture and clarity on the track “Bombtrack” by Rage Against the Machine where the bass guitar can often get blurry with the higher octave guitar and vocals join the mix.
Overall though, it’s a lush but well textured bass presentation that I really wished had just better detail and clarity, but well presented in the end.
Mids:
The midrange of the BQEYZ Winter has, bar none, one of the best balance of tonality and technical ability. While I usually find my gripes over u-shaped or Harman-like IEMs in the midrange, the Winter perfected my preference in midrange almost to a T.
Starting with the lower mids, there is a sense of warmth and body carried over from the midbass. This does not muddy or bleed into the mids more than it gives ample amount of warmth and lusciousness to the lower mids. Male vocals sound rich and bodied with instruments having a very satisfying amount of bite and texture. It’s definitely on the warmer side but not by a lot that it loses detail and clarity. There’s this intimate but immersive feel to instruments and vocals in this region that make it so relaxing to listen to. I never found myself feeling like the lower mids were ever underemphasized, dry or too lean sounding. The amount of detail and nuance can definitely still be put up a notch by giving them more clarity and texture, but I honestly think that the lusciousness presented is more than enough to make up for the very very slight loss in texture. Thanks to the quicker decay of the bass, the warmth is supplemented with a lot of nuance, especially when it comes to vocals where the likes of Jacob Collier in Time Alone With You where his (and Daniel Caesar too!) vocals just oozes with personality and detail. It feels as if they’re singing close to your ears like a smooth lullaby.
Moving unto the upper mids, it’s quite naturally presented with ample forwardness in the vocals and instruments in this region without being to aggressive or harsh. Female vocals don’t have my preferred sparkle and edge, but instead, soothe the ears with a natural elevation and a lovely sense of body. Upper mids never sounded grainy even on tracks that are usually presented as such like in “You Should Head North” by Necry Talkie. On that note, the Winter passed the shout test with flying colors, as I expected it to do so. Instruments in this region are especially nice, particularly string instruments like pianos, violins and guitars, which sound soothing and relaxing while still being articulate and detailed. On that note, I was pleasantly surprised by how detailed and articulate the upper midrange of the Winter is for how lush it sounds. Usually, these kinds of warm tuning sacrifice the upper mids quite significantly (i.e. BQEYZ Topaz) but I did not find the same to be true in the Winter. Levels of clarity were high but it does not sound dry or harsh in any way. The Winter genuinely made me question my own preference in midrange whether I wanted something more aggressive or something like the Winter’s more enveloping upper mids. The Feeling by Sammy Rae & The Friends is a very energetic song with Sammy Rae’s vocals having a lot of nuance in its presentation while having a warm and enveloping presentation. I’ve gotten used to hearing Sammy Rae’s voice in the colder light but the warmth brought about the Winter gave me a completely different perspective on enjoying her vocals.
Regardless, there’s very little to fault about the midrange of the Winter, with the lower mid-detail just being a bit blunted for my preference. But bar none, this is one of the best midrange presentations I’ve had the opportunity to spend a while with.
Treble:
Contrary to its name, I personally think that the treble is not that “cold” sounding as it’s smoother and more laid back in presentation. However, this does not mean that it’s not capable of crisp articulation and detail as it presents them in quite a soothing manner!
Starting with the lower treble, the Winter takes a calmer approach from the more forward upper mids as it’s on the darker side of things. Detail is still retained, however clarity somewhat took a hit as while I can still hear the nuances in vocals, they do sound a lot darker as compared to the upper mids. Instruments in this region still retained the naturalness of the upper mids however as I didn’t really hear any oddness in its timbre despite having a piezo driver. Instruments and vocals are well defined with good body and nuance.
Moving unto the mid treble, detail in this region is crisp and detailed while still retaining a realistic overall presentation. A track like “Got to Get You In My Life” by Earth, Wind & Fire has a usually bright presentation with percussives having this dry and occasionally somewhat metallic sound is perfect on the Winter however as there were no oddness or harshness found in the track and even gave the brighter mixing of Earth, Wind & Fire the much needed warmth.
Lastly, the upper treble is presented much tamer compared to the rest of the treble. The amount of air is sufficient, but personally lacking as there are instances where instruments sound choked or congested. The extension to vocals and instruments are realistic, but lacking personally as it does not have that lingering sparkle I look for in treble. It is, however, undoubtedly safe and well presented considering that it has a BC and Piezo dealing with the upper frequencies and I am quite experienced with the tendency of piezo to ring in your ears.
Transient ability is very impressive as it’s able to be quite snappy without sounding dry or grainy.
Overall, it’s a clean but articulate treble response that admittedly lacks a bit in the air department personally but is perfectly adequate and realistic in its extension.
TECHNICALITIES:
Overall technicalities of the Winter is quite impressive albeit definitely not the most expansive, clear or accurate that I’ve tried
Starting with stage, there’s a good sense of width and height but somewhat lacking in depth. Instruments sound well expanded but more in a plane rather than in a room. Separation, imaging and layering are very impressive as it breezed by even more complex tracks without a problem, however it was not the cleanest presentation that I’ve heard. The warmth definitely made its overall ability to separate, layer and place instruments and vocals in the room a bit clouded. But again for how lush the overall sound of the Winter is, this is very impressive as you don’t really find warmer IEMs with technical chops this good
Overall, very impressive considering it’s tonality but it did slightly affect its performance due in part to its warmth.
COMPARISONS:
Vs TangZu Heyday ($200)
- Build is more hefty on the Heyday but the Winter isn’t a fingerprint magnet and feels smoother and less scratch prone
- Cable is better on the Heyday and is also modular
- Fit is better on the Heyday but has more pressure points over time
- The Winter is a more neutral sound signature compared to the more energetic balanced sound signature of the Heyday
- Winter is slightly less harder to drive but still harder to drive than usual
- Bass is meatier but also less controlled on the Winter
- Midrange is warmer and luscious on the Winter
- Upper mids are more forward and energetic on Heyday but Winter sounds more natural
- Treble is more elevated and more extended on the Heyday but the Winter is smoother and natural sounding
- Technicalities is overall slightly better on the Heyday with much better headstage
Vs AFUL Performer 5 ($219)
- Build is better on the Winter but fit goes for Performer 5
- Winter is more neutral while Performer 5 is more U-Shaped with bass emphasis
- Winter is harder to run than the Performer 5
- Bass is cleaner, better defined, more controlled and more textured in the Winter with the Performer 5 having a more defined subbass
- Mids are overall more correct sounding with better details on the Winter
- Treble is smoother on the Performer 5 but Winter has a better-defined treble presentation
- Technicalities is better on the Winter due to having better cohesion and cleanliness
Vs SeeAudio Yume 2 ($200)
- Build is similar on both with Winter not being a fingerprint and scratch magnet
- Yume 2 has a slight u-shape sound signature with a bit of treble emphasis while Winter has a more neutral sound signature
- Yume 2 is easier to run compared to the Winter
- Bass is more bodied, more textured and more detailed on the Winter, but Yume 2 has more subbass presence
- Mids are more bodied, more detailed and more nuanced in the Winter
- Treble is much smoother on the Winter, but more extended and airier in the Yume 2
- Technicalities is better on the Winter overall minus headspace
CONCLUSION:
The BQEYZ Winter is a perfect closer to the seasons of BQEYZ with a warm, soothing but technically capable set of in-ears. It’s very well built with a considerable amount of inclusions, albeit lacking a modular cable which I’d argue it needs. It has a wonderful build quality akin to its seasonal brethren, along with the poor fitting but a cable that makes up for it just a little bit. It has a very natural sounding timbre with the entire frequency response, especially in the midrange being a love letter that honing ones house sound will refine it to near perfection.
However, I can’t deny that along with the price of the Winter, it’s hard to suggest it to people who are used to something more U-shaped or Harman. It’s what people would call “quirky” tuning but I honestly think that this is an experience that anyone into audio should experience at least once. The amount of refinement they have made from the Spring 1 all the way to the Winter is insane with the mids being near perfect and the piezo zing being the least evident here.
I think what BQEYZ is doing with their IEMs is wonderful. In a sea of what seems to be the same tuning with small adjustments, BQEYZ offers not only different driver configurations per release but also different but more refined sound. On that note, the Winter is also one of the most affordable IEMs with a bone conduction driver. Whether you believe that BC is a meme or it does something, it’s up to you. I personally don’t care about whatever driver an IEM uses, as long as they sound good and I will make some connections if need be. They are a completely unique but still technically capable and smooth-sounding IEM that no one should ever give the cold shoulder to. The Winter may mark the end of the seasons, but I believe it’s just the beginning to a beautiful future that BQEYZ has in store for those who adore their unique sound.
Thank you so much for taking the time to read my review. If you would like to see more of my content, please consider following my Facebook page and my other social media accounts:
YouTube: https://www.youtube.com/channel/UCRv42fx1TIcEpP_QBbkhEOA
Facebook: https://www.facebook.com/OB.ODIO
Twitter: https://twitter.com/obodioreviews
Instagram: https://www.instagram.com/obodioreviews/
You may also read this on our website, AudioNotions: https://audionotions.com/bqeyz-winter-the-end-of-seasons/
If you would like to avail the product review today, check the non-affiliate link below!
AliExpress: https://vi.aliexpress.com/item/1005004967936559.html?gatewayAdapt=glo2vnm
Linsoul: https://www.linsoul.com/products/bqeyz-winter
Have a nice day, and enjoy music!
Attachments
LETSHUOER x Gizaudio Galileo:
The Clearest, Blue Sky
PRICE: $109 (PHP. 5,400.00)
PROS:
CONS:
WHO THIS UNIT IS FOR:
WHO THIS UNIT ISN’T FOR:
RECOMMENDED GENRES:
SHORT REVIEW:
The Letshuoer Galileo is Letshuoer’s latest collab and Gizaudio’s first and marks Timmy as one to have a great taste in tuning as the Galileo is one of the smoothest sounding IEMs you can get on a budget. However, that comes at the cost of a fun, engaging listen and that rolled off treble that might turn some people off. However, it’s so versatile that I think it’s a must-buy. RECOMMENDED
One of the things I love about the reviewer collab IEMs is their power to create something that they see is lacking in the market. Whether it’d something so outlandish and crazy or something that aligns closely to the person's target. Regardless, reviewers often have a goal in the IEMs that they tune. The Letshuoer x Gizaudio Galileo is one such IEM that, I’d be brave to say captures its goal of being one of the smoothest sounding and graphing IEM to near perfection. For an extortionist price of $110.
DISCLAIMER:
This unit was tested as a tour unit provided by our good friends at HiFiGo and managed by Mr. Neil Clark of Practiphile. I am eternally grateful for the opportunity. However, I was not paid to say anything and all my thoughts and opinions on this review are mine and mine alone. Audio is a very subjective hobby and as much as I try to objectively explain my thoughts and opinions, your mileage will vary. My preferences will also affect how I perceive the gear that I review. Sources and other accessories will also modify your experience. Lastly, my reviews should always be used only as a guide and not as the definitive bible. Trust your ears to know what’s good.
SOURCES USED:
TRACKS USED:
A mixture of lossy, lossless and Hi-Res files will be used to give a general overview of the different formats in which the gear will be used.
Docs file explaining each track and what to look for: https://docs.google.com/document/d/1oMa7GPLaqtpnnoR9tixvWI4aK-7tXMyTEZCJAVkIZx0/edit
Spotify Playlist:
PREFERENCES:
I currently prefer a lot of R&B, Indie, Funk and Adult Contemporary. However, I am very flexible with the music that I listen to and always try to look for the best genres for the gear.
ACCESSORIES USED:
Tips:
Cable:
NOTE ON ACCESSORIES:
I found that the stock tips were perfectly fine with the Galileo, however using foams tips alleviated a little bit of the pressure that was slowly building up in my ear and also thickened the tonality to my preference.
BEHIND THE BRAND:
Before we talk about the IEM, let’s talk about the masterminds behind it first. Starting with the manufacturer, Letshuoer is a brand many of us are familiar with due to their rise to prominence with the likes of the S12 and its many variants. Founding in 2016, they’re consistent of audiophiles in pursuit of the ultimate HiFi experience and their products are 100% designed and hand-assembled in house.
Gizaudio in the other hand is a prominent audio review channel and blog that has garnered over 27,000 subscribers and is one of the first few review channels I was exposed to coming into the hobby. Timmy Vangtan is the tuner behind the Galileo with the goal of creating the smoothest sounding and graphing IEM in the “budget” segment. And today, we’ll be taking a look at how well Timmy and Letshuoer were able to achieve that goal.
UNBOXING:
The box of the Galileo is a very stunning artwork of what seems to be the universe and befitting text sprawled around the front. Letshuoer and Galileo are prominently printed along with the phrase, “The Echo of the Deep” and “Letshuoer Sound Alive”. It’s a somewhat minimalist design queue that emphasizes the beautiful artwork that teases you with the beauty of what’s to come. Behind the box shows the Galileo’s specs and some contact details.
Removing the sleeve reveals Letshuoer’s typography placed vertically on the side in a nice blue color and their logo printed on the top left.
Satisfyingly removing this cover up then finally reveals a few paperwork that includes a nice Galileo manual and two cards before finally revealing the magnificent IEMs and the big beefy case. We’ll go further in-depth with each inclusions but I have to say that the manual was an added touch that I absolutely adored. It included the graphs and specs as well as the usual manual stuff on how to wear the IEM and warranty instructions.
Removing the IEMs and the case reveals an empty box. Let’s then move unto the inclusions itself.
Here is a list of all the inclusions
The tips included with the Galileo’s case are similar to the KBEAR/AET07 tips that are found in surprisingly many IEMs today. They’re fantastic tips and I will always vouch for them. There are also standard black silicone tips that I honestly just find to be disposable, but YMMV as these tips do fit better on some people’s ears based on my experience.
The case is quite interesting considering not only the price but just the material of the case itself. It’s a hard case that you could probably throw and it wouldn’t even budge (although I’ve been seeing instances of the case breaking apart so maybe not so much). However, the material isn’t my favorite. If some of you know those rubber material that gets icky after a while, that’s what the exterior base of the Galileo’s case is made of. Big yikes, but it’s a very sturdy case and I would totally use it to hold an IEM that I care about.
Now many of you who know about the Galileo are surely aware of the case. And yes, it is just as hard as people say it is to open. Thankfully, Joseph of Letshuoer provided us with a guide on how to open up the case. Basically, you press down on the case like a sandwich and then pull the tab down and towards you and voila! The infamously hard to open case is now easy peasy.
The unboxing is quite satisfying and the inclusions are solid, barring the case due to how hard it is to open without a guide and the material being that rubber that goes yucky. But for $110, this is definitely more than enough for anyone looking for a solid unboxing with generous inclusions.
BUILD AND FIT
Cable:
The cable of the Galileo is an OFC Silver plated 4-core cable that is terminated in either 3.5 or 4.4mm, is of about 1.2m in length and has an interface of 0.78mm 2-pin.
The build is definitely on the beefier side with an interesting stiff but malleable material that allows it to behave while feeling durable. Each strand feels quite thick and durable but never felt too hefty or weighty in any way. It is, however, definitely on the stiffer side which would occasionally make it feel a little bit janky to pull around. Due to the thickness, it does not tangle easy and when it does, it's quite easy to untangle
There are thankfully no microphonics despite the textured and beefier nature which I absolutely adored as I really liked the stock cable.
Starting with the jack, it’s your standard 3.5mm gold plated jack housed in a minimalist grey housing with Letshuoer’s typography printed near the jack itself. It then tapers off with a jack tail to the 4 core strands.
There 2 grey strands and 2 silver strands and they are both housed in a textured material that allows them to feel quite durable.
Moving up then reveals the y-split which uses the same material as the jack and a chin-cinch which, interestingly, is of a clear material and seems somewhat out of place. Thankfully, due to the combination of the cable material and the shape of the chin cinch, it is quite usable and I’d argue is one of the most sturdy chin cinches that I’ve tried.
Moving up, the cable then split to the two 2-core strands all the way to the preformed ear hooks and the 2-pin interface. The earhooks, for the first few hours of listening, is definitely on the more aggressive in terms of fitting as I found that it really dug into the back of my ears and gave me some discomfort not only behind the ear but also in the inner ear due to the fitting.. However, the earhooks would then form into your ear and it becomes more comfortable. Of course, if you choose to do it manually, you may use a hairgun or heatgun to form it to your desired shape. The interface itself are smooth and uses the same material as the jack and y-split and has a small engraved section for easier pulling. The right side is indicated with a red ring covering the interface while the left is covered with a plain opaque material.
Overall, a solid stock cable that rivals even more expensive IEMs. I seriously wouldn’t mind using this cable for my other IEMs and even more expensive IEMs. It feels durable but not beefy, although a little bit stiff for my liking. The chin cinch, as mentioned is one of the best that I’ve tried in stock cables. The texture definitely helps making it feel more premium than it is. But definitely keep the preformed earhooks in mind, especially if you’re buying a new unit.
IEM:
Before I talk about the build quality of the Galileo, I think I should let you all know how beautiful the Galileo is. Seriously, my first few minutes of the Galileo was just me staring at how beautiful the galaxy-like patterns were. I fell in love with the Galileo’s design from the moment I saw the teasers and I kid you not, it looks so much better in real life.
Small fun facts about the Galileo, the design of the faceplate was done by Timmy’s wife and each design has unique features which makes each Galileo truly your own Galileo.
Let’s move on to the build of the Galileo starting with the specs. The Galileo uses 1 10MM LCP dynamic driver and 1 Sonion 2386 Balanced Armature housed in a 3D Printed synthetic resin that uses a new cavity design.
It has a nice dark blue inner shell color that is consistent throughout the entire build, minus the vibrant faceplate.
The overall shape is akin to the usual resin IEMs like the Kiwi Ears Cadenza and TRI Star River, but the nozzle is also made of the same resin and there is a more prominent wing that allows for a more snug (or painful) fit. It’s leaning on the larger side for my ears (like the previously mentioned IEMs), but I never found it to put unnecessary pressure around my ear. But again, the earhooks did affect the fitting of the Galileo quite drastically. Thankfully, cable rolling or letting the earhooks mold into your ear does fix the issue.
The faceplate, as I’ve already hyped, is absolutely beautiful. The design is placed under the resin faceplate so you can be sure that the design will stay the way it was from the moment you bought it. The design on each side are different with one side of the unit I was able to try having more brown compared to the other.
The 2-pin side of the Galileo is pretty plain and features the aforementioned 2-pin placed flat with the resin. Printed markings and the words “Gizaudio Galileo” on the right and “Letshuoer Galileo” on the left can also be seen when flipping it over.
Moving unto the inner shell and nozzle, there is a vent placed directly across the driver. This is, however, changed in the batch following the unit I received and has been addressed by Letshuoer to be improved without changing the sound quality. As I do not have the later batches, I can’t say for sure. But this is definitely something worth noting.
The nozzle is integrated with the shell itself and is on the larger side. Using a narrower bored eartip definitely proved to be quite difficult due to the size of the nozzle, but the included tips do complement the Galileo quite well in terms of fitting.
There are thankfully no driver flex with the Galileo, however I found myself experiencing a very slight pressure build up with the Galileo on first wearing. It’s bordering really close to being unusable due to the pressure and occlusion, but it doesn’t quite reach that thankfully.
The seal then in turn is very good and blocks off outside noise quite well. Not as well as proper ANC, but its passive isolation is definitely on the better side compared to other resin IEMs that I’ve tried.
Overall, the build of the Galileo is what you’d expect from a resin build. It’s sturdy, fits well for people with average sizes ears and offers probably one of the most aesthetically pleasing designs in any IEMs in the market right now. I’d even put it alongside the likes of the Elysian Gaea in aesthetics which is a very high bar to reach. However, it does border having air pressure build up and occlusion which got me using foams tips on some occasion. But little did I know, the foams tips were a game changer not only in fit but also in sound.
SOUND:
Overall Sound:
The Letshuoer x Gizaudio Galileo is probably one of the most neutral sounding sets that I’ve heard, let alone at $110. I found that the transition from bass to mids to treble and even that treble roll of sounded so neutral that I found myself questioning whether I’m listening to music as intended by the artist. However, the mids occasionally sounded quite thin and the emphasis in the midtreble definitely gave the Galileo an occasionally metallic timbre.
Driving Power:
The Galileo has an impedance of 14ohms and sensitivity of 104db which allows it to sound good out of a smartphone. As usual, using a dongle dac will improve your experience but not necessarily for you to enjoy the Galileo.
Sound Notes:
As stated prior, I initially used foam tips purely for fitting. However, I found that it drastically thickened the midrange and somehow also made the upper midrange sound less metallic. So definitely consider tip rolling with the Galileo if you can.
Bass:
The bass of the Galileo is sub bass dominant with a cleaner, less emphasized midbass.
Starting with the sub bass, it has a very clean but rumbly presentation that gives a lot of heft and impact on the very low notes. The decay is just perfect, decaying fast enough to not make the bass sound boomy but lingers long enough that the very low frequencies are very satisfyingly felt. However, I do not think that this is elevated enough for bassheads, especially considering the midbass being as lean as it is.
Speaking of the midbass, it’s on the leaner side. It’s very clean with instruments being presented linearly and cleanly. This assures that bass notes and low vocals are articulate and audible. Its attack is snappy and decays quickly which creates a very smooth and clean reproduction of sound in this region. However, it might come across as too clean as body and texture are lacking with male vocals often sounding dry, but thankfully never distant. I personally prefer a bit of warmth coming from my male vocals and instruments and the Galileo shys away from that by presenting them in a linear and clean manner. Due to this, it does not sound bloated or bleed into the midrange.
A track like Tabula Rasa by Globular at 3:12 with its lowend focused rumbles sound absolutely fantastic. The notes are clear while offering a strong rumble and reverb. A track like Wake Up by SOS is also presented very cleanly, however its cleaner nature is evident with the bass notes sounding somewhat dry cut and the male vocals lacking a little bit of that low end body.
Mids:
Moving unto the midrange, it follows the bass presentation of being very clean and smooth with not massive peaks or dips in clarity.
Lower mids, like stated prior, are clean and articulate. Instruments sound detailed while vocals sound very linear without any dips in clarity or bloat from the bass. However, it occasionally lacks body and texture that leaves them sounding somewhat boring and bland. Particularly male vocals sound quite boring as paired with the later pinna which we will be taking a look at the upper mids section. However, it is still a very linear and smooth presentation that does not sound offensive or wrong in any sense.
Upper mids is also very smoothly done with a natural rise into the pinna which gives female vocals a very natural sound and instruments a realistic presentation. The transition from the lower mids is nicely done with good cohesion between lower, more bodied notes to more energetic and bright sound. Female vocals sound satisfying without inducing any harshness or peakiness. String and air instruments in this region sound particularly nice with a nice forwardness that gives them a realistic but still appropriately energetic tonality. The timbre however I found somewhat metallic coming into higher upper mids that affect how some instruments and vocals are presented. This could definitely be due to the rolled off treble along with the cleaner lower mids giving upper mids extra emphasis that might not seem natural to some. Thankfully, it does not sound harsh or shouty in any tracks I tried it on and still presented female vocals and instruments quite satisfyingly. Details are also well presented here, albeit somewhat more blunted due to the rolled off treble extension.
I should note here however that the upper mids will occasionally sound somewhat dry due to the lower mids that may make some vocals and instruments sound a little bit too dry. I honestly found this causing the “metallic” timbre, albeit I don’t find it as metallic as some other IEMs that have a BA such as the AFUL Performer 5.
A track like I’m Still Standing by Taron Egerton has a very smooth and neutral production of Taron’s vocals while still providing an immersive and detailed instrument presentation without bloat coming from the upper mids to lower midrange that the song has prominence in. It passes my shout and sibilance test of “You Should Head North” by Necry Talkie while having the bonus of presenting Mossa’s vocals in such a smooth but clean spotlight that is probably the best under $120 that I’ve heard. However, both tracks sound somewhat dry due to the leaner midbass and lower mids that make it sound more “neutral” but also occasionally metallic.
Treble:
The treble region of the Galileo is smooth with an early roll of that emphasizes lower and midtreble.
Lower treble carries over from the upper mids with the smooth and neutral tonality but bumps that metallic timbre just a tad bit much that it would occasionally sound distracting and over emphasized. I personally really like that quality as being a treblehead. However, I take issue with it due to the treble extension not really being there to compliment it. There are no peaks nor dips in this region so instruments and vocals do not sound veiled or harsh. Detail and nuance in this region is quite decent as even with it’s smoother tonality, it still presents a good amount of nuance.
This would transition to the mid treble which I found to be the most problematic aspects of the Galileo as instruments and vocals in this region is prone to sounding quite unnatural and overly dry. This is most likely due to the leaner lower frequencies and rolled off treble that emphasizes this region more. I don’t think it sounds entirely unnatural and there are much worse sounding IEMs in this region. However, considering the price and the tonality that it’s trying to achieve, I personally find that the emphasis can be a bit too much at times.
The upper treble isn’t as bad it would look on the graph if we were to look at it as its own entity. The upper treble sounds naturally rolled off with the lingering notes of instruments and vocals still sounding quite natural and not dark. However, the combination of the leaner lower frequencies and this affects the region prior by overemphasizing it.
Transients in this region is respectable but definitely on the smoother side. Attack in the treble is quite snappy but not the most dynamic that I’ve heard. This could be attributed to the rolled off treble dulling a bit of the attack, but does not dull it to the point where it sounds lifeless.
Paranoid Android by Radiohead is probably the best case scenario for the Galileo to emphasize this region satisfyingly as the percussive instruments and string instruments sound quite natural and energetic that makes the song sound more ethereal than it already is. But then on the other side of the spectrum, you have the song VIVID by ena mori with a prominent snare hit and female vocals that go quite high that would sound quite energetic and bright, but lacks body and will occasionally sound too dry or too unnatural sounding.
Technicalities:
The overall technicalities of the Galileo is respectable, however not necessarily groundbreaking especially for the price.
The stage is by far the weakest aspect of the Galileo as the rolled off treble affects the headstage of the Galileo to the point that instruments and vocals sound quite intimate. It doesn’t sound too choked or too closed in, however it is narrower than its contemporaries.
Where the Galileo shines however is on the imaging and separation. Due to the smooth and clean sound signature thanks in part to the leaner mid bass, instruments are very clean and crisp with their positioning and does quite admirably for more complex tracks which was quite impressive.
The song, “However the illusionist rolls the dice” by Lie and a Chameleon sounds clean and very well separated and positioned with the Galileo with the cymbals strikes complimenting the electric guitar and vocals without having one more dominant than the other in most instances.
COMPARISONS:
Vs Simgot EA500 ($92)
Vs Truthear Hexa ($79)
Vs Celest Pandamon ($59)
AFUL Performer 5 ($219)
CONCLUSION:
The Letshuoer x Gizaudio Galileo is by far one of the smoothest and most neutral sounding IEM that I’ve tried in a while. A combination of an elevated subbass that transitions into a clean midbass, uncompromised midrange and a smooth elevation into the treble with an organic roll off created one of the most neutral and borderline reference-like IEM that I’ve heard in the sub $200. However, this comes at the cost of sounding quite stale and arguably boring due to the smoothness in not only the tuning but also its dynamics. It wouldn’t be the first IEM I’d pick if I wanted to have a fun, listening session and would be reserved for more analytical or easy going sessions. It’s also a bonus that the Galileo is seriously one of the smoothest graphing IEM you can get today which means EQing will become a breeze.
But let’s take a step back and look at the market that surrounds the Galileo. Almost all of them feature a tuning akin to the likes of the Aria which, let’s be honest, has become quite the bore to see nowadays. Even with the likes of the EA500 or the Hexa which are quite unique in a sense that they are tuned differently from the market, the Galileo fills a segment that we have not seen anyone target in a while. The closest IEM that I can think of that reminds me of the Galileo are the Etymotic IEMs. They’re smooth, clean and reference-like IEMs that are adored for how clean they sound. And I personally believe that the Galileo is a progression of that sound but further improved for one simple fact: it’s so damn smooth. And for that, I absolutely respect the madlads at Letshuoer and Timmy of Gizaudio for giving us the smoothest and most neutral sounding IEM under $200.
Thank you so much for taking the time to read my review. If you would like to see more of my content, please consider following my Facebook page and my other social media accounts:
YouTube: https://www.youtube.com/channel/UCRv42fx1TIcEpP_QBbkhEOA
Facebook: https://www.facebook.com/OB.ODIO
Twitter: https://twitter.com/obodioreviews
Instagram: https://www.instagram.com/obodioreviews/
You may also read this review on the following platforms:
AudioNotions: https://audionotions.com/letshuoer-x-gizaudio-galileo-review-the-clearest-blue-sky/
If you would like to avail the product review today, check the non-affiliate link below!
HiFiGo Store：https://hifigo.com/products/letshuoer-x-gizaudio-galileo
Amazon US Store: https://www.amazon.com/dp/B0BV6WGJJC/letshuoer+x+gizaudio+galileo/
Amazon JP Store: https://www.amazon.co.jp/dp/B0BV6YKL91/letshuoer+x+gizaudio+galileo/
Aliexpress Store: https://www.aliexpress.com/item/1005005192950738.html
Have a nice day, and enjoy music!
The Clearest, Blue Sky
PRICE: $109 (PHP. 5,400.00)
PROS:
- Great unboxing and inclusions
- Solid build and fit
- Beautiful shell design (bias)
- Exceptionally neutral sound signature
- Clean, impactful subbass
- Neutral, reference like midrange
- Well presented, fatigue free treble
- Decent techs for the price
CONS:
- Unnecessarily difficult to open carrying box
- Earhooks are a little tight on first listen
- Occasionally boring tonality
- Lacks midbass texture
- Occasional metallic sounding mid-treble
- Lacks sparkle and air
- Somewhat cramped staging
WHO THIS UNIT IS FOR:
- People who want a very clean, reference like sound signature
- People who like a very aesthetically pleasing, unique design
- People who like to EQ
- People who like a non-fatiguing sound
WHO THIS UNIT ISN’T FOR:
- People who want a fun sound
- People who want a pocketable, intuitive case
- Trebleheads
- Bassheads
RECOMMENDED GENRES:
- Classical
- Live Recordings (in general)
- Vocal-centric genres (e.g. Adult Contemporary)
- Jazz
SHORT REVIEW:
The Letshuoer Galileo is Letshuoer’s latest collab and Gizaudio’s first and marks Timmy as one to have a great taste in tuning as the Galileo is one of the smoothest sounding IEMs you can get on a budget. However, that comes at the cost of a fun, engaging listen and that rolled off treble that might turn some people off. However, it’s so versatile that I think it’s a must-buy. RECOMMENDED
One of the things I love about the reviewer collab IEMs is their power to create something that they see is lacking in the market. Whether it’d something so outlandish and crazy or something that aligns closely to the person's target. Regardless, reviewers often have a goal in the IEMs that they tune. The Letshuoer x Gizaudio Galileo is one such IEM that, I’d be brave to say captures its goal of being one of the smoothest sounding and graphing IEM to near perfection. For an extortionist price of $110.
DISCLAIMER:
This unit was tested as a tour unit provided by our good friends at HiFiGo and managed by Mr. Neil Clark of Practiphile. I am eternally grateful for the opportunity. However, I was not paid to say anything and all my thoughts and opinions on this review are mine and mine alone. Audio is a very subjective hobby and as much as I try to objectively explain my thoughts and opinions, your mileage will vary. My preferences will also affect how I perceive the gear that I review. Sources and other accessories will also modify your experience. Lastly, my reviews should always be used only as a guide and not as the definitive bible. Trust your ears to know what’s good.
SOURCES USED:
- Zishan U1
- VE Megatron
- Not-by-VE Abigail
- Huawei Nova 7 SE
TRACKS USED:
A mixture of lossy, lossless and Hi-Res files will be used to give a general overview of the different formats in which the gear will be used.
Docs file explaining each track and what to look for: https://docs.google.com/document/d/1oMa7GPLaqtpnnoR9tixvWI4aK-7tXMyTEZCJAVkIZx0/edit
Spotify Playlist:
PREFERENCES:
I currently prefer a lot of R&B, Indie, Funk and Adult Contemporary. However, I am very flexible with the music that I listen to and always try to look for the best genres for the gear.
ACCESSORIES USED:
Tips:
- Stock tips (in S&M)
- Final E (in S&M)
- Newbees (in S&M)
- TIN HiFi Blues
Cable:
- Stock Cable
NOTE ON ACCESSORIES:
I found that the stock tips were perfectly fine with the Galileo, however using foams tips alleviated a little bit of the pressure that was slowly building up in my ear and also thickened the tonality to my preference.
BEHIND THE BRAND:
Before we talk about the IEM, let’s talk about the masterminds behind it first. Starting with the manufacturer, Letshuoer is a brand many of us are familiar with due to their rise to prominence with the likes of the S12 and its many variants. Founding in 2016, they’re consistent of audiophiles in pursuit of the ultimate HiFi experience and their products are 100% designed and hand-assembled in house.
Gizaudio in the other hand is a prominent audio review channel and blog that has garnered over 27,000 subscribers and is one of the first few review channels I was exposed to coming into the hobby. Timmy Vangtan is the tuner behind the Galileo with the goal of creating the smoothest sounding and graphing IEM in the “budget” segment. And today, we’ll be taking a look at how well Timmy and Letshuoer were able to achieve that goal.
UNBOXING:
The box of the Galileo is a very stunning artwork of what seems to be the universe and befitting text sprawled around the front. Letshuoer and Galileo are prominently printed along with the phrase, “The Echo of the Deep” and “Letshuoer Sound Alive”. It’s a somewhat minimalist design queue that emphasizes the beautiful artwork that teases you with the beauty of what’s to come. Behind the box shows the Galileo’s specs and some contact details.
Removing the sleeve reveals Letshuoer’s typography placed vertically on the side in a nice blue color and their logo printed on the top left.
Satisfyingly removing this cover up then finally reveals a few paperwork that includes a nice Galileo manual and two cards before finally revealing the magnificent IEMs and the big beefy case. We’ll go further in-depth with each inclusions but I have to say that the manual was an added touch that I absolutely adored. It included the graphs and specs as well as the usual manual stuff on how to wear the IEM and warranty instructions.
Removing the IEMs and the case reveals an empty box. Let’s then move unto the inclusions itself.
Here is a list of all the inclusions
- Galileo IEMs
- 4-core Cable
- 1 hard case
- 3 pairs of white silicone tips
- 3 pairs of black silicone tips
- 1 instruction manual
- 1 warranty card
- 1 extra card
The tips included with the Galileo’s case are similar to the KBEAR/AET07 tips that are found in surprisingly many IEMs today. They’re fantastic tips and I will always vouch for them. There are also standard black silicone tips that I honestly just find to be disposable, but YMMV as these tips do fit better on some people’s ears based on my experience.
The case is quite interesting considering not only the price but just the material of the case itself. It’s a hard case that you could probably throw and it wouldn’t even budge (although I’ve been seeing instances of the case breaking apart so maybe not so much). However, the material isn’t my favorite. If some of you know those rubber material that gets icky after a while, that’s what the exterior base of the Galileo’s case is made of. Big yikes, but it’s a very sturdy case and I would totally use it to hold an IEM that I care about.
Now many of you who know about the Galileo are surely aware of the case. And yes, it is just as hard as people say it is to open. Thankfully, Joseph of Letshuoer provided us with a guide on how to open up the case. Basically, you press down on the case like a sandwich and then pull the tab down and towards you and voila! The infamously hard to open case is now easy peasy.
The unboxing is quite satisfying and the inclusions are solid, barring the case due to how hard it is to open without a guide and the material being that rubber that goes yucky. But for $110, this is definitely more than enough for anyone looking for a solid unboxing with generous inclusions.
BUILD AND FIT
Cable:
The cable of the Galileo is an OFC Silver plated 4-core cable that is terminated in either 3.5 or 4.4mm, is of about 1.2m in length and has an interface of 0.78mm 2-pin.
The build is definitely on the beefier side with an interesting stiff but malleable material that allows it to behave while feeling durable. Each strand feels quite thick and durable but never felt too hefty or weighty in any way. It is, however, definitely on the stiffer side which would occasionally make it feel a little bit janky to pull around. Due to the thickness, it does not tangle easy and when it does, it's quite easy to untangle
There are thankfully no microphonics despite the textured and beefier nature which I absolutely adored as I really liked the stock cable.
Starting with the jack, it’s your standard 3.5mm gold plated jack housed in a minimalist grey housing with Letshuoer’s typography printed near the jack itself. It then tapers off with a jack tail to the 4 core strands.
There 2 grey strands and 2 silver strands and they are both housed in a textured material that allows them to feel quite durable.
Moving up then reveals the y-split which uses the same material as the jack and a chin-cinch which, interestingly, is of a clear material and seems somewhat out of place. Thankfully, due to the combination of the cable material and the shape of the chin cinch, it is quite usable and I’d argue is one of the most sturdy chin cinches that I’ve tried.
Moving up, the cable then split to the two 2-core strands all the way to the preformed ear hooks and the 2-pin interface. The earhooks, for the first few hours of listening, is definitely on the more aggressive in terms of fitting as I found that it really dug into the back of my ears and gave me some discomfort not only behind the ear but also in the inner ear due to the fitting.. However, the earhooks would then form into your ear and it becomes more comfortable. Of course, if you choose to do it manually, you may use a hairgun or heatgun to form it to your desired shape. The interface itself are smooth and uses the same material as the jack and y-split and has a small engraved section for easier pulling. The right side is indicated with a red ring covering the interface while the left is covered with a plain opaque material.
Overall, a solid stock cable that rivals even more expensive IEMs. I seriously wouldn’t mind using this cable for my other IEMs and even more expensive IEMs. It feels durable but not beefy, although a little bit stiff for my liking. The chin cinch, as mentioned is one of the best that I’ve tried in stock cables. The texture definitely helps making it feel more premium than it is. But definitely keep the preformed earhooks in mind, especially if you’re buying a new unit.
IEM:
Before I talk about the build quality of the Galileo, I think I should let you all know how beautiful the Galileo is. Seriously, my first few minutes of the Galileo was just me staring at how beautiful the galaxy-like patterns were. I fell in love with the Galileo’s design from the moment I saw the teasers and I kid you not, it looks so much better in real life.
Small fun facts about the Galileo, the design of the faceplate was done by Timmy’s wife and each design has unique features which makes each Galileo truly your own Galileo.
Let’s move on to the build of the Galileo starting with the specs. The Galileo uses 1 10MM LCP dynamic driver and 1 Sonion 2386 Balanced Armature housed in a 3D Printed synthetic resin that uses a new cavity design.
It has a nice dark blue inner shell color that is consistent throughout the entire build, minus the vibrant faceplate.
The overall shape is akin to the usual resin IEMs like the Kiwi Ears Cadenza and TRI Star River, but the nozzle is also made of the same resin and there is a more prominent wing that allows for a more snug (or painful) fit. It’s leaning on the larger side for my ears (like the previously mentioned IEMs), but I never found it to put unnecessary pressure around my ear. But again, the earhooks did affect the fitting of the Galileo quite drastically. Thankfully, cable rolling or letting the earhooks mold into your ear does fix the issue.
The faceplate, as I’ve already hyped, is absolutely beautiful. The design is placed under the resin faceplate so you can be sure that the design will stay the way it was from the moment you bought it. The design on each side are different with one side of the unit I was able to try having more brown compared to the other.
The 2-pin side of the Galileo is pretty plain and features the aforementioned 2-pin placed flat with the resin. Printed markings and the words “Gizaudio Galileo” on the right and “Letshuoer Galileo” on the left can also be seen when flipping it over.
Moving unto the inner shell and nozzle, there is a vent placed directly across the driver. This is, however, changed in the batch following the unit I received and has been addressed by Letshuoer to be improved without changing the sound quality. As I do not have the later batches, I can’t say for sure. But this is definitely something worth noting.
The nozzle is integrated with the shell itself and is on the larger side. Using a narrower bored eartip definitely proved to be quite difficult due to the size of the nozzle, but the included tips do complement the Galileo quite well in terms of fitting.
There are thankfully no driver flex with the Galileo, however I found myself experiencing a very slight pressure build up with the Galileo on first wearing. It’s bordering really close to being unusable due to the pressure and occlusion, but it doesn’t quite reach that thankfully.
The seal then in turn is very good and blocks off outside noise quite well. Not as well as proper ANC, but its passive isolation is definitely on the better side compared to other resin IEMs that I’ve tried.
Overall, the build of the Galileo is what you’d expect from a resin build. It’s sturdy, fits well for people with average sizes ears and offers probably one of the most aesthetically pleasing designs in any IEMs in the market right now. I’d even put it alongside the likes of the Elysian Gaea in aesthetics which is a very high bar to reach. However, it does border having air pressure build up and occlusion which got me using foams tips on some occasion. But little did I know, the foams tips were a game changer not only in fit but also in sound.
SOUND:
Overall Sound:
The Letshuoer x Gizaudio Galileo is probably one of the most neutral sounding sets that I’ve heard, let alone at $110. I found that the transition from bass to mids to treble and even that treble roll of sounded so neutral that I found myself questioning whether I’m listening to music as intended by the artist. However, the mids occasionally sounded quite thin and the emphasis in the midtreble definitely gave the Galileo an occasionally metallic timbre.
Driving Power:
The Galileo has an impedance of 14ohms and sensitivity of 104db which allows it to sound good out of a smartphone. As usual, using a dongle dac will improve your experience but not necessarily for you to enjoy the Galileo.
Sound Notes:
As stated prior, I initially used foam tips purely for fitting. However, I found that it drastically thickened the midrange and somehow also made the upper midrange sound less metallic. So definitely consider tip rolling with the Galileo if you can.
Bass:
The bass of the Galileo is sub bass dominant with a cleaner, less emphasized midbass.
Starting with the sub bass, it has a very clean but rumbly presentation that gives a lot of heft and impact on the very low notes. The decay is just perfect, decaying fast enough to not make the bass sound boomy but lingers long enough that the very low frequencies are very satisfyingly felt. However, I do not think that this is elevated enough for bassheads, especially considering the midbass being as lean as it is.
Speaking of the midbass, it’s on the leaner side. It’s very clean with instruments being presented linearly and cleanly. This assures that bass notes and low vocals are articulate and audible. Its attack is snappy and decays quickly which creates a very smooth and clean reproduction of sound in this region. However, it might come across as too clean as body and texture are lacking with male vocals often sounding dry, but thankfully never distant. I personally prefer a bit of warmth coming from my male vocals and instruments and the Galileo shys away from that by presenting them in a linear and clean manner. Due to this, it does not sound bloated or bleed into the midrange.
A track like Tabula Rasa by Globular at 3:12 with its lowend focused rumbles sound absolutely fantastic. The notes are clear while offering a strong rumble and reverb. A track like Wake Up by SOS is also presented very cleanly, however its cleaner nature is evident with the bass notes sounding somewhat dry cut and the male vocals lacking a little bit of that low end body.
Mids:
Moving unto the midrange, it follows the bass presentation of being very clean and smooth with not massive peaks or dips in clarity.
Lower mids, like stated prior, are clean and articulate. Instruments sound detailed while vocals sound very linear without any dips in clarity or bloat from the bass. However, it occasionally lacks body and texture that leaves them sounding somewhat boring and bland. Particularly male vocals sound quite boring as paired with the later pinna which we will be taking a look at the upper mids section. However, it is still a very linear and smooth presentation that does not sound offensive or wrong in any sense.
Upper mids is also very smoothly done with a natural rise into the pinna which gives female vocals a very natural sound and instruments a realistic presentation. The transition from the lower mids is nicely done with good cohesion between lower, more bodied notes to more energetic and bright sound. Female vocals sound satisfying without inducing any harshness or peakiness. String and air instruments in this region sound particularly nice with a nice forwardness that gives them a realistic but still appropriately energetic tonality. The timbre however I found somewhat metallic coming into higher upper mids that affect how some instruments and vocals are presented. This could definitely be due to the rolled off treble along with the cleaner lower mids giving upper mids extra emphasis that might not seem natural to some. Thankfully, it does not sound harsh or shouty in any tracks I tried it on and still presented female vocals and instruments quite satisfyingly. Details are also well presented here, albeit somewhat more blunted due to the rolled off treble extension.
I should note here however that the upper mids will occasionally sound somewhat dry due to the lower mids that may make some vocals and instruments sound a little bit too dry. I honestly found this causing the “metallic” timbre, albeit I don’t find it as metallic as some other IEMs that have a BA such as the AFUL Performer 5.
A track like I’m Still Standing by Taron Egerton has a very smooth and neutral production of Taron’s vocals while still providing an immersive and detailed instrument presentation without bloat coming from the upper mids to lower midrange that the song has prominence in. It passes my shout and sibilance test of “You Should Head North” by Necry Talkie while having the bonus of presenting Mossa’s vocals in such a smooth but clean spotlight that is probably the best under $120 that I’ve heard. However, both tracks sound somewhat dry due to the leaner midbass and lower mids that make it sound more “neutral” but also occasionally metallic.
Treble:
The treble region of the Galileo is smooth with an early roll of that emphasizes lower and midtreble.
Lower treble carries over from the upper mids with the smooth and neutral tonality but bumps that metallic timbre just a tad bit much that it would occasionally sound distracting and over emphasized. I personally really like that quality as being a treblehead. However, I take issue with it due to the treble extension not really being there to compliment it. There are no peaks nor dips in this region so instruments and vocals do not sound veiled or harsh. Detail and nuance in this region is quite decent as even with it’s smoother tonality, it still presents a good amount of nuance.
This would transition to the mid treble which I found to be the most problematic aspects of the Galileo as instruments and vocals in this region is prone to sounding quite unnatural and overly dry. This is most likely due to the leaner lower frequencies and rolled off treble that emphasizes this region more. I don’t think it sounds entirely unnatural and there are much worse sounding IEMs in this region. However, considering the price and the tonality that it’s trying to achieve, I personally find that the emphasis can be a bit too much at times.
The upper treble isn’t as bad it would look on the graph if we were to look at it as its own entity. The upper treble sounds naturally rolled off with the lingering notes of instruments and vocals still sounding quite natural and not dark. However, the combination of the leaner lower frequencies and this affects the region prior by overemphasizing it.
Transients in this region is respectable but definitely on the smoother side. Attack in the treble is quite snappy but not the most dynamic that I’ve heard. This could be attributed to the rolled off treble dulling a bit of the attack, but does not dull it to the point where it sounds lifeless.
Paranoid Android by Radiohead is probably the best case scenario for the Galileo to emphasize this region satisfyingly as the percussive instruments and string instruments sound quite natural and energetic that makes the song sound more ethereal than it already is. But then on the other side of the spectrum, you have the song VIVID by ena mori with a prominent snare hit and female vocals that go quite high that would sound quite energetic and bright, but lacks body and will occasionally sound too dry or too unnatural sounding.
Technicalities:
The overall technicalities of the Galileo is respectable, however not necessarily groundbreaking especially for the price.
The stage is by far the weakest aspect of the Galileo as the rolled off treble affects the headstage of the Galileo to the point that instruments and vocals sound quite intimate. It doesn’t sound too choked or too closed in, however it is narrower than its contemporaries.
Where the Galileo shines however is on the imaging and separation. Due to the smooth and clean sound signature thanks in part to the leaner mid bass, instruments are very clean and crisp with their positioning and does quite admirably for more complex tracks which was quite impressive.
The song, “However the illusionist rolls the dice” by Lie and a Chameleon sounds clean and very well separated and positioned with the Galileo with the cymbals strikes complimenting the electric guitar and vocals without having one more dominant than the other in most instances.
COMPARISONS:
Vs Simgot EA500 ($92)
- Metal build on EA500 feels more premium, but cable is better on Galileo
- Fit is initially better on the EA500, but breaking in the cable gives Galileo a more snug fit
- EA500 is more of a musical balanced sound signature compared to the more neutral Galileo
- Subbass isn’t as impactful on the EA500, but bass is much thicker and textured
- Mids are more forward and engaging on the EA500, but less fatiguing on the Galileo
- Treble is better extended but potentially harsher on the EA500
- Techs are overall better on the EA500 but separation is slightly cleaner
Vs Truthear Hexa ($79)
- Both are made from resin, but the Galileo fits better for me
- Both have neutral slight u-shape sound signatures
- Bass sounds thicker but less clean on the Hexa
- Mids sound quite neutral on both, but Galileo has a smoother presentation
- Treble is better extended on the Hexa, but potentially more fatiguing
- Stage is better on the Hexa but separation and imaging is better on Hexa
Vs Celest Pandamon ($59)
- Both are made from Resin, but the Pandamon has a metal faceplate and feels cheaper
- Galileo fits much better
- Pandamon has a warn-neutral sound signature
- Bass is more bodied and textutred, but less controlled on the Pandamon
- Mids are more colored but more full on the Pandamon
- Treble is more elevated on the Galileo with slightly better extension
- Technicalities is better on the Galileo
AFUL Performer 5 ($219)
- Both are made from Resin but the P5 is a more comfortable and snug fit
- The P5 has a more u-shaped sound signature with more emphasis on the bass
- Bass on the Galileo sounds more detailed and clean but less fun and impactful
- Mids on the Galileo sounds more neutral with better body and coherency
- Treble sounds more metallic but better extended on the P5
- Technicalities are about similar with stage being wide and taller on the P5
CONCLUSION:
The Letshuoer x Gizaudio Galileo is by far one of the smoothest and most neutral sounding IEM that I’ve tried in a while. A combination of an elevated subbass that transitions into a clean midbass, uncompromised midrange and a smooth elevation into the treble with an organic roll off created one of the most neutral and borderline reference-like IEM that I’ve heard in the sub $200. However, this comes at the cost of sounding quite stale and arguably boring due to the smoothness in not only the tuning but also its dynamics. It wouldn’t be the first IEM I’d pick if I wanted to have a fun, listening session and would be reserved for more analytical or easy going sessions. It’s also a bonus that the Galileo is seriously one of the smoothest graphing IEM you can get today which means EQing will become a breeze.
But let’s take a step back and look at the market that surrounds the Galileo. Almost all of them feature a tuning akin to the likes of the Aria which, let’s be honest, has become quite the bore to see nowadays. Even with the likes of the EA500 or the Hexa which are quite unique in a sense that they are tuned differently from the market, the Galileo fills a segment that we have not seen anyone target in a while. The closest IEM that I can think of that reminds me of the Galileo are the Etymotic IEMs. They’re smooth, clean and reference-like IEMs that are adored for how clean they sound. And I personally believe that the Galileo is a progression of that sound but further improved for one simple fact: it’s so damn smooth. And for that, I absolutely respect the madlads at Letshuoer and Timmy of Gizaudio for giving us the smoothest and most neutral sounding IEM under $200.
Thank you so much for taking the time to read my review. If you would like to see more of my content, please consider following my Facebook page and my other social media accounts:
YouTube: https://www.youtube.com/channel/UCRv42fx1TIcEpP_QBbkhEOA
Facebook: https://www.facebook.com/OB.ODIO
Twitter: https://twitter.com/obodioreviews
Instagram: https://www.instagram.com/obodioreviews/
You may also read this review on the following platforms:
AudioNotions: https://audionotions.com/letshuoer-x-gizaudio-galileo-review-the-clearest-blue-sky/
If you would like to avail the product review today, check the non-affiliate link below!
HiFiGo Store：https://hifigo.com/products/letshuoer-x-gizaudio-galileo
Amazon US Store: https://www.amazon.com/dp/B0BV6WGJJC/letshuoer+x+gizaudio+galileo/
Amazon JP Store: https://www.amazon.co.jp/dp/B0BV6YKL91/letshuoer+x+gizaudio+galileo/
Aliexpress Store: https://www.aliexpress.com/item/1005005192950738.html
Have a nice day, and enjoy music!
hkjohnzz
What an awesome review. I'm more than satisfied that I bought mine today.
TIN HiFi T2 DLC
TOTAL SCORE: 33 out 50
PRICE: $59 (Php. 2,900.00)
WHO THIS UNIT IS FOR:
RECCOMENDED GENRES:
With the resurgence of IEMs from the past being revived into the new age, it gets you wondering whether it was really necessary to revive them. But it could be argued that if something is so good, then a second iteration or a revision to fit the standards of time does make sense. But how would such IEMs pair with someone who has not tried the original and sees it for what it is.
DISCLAIMERS: This unit was sent as a part of a touring group and provided by Linsoul and Mr. Eiji Romero. I am eternally grateful for this opportunity, but this does not in any way, shape, or form affect the quality of my review. This review will be based entirely on my experience with the IEM itself and I was not paid or told to say anything regarding the IEM. Lastly, I am only one reviewer; this is my personal experience with the unit. Many variables come to play to make everyone’s experience different and your mileage will vary depending on the circumstance.
SOURCES USED:
TRACKS USED:
I used a mixture of DSD, Hi-Res Flac, CD, and MP3 for my songs. This is to widen the possible use case to as much people and would allow me to give my insight on lower fidelity bitrates.
Spotify Playlist:
Document explaining what to look for in each track:
https://docs.google.com/document/d/1oMa7GPLaqtpnnoR9tixvWI4aK-7tXMyTEZCJAVkIZx0/edit?usp=sharing
OTHER ACCESSORIES USED:
Tips:
Cable:
NOTES:
The tips that come with the T2 DLC are all relatively similar and I believe they are all the same with only size being the difference, so I only picked the ones that properly fit my ear. The tips however we’re not the most comfortable for my ears and I found using Final E in small to be the most comfortable.
TIN HiFi. Initially known as Tin Audio, they are a brand I’m sure many of us are familiar with. They’ve been in the market for a long time, officially being launched in 2017 as TIN HiFi, they’ve been in the OEM/ODM scene and have released critically acclaimed consumer IEMs such as the T2, P1, and T3+. In 2018, they released the original T2 which was quite the hit in the ChiFi scene for offering a reference-like tuning in the budget segment. In 2022, TIN HiFi has decided to revise the T2, changing the connector, drivers (but not configuration), and tuning while keeping the ergonomics. Hence, the T2 DLC is born. In this review, I will be viewing the T2 DLC as its own entity and not comparing it to the original as I have not tried it. But I will acknowledge the legacy and status that the original held to give a sort of perspective of someone who understood why the original was critically acclaimed. Let’s get unto the review now, shall we?
SPECSHEET:
Driver: 4th Gen DLC Composite Diaphragm, 10mm Dynamic Driver
Earphone type: In-ear
Impedance: 32Ω±15%
Earphone sensitivity: 111±3dB @1kHz 0.179V
Frequency range: 10-20000Hz
Plug interface: 3.5mm
Cable Length: about 1.2m±3cm
Cable: 5N 8-core silver-plated cable
Interface: 0.78mm 2Pin
UNBOXING:
Before we review the T2 DLC themselves, let’s experience the unboxing together.
The box is of a relatively small but lengthy black cardboard box. A Large T2 can be seen printed in white on the top right of the box with TIN HiFi’s logo and name printed on the bottom left surrounded by an octagram-like pattern that encases it. The sides are plain and the base includes the bar code, QR codes, warning signs, and where the TIN HiFi T2 DLC was manufactured.
Opening the box from the side reveals a nicely textured cardboard box with the same octagram design with TIN HiFi’s log in the center. The box is split into two different materials; a velvet-like material that flaps open and a leatherette material that houses the contents of the box. Flipping open the black part reveals the drivers in all their glory. Under the black flap is a similar white leatherette material with TIN HiFi’s logo embossed in the center. A white velour-like material houses the IEMs with a small piece of paper protruding at the side. Pulling on this paper pulls out the velour and includes the silicone and foam tips, the cable, a calling card-like paper, and the documentation. Below is the complete list of contents and accessories:
The unboxing is quite what I would expect for the price, but definitely quite lacking accessory-wise. TIN HiFi definitely put effort into making the unboxing experience as satisfying and lavish as they could. The velvet and leatherette material both give off a feeling that the product I am about to receive is worth more than how much it actually cost. However, omitting at the cloth pouch was somewhat disappointing as it would’ve at least offered a basic storage solution to those who don’t have anywhere to store the unit. This is especially useful as due to the white color of the stock cable, it’d be more prone to oxidation and yellowing over time. But overall, the unboxing experience is very satisfying and somewhat deluxe for how much it actually cost. The material of the box and the contents are presented in a very orderly and neat manner that would not disappoint those that enjoy a good unboxing experience. I really wish they had at least provided a cloth pouch.
BUILD AND FIT: 7 out of 10
Cable:
The cable is advertised as an 8-Core 5N Silver Plated Undefined cable of ~1.2m in length.
Starting with the jack, it’s your standard 3.5mm gold plated TRS cable housed in a very well-built silver housing with a glossy but slightly grainy finish that features a textured grip near the center and the clear jack tail. It then tapers off to the thin 8-core cable that smoothly braids all the way to the y-split.
We then move to the y-split and chin cinch. The y-split is colored a similar silver to the jack but with a cleaner and more polished finish. There are seams near the edges of both sides potentially to help with gripping the y-split when adjusting the chin cinch. On that note, the chin cinch is not made of the same material as the y-split and instead is an acrylic bead-like material. The cable then splits to two 4 core per split.
Moving up the cable, we reach the preformed earhooks and the 0.78mm (thank goodness) connector housed in the similar silver color and finish as the y-split. Two seams also follow each other near the cable side where the housing tapers. The sides are also indicated with a red plastic covering the 2pin side for the right and a clear with blue dot on the left side.
While the cable does feel very well built, I would have to take criticism at how thin each strand is and the preformed earhooks not complimenting the fit of the IEM well. The jack, split and 2pin connectors feel solid and the chin cinch I would say is very usable and functional compared to even their own cables (looking at you, T3+). But the overall thickness of the cables leave it quite tangle-prone and flimsy compared to even some budget 4-core cables. The cables thankfully don’t irritate my skin despite the textured and defined braid as I’m quite sensitive with how certain cables react to my skin. Probably the worst part about the cable however are the previously mentioned preformed earhooks. With the fit of the IEM (which I will be discussing further in the IEMs section), I would say TIN HiFi wasted an opportunity for a variable fitting with the T2 DLC as the earhooks somewhat make a deeper insertion quite awkward and I’ve occasionally found myself anchoring the earhook lower into my face as it would not properly fit in my ear. Overall, the cable is definitely something that could be improved as despite its confident build, its thickness leaves a lot to be desired and is tangle prone while the earhooks are poorly implemented and does not compliment the IEMs at all.
IEMs:
The T2 DLC sports a 10mm DLC Diaphragm that is a “CCAW ultra-light voice coil imported from Japan, uses N54 high-density, high-strength magnets, and a brass dual-chamber design” housed in a “high-density aviation aluminum” cavity.
The entire build is silver colored, attuned to the aluminum build with an edgier on the flat spectrum but rounded as the overall shape. The faceplate is flat and slightly recessed where the rim is quite prominent surrounding the main faceplate with about ~1mm protruding out. TIN HiFi’s logo is printed in blue at the very center and is of a similar brush finish as the jack. Moving to the sides of the faceplate lives the 0.78mm connector protected by an opaque plastic rim. The sides are very rounded with a single vent on the very bottom of the faceplate from the connector.
Flipping the drivers over shows the nozzle and the somewhat bullet-style molding that curves into a rather edgy shape until it reaches the main cavity in a very polished silver finish.
In regards to fit, I did not notice or feel and driver flex. Isolation was however average but more than enough for someone who still prefers to hear a little bit of their surroundings.
The one thing that I’ve noticed since the start of my audio journey was how unique the shape of the T2 was. It then was quite a pleasant surprise they had kept the shell as I am genuinely curious how it would fit. Least to say, it fits well! It actually reminded me of bullet-style IEMs in how deep I can put it in my ear. The cable however did not cooperate well as due to the earhooks being somewhat poorly implemented, the shape and nature of the T2 DLC makes it quite difficult to have a proper deep insertion. Removing the preformed earhooks or using a cable that does not have a preformed earhook would definitely help a lot with fitting the T2 DLC deeper into your ear. The edginess initially worried me as it would dig into my ears, but I’m happy to say that I did not feel its edginess in my ear whatsoever. I’d even go to say that if I were to pick a shape that most people would not find uncomfortable, it would be the T2s shape. What I would say was a wasted opportunity however was the fact that the T2 DLC can be work cable over the ear or cable down. Due to the preformed earhooks (again), you’re stuck with the cable over the ear fit where some would find uncomfortable. But when paired with an earhook-less cable, I would argue that the T2 DLC can provide a very versatile fitting reminiscent to bullet-style IEMs or even the KBEar Ormosia. I would also like to happily say that there is no driver flex on the T2 DLCs which is a big plus. Overall, the shell of the T2 DLC is quite a universal and comfortable fit, ruined only by the stock cable. The build is very solid and having tried MMCX prior, the change to 2pin 0.78mm connectors makes the confident build quality even sturdier. When paired with a cable without earhooks, I’d argue this is one of the most versatile and comfortable IEMs to wear.
SOUND: 24 out of 40
Sound Signature:
Balanced, Harman-like, leaning slightly to u-shaped but both bass and treble region aren’t as emphasized compared to other slightly u-shaped.
Driving Power:
Can be comfortably driven on a phone but having at least a DAC/AMP gives bass more texture and treble a bit more shine.
Bass: 6.5 out of 10
As someone who’s really not that into a lot of bass, I found the T2 DLCs bass to be quite enjoyable and adequate for my tastes. It’s lean and presents bass in a detailed and well-controlled manner. Having said that, however, it does have its issues with how it presents bass. Starting with the sub bass; it’s there but there isn’t a lot of it. Deep rumble of bass instruments and synths is still audible and occasionally felt, but it’s quite submissive in the overall mix as I’ve found that even heavy subbass tracks such as Globular’s Tabula Rasa or Steve Lacy’s Static don’t give that satisfying rumble I look for on IEMs for those particular tracks. The midbass being clean and well-controlled also takes a hit on midbass texture as in tracks like Sad Clown by Panic! At the Disco or Liz makes the overall mix sound too clean sounding and loses the fun feeling you get listening to those songs. Thankfully, it presents a very clean and non-bloated experience in a track such as LAX by Vulfpeck that makes it quite a good listen on jazzy/funky tracks where the dominance of lower octave guitar, electric bass and cellos are prominent and can muddy the mix. There’s also a slight bleed into the lower mids that thankfully just adds warmth and does not pull back the vocals and instruments in that region. Overall, it’s an overall clean bass response with good detail but poor texture and can get somewhat clinical. It just barely holds unto a fun factor through an elevated midbass presentation.
Mids: 7 out of 10
The mids of the T2 DLC was quite satisfying as this is borderline neutral to my ears. I found both male and female vocals to have very similar qualities with males having a sufficient amount of weight and vocal nuance and females having a nice colder presentation to give a bit of sparkle in the nuances. But neither really sparked any crunch that the occasional male vocal has or that shine that certain female vocals have. Brendon Urie is probably the perfect example to depict both spectrums as his wide vocal range can span the entirety of the mids. His vocals just sound right on the T2 DLC, but doesn’t really make his voice shine in any way. It’s neutral, organic and dare I say, quite boring. Instruments fall into a very similar story where almost all instruments have a neutral and inoffensive presentation. Guitars lack the crunch but instead have the details and nuances that is often absent when crunch is present. Acoustic guitars sound especially good as the flatter response of the T2 DLC puts acoustic instruments in a flatter spectrum that makes them quite satisfying to listen. Pianos sound especially nice, but again quite lean in presentation. Thankfully, the midbass bleed adds warmth to both vocals and instruments that give them just enough body for me to enjoy. The upper mids are arguably the most inoffensive but also least detailed region. Going back to Brendon Urie, his vocals can occasionally take a step back when he goes for higher notes and loses the sparkle in Brendon’s vocals. An example of this is God Killed Rock and Roll where his voice starts quite low with good body and nuances, but the chorus somewhat puts his vocals behind the instruments. It’s lean with good enough details, but quite a bore and can be too lean in some instances. Overall, I’d say the mids are inoffensive enough for most people to enjoy, but will definitely lack for those who look for more vocal nuance and forward presentation.
Treble: 6.5 out of 10
This is probably one of the smoothest treble responses I’ve properly enjoyed in this price range. I normally prefer my treble to be more extended and emphasized than this, but this was elevated enough from this mix for me to enjoy while still being smoother and less harsh than what I enjoy. Starting with the lower treble, it’s still quite dry and lean but can bring out vocal nuance and instrument detail in this region. Middle treble is where the T2 DLC truly comes alive as cymbal strikes, claps and the airier side of vocals have this sparkle and sharpness that I enjoy, but may be too much for some. This is still on the tamer side, in my opinion compared to some other IEMs similar to the T2 DLC. You Should Head North by Necry Talkie works both as a shout and treble quality test in my playlist and it offers a non-shouty yet well-defined cymbal and guitar plucks without sparing tonality. However, I found that Mossa’s vocals sounded a bit too safe in the mix and somewhat doesn’t present her vocals in an exciting and fun manner. The upper treble found itself to slope down smoother rather than work off the brighter presentation in the middle treble, giving it a slightly blunted attack without the splashiness of certain instruments. It still lingers on quite nicely, but not enough for me to call it treblehead. This is most evident in a track such as Tambalan by UDD where a well-defined hi-hat is constantly being hit where the T2 DLC presents a relatively good attack but short decay that makes it inoffensive but also linear in presentation. Regardless, this is still quite a smooth and enjoyable experience and I would go as to say is my favorite part of the T2 DLC as a whole. The combination of a leaner bass and flatter mids brought out quite a fun and well-presented treble region. Only if they had continued to give it more air, it would’ve been quite satisfying for a treblehead like me.
Soundstage, Imaging and Separation: 6 out of 10
The overall technicalities of the T2 DLC isn’t really the most impressive that I’ve tried, but definitely cleaner and more capable than a lot of IEMs I’ve tried around this price range. Staging isn’t anything special as its leaner bass gives in just a decent amount of bass depth, enough to create a sense of headroom when paired with the decently extended treble. But once again, I’ve found it to be a bit more claustrophobic that I expected it to be, thanks to the treble lacking a bit of air. Width is about average too with instruments being placed neither too close or too far, but still intimate enough to remind me that I’m using IEMs. Separation and Imaging however I’d say is quite well done thanks to its tonality being on the more neutral side which presents instruments cleanly throughout the mix. This however changes when thrown to a complex track like Rumbling by SiM. It’s still a great overall experience, but guitars can get pulled back with only the treble region being able to properly separate instruments and still struggling especially when the electric guitars of higher octaves come into play. Thanks to the leaner bass response, However the Illusionist Shakes The Dice by Lie and a Chameleon actually sounds quite nice with guitars, vocals and percussions being well separated from each other. It still occasionally struggles like in the chorus but verse and prechorus presents the song quite satisfyingly.
Gaming: ✪✪✪✰✰
Gaming on the T2 DLC is quite good but with certain caveats. The flatter response means that competitive games can be a breeze to be able to distinguish sounds from each other as no specific sound overpowers the other, but it also makes environmental and atmospheric games feel a bit too reference for my tastes. Footsteps, room reverberation and gunfire all sound good but unengaging at times. But this honestly falls to ones preference in games as I’d confidently say that the T2 DLC can be good enough for competitive games. It has a very comfortable fit that (when modified) can be configured in two different ways and a non-fatiguing sound. I’d give this a pass for competitive gaming and if you prefer to hear atmospheric games as flat and reference-like as possible
Multimedia: ✪✪✪✰✰
As stated in the gaming section, it’s quite flat in terms of where the emphasis falls on specific sounds. This still carries on to multimedia, but this benefits vocals especially as I am able to distinguish vocals from the environment even on notoriously difficult-to-understand films (mostly made by Christopher Nolan). I would say that these blended quite well in long binge sessions and films with a lot of action as I never felt any fatigue from them. But it did come at the cost of engagement to the sounds. Micronuances of sound design can also be quite flat in response but thankfully audible and allowed me to appreciate the subtle details in music, atmosphere or scenes that involved an emphasis on sound. Overall a good, nearly reference-style listen.
COMPARISONS
Vs T3+ ($79)
Vs Intime Sora 1 ($49)
VERDICT:
Having tried the T2 DLC without the perspective of the previous iteration, I would say that the T2 DLC has an inoffensive and borderline neutral timbre with a hint of elevation on the bass and treble to give a bit of fun to the mix. It’s technically capable for the price with virtually nothing wrong with the sound quality.
But when we look at the T2 DLC in the current state of the market, it really gets you to think about whether the T2 DLC holds up against the competition. As a unit, the T2 DLC does nothing wrong to give it any distinctive con to swerve people away from buying it. But T2 DLC played too safe in a market where constant innovation appears almost every month. The budget segment has never been as competitive in the last few years, and yet TIN HiFi choose that the T2 DLC played on the preexisting formula that the likes of the Moondrop Aria has set a year prior.
Is the T2 DLC good? I’d argue that it is. Is it enjoyable and capable to be your daily driver or even first IEM, I would argue that there are better choices but it’s definitely a good choice if you fancy the shape and want a more neutral sound signature. But can it compete with the ever-expanding choices of IEMs that provide exceptional technical ability through new and innovative drivers/tuning, abundant accessory inclusions, or overall just a more specialized target? I would argue that it all comes down to where the market flows in the next few months. But I have a hunch that the T2 DLC will just be another IEM tuned safely that will be forgotten in due months' time when extravagant and interesting IEMs that offer much more than a safe and inoffensive tuning with average technical ability. If anything, I’d compare the T2 DLC to a sequel of a blockbuster film. Some may have been waiting for the sequel, but it has presented itself to be a safe but lifeless addition to an ever-growing market of lifeless sequels.
I have not tried the original T2, but I do understand that the T2 cemented itself as unique in a market filled with a similar V-Shaped tuning by going for a reference-style tonality and interesting form factor. It shocked the market then for being as innovative and different, yet its revision ended up falling ill to the tonal deafness that it once broke free of. It found itself washed up, not by doing things wrong but by being complacent to a market that needs constant innovation. And there, the T2 DLC lies almost undistinguishable amongst the pile of harman-like tuning that has filled the market in recent times. And there the T2 DLC digs its own grave, forgotten and overshadowed by those that choose to innovate like it did all those years ago.
Thank you for taking the time to read my review! Please consider liking and following facebook my page if you want to see more audio review content from me. You may also find this review in Facebook on the following link below. Thank you and have a beautiful day!
https://www.facebook.com/OB.ODIO/po...XJQZ37pGoK69XwxpMCnyn1RXXefaAFoHYqPwca56ADx3l
If you would like to avail a unit for yourself, you may visit the non-affiliated link below.
https://www.linsoul.com/products/tinhifi-t2-dlc?variant=43419306328281
TOTAL SCORE: 33 out 50
PRICE: $59 (Php. 2,900.00)
WHO THIS UNIT IS FOR:
- Neutral leaning Harman tuning enjoyers
- People who enjoyed the shape of the OG T2
- Good all-rounder IEM for most genres
- Bass and treble sensitive people
- People who like natural timbre
- People who want a fun and engaging sound signature
- People who want to do deep insertion (with stock cable)
- People who want a lot of accessories
- People who want an upgrade in sound quality from the OG T2
- Harman-haters
RECCOMENDED GENRES:
- Classical
- Jazz
- Funk
- Pop (generally)
Rock (less complex sub-genres)
With the resurgence of IEMs from the past being revived into the new age, it gets you wondering whether it was really necessary to revive them. But it could be argued that if something is so good, then a second iteration or a revision to fit the standards of time does make sense. But how would such IEMs pair with someone who has not tried the original and sees it for what it is.
DISCLAIMERS: This unit was sent as a part of a touring group and provided by Linsoul and Mr. Eiji Romero. I am eternally grateful for this opportunity, but this does not in any way, shape, or form affect the quality of my review. This review will be based entirely on my experience with the IEM itself and I was not paid or told to say anything regarding the IEM. Lastly, I am only one reviewer; this is my personal experience with the unit. Many variables come to play to make everyone’s experience different and your mileage will vary depending on the circumstance.
SOURCES USED:
- Zishan U1
- Not-by-VE Abigail
- VE Megatron
- Poco M3
TRACKS USED:
I used a mixture of DSD, Hi-Res Flac, CD, and MP3 for my songs. This is to widen the possible use case to as much people and would allow me to give my insight on lower fidelity bitrates.
Spotify Playlist:
Document explaining what to look for in each track:
https://docs.google.com/document/d/1oMa7GPLaqtpnnoR9tixvWI4aK-7tXMyTEZCJAVkIZx0/edit?usp=sharing
OTHER ACCESSORIES USED:
Tips:
- Final E in S & M
- Newbee in S & M
- Stock White tips in S & M
Cable:
- Stock Silver Cable
NOTES:
The tips that come with the T2 DLC are all relatively similar and I believe they are all the same with only size being the difference, so I only picked the ones that properly fit my ear. The tips however we’re not the most comfortable for my ears and I found using Final E in small to be the most comfortable.
TIN HiFi. Initially known as Tin Audio, they are a brand I’m sure many of us are familiar with. They’ve been in the market for a long time, officially being launched in 2017 as TIN HiFi, they’ve been in the OEM/ODM scene and have released critically acclaimed consumer IEMs such as the T2, P1, and T3+. In 2018, they released the original T2 which was quite the hit in the ChiFi scene for offering a reference-like tuning in the budget segment. In 2022, TIN HiFi has decided to revise the T2, changing the connector, drivers (but not configuration), and tuning while keeping the ergonomics. Hence, the T2 DLC is born. In this review, I will be viewing the T2 DLC as its own entity and not comparing it to the original as I have not tried it. But I will acknowledge the legacy and status that the original held to give a sort of perspective of someone who understood why the original was critically acclaimed. Let’s get unto the review now, shall we?
SPECSHEET:
Driver: 4th Gen DLC Composite Diaphragm, 10mm Dynamic Driver
Earphone type: In-ear
Impedance: 32Ω±15%
Earphone sensitivity: 111±3dB @1kHz 0.179V
Frequency range: 10-20000Hz
Plug interface: 3.5mm
Cable Length: about 1.2m±3cm
Cable: 5N 8-core silver-plated cable
Interface: 0.78mm 2Pin
UNBOXING:
Before we review the T2 DLC themselves, let’s experience the unboxing together.
The box is of a relatively small but lengthy black cardboard box. A Large T2 can be seen printed in white on the top right of the box with TIN HiFi’s logo and name printed on the bottom left surrounded by an octagram-like pattern that encases it. The sides are plain and the base includes the bar code, QR codes, warning signs, and where the TIN HiFi T2 DLC was manufactured.
Opening the box from the side reveals a nicely textured cardboard box with the same octagram design with TIN HiFi’s log in the center. The box is split into two different materials; a velvet-like material that flaps open and a leatherette material that houses the contents of the box. Flipping open the black part reveals the drivers in all their glory. Under the black flap is a similar white leatherette material with TIN HiFi’s logo embossed in the center. A white velour-like material houses the IEMs with a small piece of paper protruding at the side. Pulling on this paper pulls out the velour and includes the silicone and foam tips, the cable, a calling card-like paper, and the documentation. Below is the complete list of contents and accessories:
- TIN T2 DLC Drivers
- 8 Core Cable
- 12 pairs of silicone tips
- 1 pair of foam tips
- Warranty card and user manual
- Welcome card
The unboxing is quite what I would expect for the price, but definitely quite lacking accessory-wise. TIN HiFi definitely put effort into making the unboxing experience as satisfying and lavish as they could. The velvet and leatherette material both give off a feeling that the product I am about to receive is worth more than how much it actually cost. However, omitting at the cloth pouch was somewhat disappointing as it would’ve at least offered a basic storage solution to those who don’t have anywhere to store the unit. This is especially useful as due to the white color of the stock cable, it’d be more prone to oxidation and yellowing over time. But overall, the unboxing experience is very satisfying and somewhat deluxe for how much it actually cost. The material of the box and the contents are presented in a very orderly and neat manner that would not disappoint those that enjoy a good unboxing experience. I really wish they had at least provided a cloth pouch.
BUILD AND FIT: 7 out of 10
Cable:
The cable is advertised as an 8-Core 5N Silver Plated Undefined cable of ~1.2m in length.
Starting with the jack, it’s your standard 3.5mm gold plated TRS cable housed in a very well-built silver housing with a glossy but slightly grainy finish that features a textured grip near the center and the clear jack tail. It then tapers off to the thin 8-core cable that smoothly braids all the way to the y-split.
We then move to the y-split and chin cinch. The y-split is colored a similar silver to the jack but with a cleaner and more polished finish. There are seams near the edges of both sides potentially to help with gripping the y-split when adjusting the chin cinch. On that note, the chin cinch is not made of the same material as the y-split and instead is an acrylic bead-like material. The cable then splits to two 4 core per split.
Moving up the cable, we reach the preformed earhooks and the 0.78mm (thank goodness) connector housed in the similar silver color and finish as the y-split. Two seams also follow each other near the cable side where the housing tapers. The sides are also indicated with a red plastic covering the 2pin side for the right and a clear with blue dot on the left side.
While the cable does feel very well built, I would have to take criticism at how thin each strand is and the preformed earhooks not complimenting the fit of the IEM well. The jack, split and 2pin connectors feel solid and the chin cinch I would say is very usable and functional compared to even their own cables (looking at you, T3+). But the overall thickness of the cables leave it quite tangle-prone and flimsy compared to even some budget 4-core cables. The cables thankfully don’t irritate my skin despite the textured and defined braid as I’m quite sensitive with how certain cables react to my skin. Probably the worst part about the cable however are the previously mentioned preformed earhooks. With the fit of the IEM (which I will be discussing further in the IEMs section), I would say TIN HiFi wasted an opportunity for a variable fitting with the T2 DLC as the earhooks somewhat make a deeper insertion quite awkward and I’ve occasionally found myself anchoring the earhook lower into my face as it would not properly fit in my ear. Overall, the cable is definitely something that could be improved as despite its confident build, its thickness leaves a lot to be desired and is tangle prone while the earhooks are poorly implemented and does not compliment the IEMs at all.
IEMs:
The T2 DLC sports a 10mm DLC Diaphragm that is a “CCAW ultra-light voice coil imported from Japan, uses N54 high-density, high-strength magnets, and a brass dual-chamber design” housed in a “high-density aviation aluminum” cavity.
The entire build is silver colored, attuned to the aluminum build with an edgier on the flat spectrum but rounded as the overall shape. The faceplate is flat and slightly recessed where the rim is quite prominent surrounding the main faceplate with about ~1mm protruding out. TIN HiFi’s logo is printed in blue at the very center and is of a similar brush finish as the jack. Moving to the sides of the faceplate lives the 0.78mm connector protected by an opaque plastic rim. The sides are very rounded with a single vent on the very bottom of the faceplate from the connector.
Flipping the drivers over shows the nozzle and the somewhat bullet-style molding that curves into a rather edgy shape until it reaches the main cavity in a very polished silver finish.
In regards to fit, I did not notice or feel and driver flex. Isolation was however average but more than enough for someone who still prefers to hear a little bit of their surroundings.
The one thing that I’ve noticed since the start of my audio journey was how unique the shape of the T2 was. It then was quite a pleasant surprise they had kept the shell as I am genuinely curious how it would fit. Least to say, it fits well! It actually reminded me of bullet-style IEMs in how deep I can put it in my ear. The cable however did not cooperate well as due to the earhooks being somewhat poorly implemented, the shape and nature of the T2 DLC makes it quite difficult to have a proper deep insertion. Removing the preformed earhooks or using a cable that does not have a preformed earhook would definitely help a lot with fitting the T2 DLC deeper into your ear. The edginess initially worried me as it would dig into my ears, but I’m happy to say that I did not feel its edginess in my ear whatsoever. I’d even go to say that if I were to pick a shape that most people would not find uncomfortable, it would be the T2s shape. What I would say was a wasted opportunity however was the fact that the T2 DLC can be work cable over the ear or cable down. Due to the preformed earhooks (again), you’re stuck with the cable over the ear fit where some would find uncomfortable. But when paired with an earhook-less cable, I would argue that the T2 DLC can provide a very versatile fitting reminiscent to bullet-style IEMs or even the KBEar Ormosia. I would also like to happily say that there is no driver flex on the T2 DLCs which is a big plus. Overall, the shell of the T2 DLC is quite a universal and comfortable fit, ruined only by the stock cable. The build is very solid and having tried MMCX prior, the change to 2pin 0.78mm connectors makes the confident build quality even sturdier. When paired with a cable without earhooks, I’d argue this is one of the most versatile and comfortable IEMs to wear.
SOUND: 24 out of 40
Sound Signature:
Balanced, Harman-like, leaning slightly to u-shaped but both bass and treble region aren’t as emphasized compared to other slightly u-shaped.
Driving Power:
Can be comfortably driven on a phone but having at least a DAC/AMP gives bass more texture and treble a bit more shine.
Bass: 6.5 out of 10
- Lean but well-controlled presentation
- Good attack and decay on bass notes
- Sub bass is present but does not dominate the frequency
- Mid bass is slightly more prominent, lacks impact and texture but good detail and sleep
- Slight bleed to give vocals and instruments some warmth
As someone who’s really not that into a lot of bass, I found the T2 DLCs bass to be quite enjoyable and adequate for my tastes. It’s lean and presents bass in a detailed and well-controlled manner. Having said that, however, it does have its issues with how it presents bass. Starting with the sub bass; it’s there but there isn’t a lot of it. Deep rumble of bass instruments and synths is still audible and occasionally felt, but it’s quite submissive in the overall mix as I’ve found that even heavy subbass tracks such as Globular’s Tabula Rasa or Steve Lacy’s Static don’t give that satisfying rumble I look for on IEMs for those particular tracks. The midbass being clean and well-controlled also takes a hit on midbass texture as in tracks like Sad Clown by Panic! At the Disco or Liz makes the overall mix sound too clean sounding and loses the fun feeling you get listening to those songs. Thankfully, it presents a very clean and non-bloated experience in a track such as LAX by Vulfpeck that makes it quite a good listen on jazzy/funky tracks where the dominance of lower octave guitar, electric bass and cellos are prominent and can muddy the mix. There’s also a slight bleed into the lower mids that thankfully just adds warmth and does not pull back the vocals and instruments in that region. Overall, it’s an overall clean bass response with good detail but poor texture and can get somewhat clinical. It just barely holds unto a fun factor through an elevated midbass presentation.
Mids: 7 out of 10
- Inoffensive and natural tonality
- Lower mids with a sufficient amount of warmth and body
- Mids with a clear and articulate presentation of instruments, albeit somewhat linear
- Upper mids free from shout but present vocals in a leaner and dry manner, somewhat recessed in certain mixes
- Instrument presentation is rather smooth without any specific instruments dominating the frequency
The mids of the T2 DLC was quite satisfying as this is borderline neutral to my ears. I found both male and female vocals to have very similar qualities with males having a sufficient amount of weight and vocal nuance and females having a nice colder presentation to give a bit of sparkle in the nuances. But neither really sparked any crunch that the occasional male vocal has or that shine that certain female vocals have. Brendon Urie is probably the perfect example to depict both spectrums as his wide vocal range can span the entirety of the mids. His vocals just sound right on the T2 DLC, but doesn’t really make his voice shine in any way. It’s neutral, organic and dare I say, quite boring. Instruments fall into a very similar story where almost all instruments have a neutral and inoffensive presentation. Guitars lack the crunch but instead have the details and nuances that is often absent when crunch is present. Acoustic guitars sound especially good as the flatter response of the T2 DLC puts acoustic instruments in a flatter spectrum that makes them quite satisfying to listen. Pianos sound especially nice, but again quite lean in presentation. Thankfully, the midbass bleed adds warmth to both vocals and instruments that give them just enough body for me to enjoy. The upper mids are arguably the most inoffensive but also least detailed region. Going back to Brendon Urie, his vocals can occasionally take a step back when he goes for higher notes and loses the sparkle in Brendon’s vocals. An example of this is God Killed Rock and Roll where his voice starts quite low with good body and nuances, but the chorus somewhat puts his vocals behind the instruments. It’s lean with good enough details, but quite a bore and can be too lean in some instances. Overall, I’d say the mids are inoffensive enough for most people to enjoy, but will definitely lack for those who look for more vocal nuance and forward presentation.
Treble: 6.5 out of 10
- Decent extension with good microdetail retrieval
- Instrument presentation is especially good in this region, but will struggle to pluck out details in busy tracks
- Lower treble carries over a lean and dry presentation from the upper mids
- Middle treble has good microdetail retrieval without sounding too bright or harsh
- Upper treble has decent extension, but lacks enough air for instruments and vocals to really sparkle
This is probably one of the smoothest treble responses I’ve properly enjoyed in this price range. I normally prefer my treble to be more extended and emphasized than this, but this was elevated enough from this mix for me to enjoy while still being smoother and less harsh than what I enjoy. Starting with the lower treble, it’s still quite dry and lean but can bring out vocal nuance and instrument detail in this region. Middle treble is where the T2 DLC truly comes alive as cymbal strikes, claps and the airier side of vocals have this sparkle and sharpness that I enjoy, but may be too much for some. This is still on the tamer side, in my opinion compared to some other IEMs similar to the T2 DLC. You Should Head North by Necry Talkie works both as a shout and treble quality test in my playlist and it offers a non-shouty yet well-defined cymbal and guitar plucks without sparing tonality. However, I found that Mossa’s vocals sounded a bit too safe in the mix and somewhat doesn’t present her vocals in an exciting and fun manner. The upper treble found itself to slope down smoother rather than work off the brighter presentation in the middle treble, giving it a slightly blunted attack without the splashiness of certain instruments. It still lingers on quite nicely, but not enough for me to call it treblehead. This is most evident in a track such as Tambalan by UDD where a well-defined hi-hat is constantly being hit where the T2 DLC presents a relatively good attack but short decay that makes it inoffensive but also linear in presentation. Regardless, this is still quite a smooth and enjoyable experience and I would go as to say is my favorite part of the T2 DLC as a whole. The combination of a leaner bass and flatter mids brought out quite a fun and well-presented treble region. Only if they had continued to give it more air, it would’ve been quite satisfying for a treblehead like me.
Soundstage, Imaging and Separation: 6 out of 10
- Average staging with an equal amount of depth, width, and height
- Thanks to a flatter response, separation ability is impressive except when listening to complex and layered tracks
- Imaging follows separation but is just average performance
The overall technicalities of the T2 DLC isn’t really the most impressive that I’ve tried, but definitely cleaner and more capable than a lot of IEMs I’ve tried around this price range. Staging isn’t anything special as its leaner bass gives in just a decent amount of bass depth, enough to create a sense of headroom when paired with the decently extended treble. But once again, I’ve found it to be a bit more claustrophobic that I expected it to be, thanks to the treble lacking a bit of air. Width is about average too with instruments being placed neither too close or too far, but still intimate enough to remind me that I’m using IEMs. Separation and Imaging however I’d say is quite well done thanks to its tonality being on the more neutral side which presents instruments cleanly throughout the mix. This however changes when thrown to a complex track like Rumbling by SiM. It’s still a great overall experience, but guitars can get pulled back with only the treble region being able to properly separate instruments and still struggling especially when the electric guitars of higher octaves come into play. Thanks to the leaner bass response, However the Illusionist Shakes The Dice by Lie and a Chameleon actually sounds quite nice with guitars, vocals and percussions being well separated from each other. It still occasionally struggles like in the chorus but verse and prechorus presents the song quite satisfyingly.
Gaming: ✪✪✪✰✰
Gaming on the T2 DLC is quite good but with certain caveats. The flatter response means that competitive games can be a breeze to be able to distinguish sounds from each other as no specific sound overpowers the other, but it also makes environmental and atmospheric games feel a bit too reference for my tastes. Footsteps, room reverberation and gunfire all sound good but unengaging at times. But this honestly falls to ones preference in games as I’d confidently say that the T2 DLC can be good enough for competitive games. It has a very comfortable fit that (when modified) can be configured in two different ways and a non-fatiguing sound. I’d give this a pass for competitive gaming and if you prefer to hear atmospheric games as flat and reference-like as possible
Multimedia: ✪✪✪✰✰
As stated in the gaming section, it’s quite flat in terms of where the emphasis falls on specific sounds. This still carries on to multimedia, but this benefits vocals especially as I am able to distinguish vocals from the environment even on notoriously difficult-to-understand films (mostly made by Christopher Nolan). I would say that these blended quite well in long binge sessions and films with a lot of action as I never felt any fatigue from them. But it did come at the cost of engagement to the sounds. Micronuances of sound design can also be quite flat in response but thankfully audible and allowed me to appreciate the subtle details in music, atmosphere or scenes that involved an emphasis on sound. Overall a good, nearly reference-style listen.
COMPARISONS
Vs T3+ ($79)
- T2 DLC lacks the pouch that comes with the T3+ but still has the wide array of tips and a nice unboxing experience
- T2 has a more versatile fitting but T3+ fits my ear more comfortable
- Cable is similar in feel but T2 DLC feels tighter in braid (in turn making it more tangle-prone)
- T2 DLC has a similar sound signature to T3+ but T3+ is more fun and engaging
- T2 DLC has a cleaner but less textured and fun bass compared to T3+
- T2 DLC has a more organic and natural sound mids region but less emphasized on micronuances of instrument and vocals compared to T3+
- T3+ has better upper mids emphasis with more detail and forwardness compared to T2 DLC
- T3+ also has a slightly better treble presentation and extension compared to T2 DLC, but T2 DLC is affected less by a dominant bass section and is less congested
- T3+ has better overall technicalities, but struggles more on busier tracks compared to T2 DLC and presents instruments in a less linear manner
Vs Intime Sora 1 ($49)
- Sora 1 has a pretty bad case of driver flex (to my ears) and cable is very angle prone compared to T2 DLC
- T2 is more of a Balanced, nearly U-Shape sound signature while Sora 1 is U shaped leaning neutral
- T2 DLC bass is more textured but less rumbly compared to Sora 1
- Sora 1 has cleaner overall bass response compared to T2 DLC
- Mids are better presented on T2 DLC with both male vocals and female vocals having good weight and vocal nuance compared to Sora 1
- Treble is somewhat similar with Sora 1 slightly edging detail retrieval
- Staging goes to T2 DLC while imaging and separation goes to Sora 1
VERDICT:
Having tried the T2 DLC without the perspective of the previous iteration, I would say that the T2 DLC has an inoffensive and borderline neutral timbre with a hint of elevation on the bass and treble to give a bit of fun to the mix. It’s technically capable for the price with virtually nothing wrong with the sound quality.
But when we look at the T2 DLC in the current state of the market, it really gets you to think about whether the T2 DLC holds up against the competition. As a unit, the T2 DLC does nothing wrong to give it any distinctive con to swerve people away from buying it. But T2 DLC played too safe in a market where constant innovation appears almost every month. The budget segment has never been as competitive in the last few years, and yet TIN HiFi choose that the T2 DLC played on the preexisting formula that the likes of the Moondrop Aria has set a year prior.
Is the T2 DLC good? I’d argue that it is. Is it enjoyable and capable to be your daily driver or even first IEM, I would argue that there are better choices but it’s definitely a good choice if you fancy the shape and want a more neutral sound signature. But can it compete with the ever-expanding choices of IEMs that provide exceptional technical ability through new and innovative drivers/tuning, abundant accessory inclusions, or overall just a more specialized target? I would argue that it all comes down to where the market flows in the next few months. But I have a hunch that the T2 DLC will just be another IEM tuned safely that will be forgotten in due months' time when extravagant and interesting IEMs that offer much more than a safe and inoffensive tuning with average technical ability. If anything, I’d compare the T2 DLC to a sequel of a blockbuster film. Some may have been waiting for the sequel, but it has presented itself to be a safe but lifeless addition to an ever-growing market of lifeless sequels.
I have not tried the original T2, but I do understand that the T2 cemented itself as unique in a market filled with a similar V-Shaped tuning by going for a reference-style tonality and interesting form factor. It shocked the market then for being as innovative and different, yet its revision ended up falling ill to the tonal deafness that it once broke free of. It found itself washed up, not by doing things wrong but by being complacent to a market that needs constant innovation. And there, the T2 DLC lies almost undistinguishable amongst the pile of harman-like tuning that has filled the market in recent times. And there the T2 DLC digs its own grave, forgotten and overshadowed by those that choose to innovate like it did all those years ago.
Thank you for taking the time to read my review! Please consider liking and following facebook my page if you want to see more audio review content from me. You may also find this review in Facebook on the following link below. Thank you and have a beautiful day!
https://www.facebook.com/OB.ODIO/po...XJQZ37pGoK69XwxpMCnyn1RXXefaAFoHYqPwca56ADx3l
If you would like to avail a unit for yourself, you may visit the non-affiliated link below.
https://www.linsoul.com/products/tinhifi-t2-dlc?variant=43419306328281
Attachments
MUSE HiFi Power
WHO THIS UNIT IS FOR:
- Planar collectors
- People who like a lot of good accessory inclusions
- People who have big ears
- People who like technically capable IEMs
- People who like colder-sounding female vocals
WHO THIS UNIT ISN’T FOR:
- Shout and sibilant sensitive people
- People who are looking for the best value planar
- People who like a lot of rumble and midbass texture
- People who like a smooth treble response
- People who have small ears
RECCOMENDED GENRES:
- Jazz
- Classical
- Electro-pop
- Soft-Pop
- Rock (generally)
The Planar war continues to rage and companies are coming up with new releases left and right. But what happens when a relatively new brand known for its portable DAC/AMP takes a shot at a newly hyped market?
DISCLAIMERS: This unit was sent as a part of a touring group and provided by MUSE HiFI and Mr. Ken Alfonso. I am eternally grateful for this opportunity, but this does not in any way, shape, or form affect the quality of my review. This review will be based entirely on my experience with the IEM itself and I was not paid or told to say anything regarding the IEM. Lastly, I am only one reviewer; this is my personal experience with the unit. Many variables come to play to make everyone’s experience different and your mileage will vary depending on the circumstance.
TRACKS USED:
I used a mixture of DSD, Hi-Res Flac, CD, and MP3 for my songs. This is to widen the possible use case to as much people and would allow me to give my insight on lower fidelity bitrates.
Spotify Playlist:
Document explaining what to look for in each track:
https://docs.google.com/document/d/1oMa7GPLaqtpnnoR9tixvWI4aK-7tXMyTEZCJAVkIZx0/edit?usp=sharing
SOURCES USED:
Zishan U1
Not-by-VE Abigail
VE Megatron
Poco M3
OTHER ACCESSORIES USED:
Tips:
Final E in S & M
Newbee in S & M
Stock Red Tips in S & M
Stock Stock Green Tips in S & M
Stock Clear Tips in S & M
Stock Grey Tips in S & M
Cable:
Stock cable
NOTES:
I found that the newbees and the stock green tips are very similar and therefore, my thoughts on one will carry over to the other. However, I found that the most comfortable tip that offers the best sound is the Final E in small. But for a “stock” configuration, I preferred the stock red tips and therefore it was what I used throughout the review. Comfort and sound will vary depending on the tips you will be using.
I also found a potentially big issue where the MUSE HiFi Power would make my Zishan U1 do a weird clicking sound and occasionally lose connection. This was not the case with any of the other sources. This could be a personal issue, though
INTRODUCTION:
MUSE HiFi is a relatively new and lesser-known brand only known to my knowledge with their MUSE HiFi M3 DAC/AMP. This is also my first experience with this brand which leaves me without a basis of reference to the kind of products they release. But this may be for the better as I have no expectations of what they’re capable of just yet which leaves me with no reference to base their own products of. This is also their first IEM and a planar one at that. But enough with the chatter! Let’s get on with the Power.
UNBOXING:
Before we take a look at the MUSE HiFi Power, let’s take a look at the box and its contents.
Starting with the box, it’s your standard rectangular shape with a nice sleeve for protection and aesthetics. The sleeve is a smooth matte black and somewhat thick cardboard that doesn’t easily get deformed like other cardboard sleeves. On the very top, you can see the MUSE HiFi logo and name printed in a thin glossy silver. Under the logo is the MUSE HiFi tagline printed in both English and Chinese.
The left side of the box contains the same MUSE HiFi logo on the top and the right side contains a barcode and the technical specifications
Flipping the box shows a big wall of text that contains another set of technical specifications in 8 languages, Below that, are the contact details of MUSE HiFi, QR Codes to their social media, and your standard warning logos
Moving to the box, it’s a similar black color with a textured, leatherlike feel. The top has a similar printing to the cardboard sleeve with the logo and name but with a silver print on the bottom center that carries over to the bottom side of the box. This silver print has MUSE HiFi’s logo printed on it and cuts off at the very end as if to signify that this is where you open the box. The top side also has its logo.
The box is opened by the magnetic side that seals the box. Upon opening the box, you are met with a translucent paper with MUSE HiFi’s logo printed on it. The paper is very similar to parchment paper which I found quite funny but also interesting as they’re the first company that I’ve encountered to use such material.
Removing the paper reveals the IEMs themselves and the grey leatherette pouch sitting inside a foam cutout. Removing the said items reveals a nice desiccant pad to keep the items dry.
Removing the top foam layer reveals the instruction manual/warranty card and the container for the 24 sets of tips.
Let’s move on now to the accessories. The pouch is a grey, leatherette material with MUSE HiFi’s logo embossed on the top flap. Opening the magnetic top reveals the cable and a cleaning tool.
There are a total of 12 pairs of ear tips; 3 pairs of green stemmed stiff dome semi-wide bored tips, 3 pairs of clear stiff dome narrow bored tips, 3 pairs of red stemmed soft dome narrow bored tips, and 3 pairs of grey soft dome semi-wide bored tips. Listed below is the full accessory list:
- The Driver Units
- IEM Cable
- 12 pairs of tips inside a dedicated case
- Leatherette Magnetic Case
- Instruction Manual
- Cleaning Brush
This unboxing was quite bountiful with the experience, accessories, and quality being overall top-notch. This is honestly what I expected from an IEM costing $199 and MUSE HiFi did not disappoint. The combination of a good-quality cardboard sleeve and the magnetic seal made the unboxing experience quite satisfying. The inclusion of a really good quality magnetic pouch and 12 different and good quality tips was what really sealed my thoughts of the overall unboxing experience of the Power. Not only does it come with 12 tips, but the tips also come in their own case with a really good quality sticker of MUSE HiFi on the front. For their first IEM outing, they really did not skimp on the unboxing experience and accessories. Props to MUSE HiFi!
BUILD, FIT AND COMFORT: 5.5 out of 10
Cable:
The cable is a 6N high-purity single crystal copper silver-plated mixed braid with coaxial and litz shielding and a transparent PVC environmentally friendly material.
Starting with the plug, it’s your standard golden plated plug with this stained metal material housing the jack. I’m not entirely sure what material the jack housing is as it was noted stated in their technical specifications, but it feels like a metal alloy. It then transitions to the clear plastic fishtail that leads us to the single crystal copper cable.
The braid is of a 2 core, paracord-like material of a yellow and black colorway. The braids are quite loose and you can put your finger into the braids, but it’s tight enough that you wouldn’t feel anxious that it’d unbraid itself.
Moving up, we find the y-split and chin cinch that are of a similar material to the jack housing. MUSE HiFi’s logo is printed in white on the side of the y-split.
The cable then splits into single strands all the way to the preformed ear hook and the 2-pin 0.78 connectors and its housing.
I love and hate this cable for the same reason. It’s thick and heavy. While I appreciate a well-made cable as it gives me a sense of durability and stability, it also makes the cable difficult to store, excessively heavy when worn and has the tendency to put pressure on your ear. The latter is the biggest issue that I found with the cable of the Power. This could possibly be due to the IEMs themselves but the preformed ear hooks have the tendency to have multiple pressure points on my ear that makes it very uncomfortable to wear on long listening sessions. I also found the usage of a paracord-style braiding on the entire IEM to be an odd choice. Having the paracord be on the jack side makes sense, especially for longer cables, but it makes the IEM feel like a chore to wear. I will say though that the black and white colorway fits the IEM itself and I would love to have a similar aesthetic if I were to have a cable customized to have a paracord cover. It would have also been nice to see a modular cable, especially at this price and product as I found that planars perform best when powered through a balanced output. But honestly, this is just my personal nitpick as I kind of expect this price to start including modular cables if IEMs in the $79 can do it. Overall, really good quality cable but I feel like MUSE HiFi’s choice of going for this style of cable does offer some cons in terms of comfort. But if anything, I know this kind of cable will last a lifetime.
IEM:
Finally, the IEMs themselves. The shells are a combination of hand-painting + CNC + 3D printing in collaboration with a brand named HeyGears to, “ensure that the Planar Magnetic Drivers prevent error in production,”. It uses a five-axis CNC to carve the metal frame while using medical-grade 3D printing for the resin shell.
The faceplate has a gold, grey, and black overall design appearance with the gold appearing to be of a somewhat glittery finish. The faceplate is covered in a resin-like material with the aforementioned CNC metal to close the seams around the faceplate on the resin shell.
Going down to the inner shell, its shape is overall much larger than your usual IEM with very pronounced fins. MUSE HiFi and either L or R is seen printed beside the somewhat protruding 2-pin connector. The protrusion is not very pronounced but it sticks out along with the shell somewhat compensating for it.
There are 4 vents in total. One across the MUSE HiFi print, one directly on top of the driver and two across the fins. The nozzle is ~4.2mm wide and ~3mm long. It uses the cheese grater/shower sink style filters. Thankfully, any hints of driver flex are alleviated (potentially thanks to having a planar driver)
Speaking of the planar driver, the MUSE HiFi Power uses a 14.5mm flat diaphragm planar magnetic driver. Exact specifications and model are currently undisclosed.
This is arguably the worst part about the MUSE HiFI power. While I can see where they were going with the size, fins, and nozzle size, its overall size with the said fit makes it extremely uncomfortable for long listening sessions. Combined with the small nozzle and heavy stock cable, I was constantly reminded that I was wearing an IEM throughout my listening sessions. The aesthetics and shape of the Power are very attractive and quite fancy I would say. The aluminum alloy sealing around the resin faceplate gives it a very confident and well-built feel and the resin overall is very well done. I don’t feel any creases or weak points besides the nozzle, but its length makes it justified. It’s also not a separate material which is a plus for durability. But overall, I found that despite the beautiful aesthetics and confident build quality, the overall fit and comfort of the Power is one of the worst that I’ve tried so far.
SOUND: 31.5 out of 40
Sound signature:
- Mild U-Shape
Driving Power: Above average power requirements (as expected from a planar). At least a dongle DAC is recommended to run for best performance. Scales very well
Bass: 8.5 out of 10
- Tight but well-defined and bodied overall presentation
- Subbass is present when needed but does not dominate the spectrum
- Midbass is tight with a decent punch with a very clean and well-defined detail
- Midbass elevation over sub-bass
- Midbass texture is sufficient but lacking for my taste
- Sufficient midbass bleed that adds body to male vocals without sounding bloated
The Power presents bass in quite an elevated but well-controlled manner. I am aware that planars don’t often present bass in a cohesive or well-defined manner like DDs. However, Muse Hifi tuned the Power’s bass to give an almost DD-like experience. I say almost as I feel that the overall bass dynamics of the Power are on the tighter end of my preference in this kind of tuning. Subbass is on the leaner side where the rumble exists to complement rather than to dominate. It’s more than enough for my library, but I notice its tightness and submissiveness compared to the midbass on tracks with a good balance of midbass and sub bass. Tracks like Waffles by Lettuce include a rather aggressive bass line throughout the song that has a lot of rumble and midbass texture. The Power presents a tasteful amount of subbass with a hefty and well-defined midbass. Synths and drones are arguably the weakest instruments that the Power represents as the lack of a considerable subbass presence along with a smoother midbass quality make the lower registers of the instruments sound too clinical and smooth. A friend described it quite well when he said that despite the midbass dominance, he still felt that the bass was “too fast”. This is not a negative thing as this allows for the Power to provide one of the most articulate and detailed bass response out of all the IEMs I’ve tried. As stated, my nitpick about the power is the bass being almost too clean for how elevated it is.
Mids: 7 out of 10
- Natural lower mids to mids, but become treblesome (pun intended) on the upper mids
- Good body and detail on lower mids thanks to the sufficient bass bleed
- Good overall instrumental cohesion and presentation
- Cold, detailed but borderline shouty upper mids
- Articulated micro nuances but borders unbearable levels
I’m torn with the mids of the Power. While I myself love colder female vocals as a treblehead, the balance of forward upper mids and the treble tonality (that will be discussed in the next segment) makes the overall tonality of the Power on the odd and unnatural side. The lower mids I would argue saves the overall quality of the mids as the Power presents a transparent and organic sounding vocal and instrumentation on the likes of guitars. The aforementioned midbass bleed also doesn’t meddle with the overall clarity of the instruments on the higher registers. Smoke by Cornelius is a perfect example as, despite the midbass dominance, it does not overpower the guitar notes and nuances as other midbass-centric IEMs do. Pianos also sound transparent and dynamic while still having body, albeit starting to thin out due to the upper mids. On that note, the upper mids are quite aggressive and unnatural sounding on the first listen. It has this hard bite that makes vocals sound cold and borderline shouty with female vocals particularly affected by having a colder and more articulate presentation. The forwardness, however, may be too much for some, and find that the vocals in this region sound unnatural and shrill. Again, I personally like this kind of tonality but I can’t shake the fatigue I get from listening to the Power on long listening sessions. Overall, the mids provide enough vocal and instrumental presence and then bumping that presence to 1000 on the upper mids that skews the tonality just a little bit too much.
Treble: 8 out of 10
- Uneven but well extended
- Lower treble is very forward and occasionally shrill sounding
- Mid treble is uneven with dips in clarity on certain regions
- Very well-extended upper treble and air
- Sibilance is occasionally present, but generally tolerable compared to the upper mids
- Micro Detail retrieval is very impressive despite the unevenness in the treble
The treble both disappointed and satisfied me for the sole fact that the unevenness creates this edginess that I adore in some IEMs. When the unevenness is well executed, it can create an almost holographic and immersive stage. When done poorly, however, it ends up sounding almost one-dimensional and lo-fi in a sense. Thankfully, the transient peaks and dips on the Power are smooth enough to still have good clarity and articulation. However, its unevenness is quite evident, especially in tracks with more aggressive cymbal and percussive hits that border that splashy sound. There are also instances where certain cymbal strikes can sound somewhat dulled in presentation while others are very well represented. But this still offers a quite resolving treble response, albeit potentially being sibilant for some. Personally, the Power sparkles enough for me to resonate with the percussive strikes without having to wince at every hit. What really brings the Power to my preference is how well it represents micro nuances in the likes of guitar plucks, high vocal notes, and especially the lingering sparkle due to the extended upper treble. It has the tendency to become too much at times, but I found it extremely enjoyable and very articulate. But I really do wish the lower to middle treble was smoothened out a bit more to alleviate the dips in clarity in certain areas. Overall, I enjoyed the treble despite the few qualms I have with it.
Soundstage, Imaging, and Separation: 8 out of 10
- Decently wide but has really good stage depth
- Precise and accurate imaging but limited by stage width
- Great separation, but suffers from congestion in the upper region
I wasn’t so surprised to hear the Power perform as capable as it did, especially after hearing how prominent the treble is. I was, however, surprised by how well separated the low-end was for being as elevated as it did. The instrument separation of bass guitars, low register voices, and synths were clean and the imaging was very crisp. It’s still not headphone levels as I still feel the clear distinction when switching gears (this could be attributed to the stage) but it’s still no slouch. The stage is very much depth leaning rather than width as I occasionally found the stage to be narrow but with a sense of grandness in instrumentation. Where I personally hear the Power slightly suffers is when the upper mids to mid-treble gets congested where I feel that the capability of the Power to separate starts to take a hit as some instruments take center stage and others are pushed back a bit too much for my liking. This isn’t a massive difference, but it's noticeable enough for me to mention.
Gaming Performance: ✪✪✪✰✰
The technical capabilities of the Power really show in gaming but suffer from the same problems stated in the technicalities section. While immersive games such as Genshin Impact, Sky: Children of the Light, and other games with expansive sceneries provided one of the most beautiful gaming experiences I’ve had on IEMs, competitive gaming is quite disappointing. The narrower stage made me feel like all the sounds I hear are exactly behind me. I had a situation where I called out in Valorant that an enemy was in front of me running when in reality it was a teammate meters away. Due to the Power’s tuning, certain gunfire also causes quite the pierce to my ears. Overall though, this would be a great IEM if you were to use this exclusively for immersive games
Multimedia Performance: ✪✪✪✪✰
Similar to gaming, the multimedia performance of the Power is very desirable. Films and Shows offer a very immersive experience with nature sounds, soundtracks, and overall sound design is easy to appreciate and hear the nuances. But the tuning really takes a hit on especially action movies where gunfire becomes quite uncomfortable to listen to. I should also bring up the fact that the IEM is quite uncomfortable over a long period of time which will definitely affect your binge-watching.
COMPARISONS:
vs TangZu Zetian Wu ($150)
- Zetian Wu is more balanced while the Power is leaning closer to being a mild u-shape
- Zetian Wu has better overall bass balance but Power is more detailed and textured
- Zetian Wu mids are more balanced compared to Power but Power has better male vocals.
- Zetian Wu doesn’t sound as offensive as Power, especially on upper mids
- Treble sounds cleaner on Zetian Wu, but microdetail retrieval is better on Power
- Power handles busier tracks and deeper than Zetian Wu but Zetian Wu has a wider stage and more precise imaging
VERDICT:
If I were to take a look at the MUSE HiFi in a vacuum, I would say that this is one of the most impressive releases that I’ve seen and heard of recently. The combination of a glorious unboxing experience, a lot of accessory inclusions, a good build, and technically capable sound makes the MUSE HiFi power a very recommendable planar option.
The problem arises when you look at the competition and its development over time. The sudden resurgence of planars in the first place was due to a brand providing a revolutionary planar that redefined people’s perspective on what planar is capable of in the IEM space. I can only assume that MUSE HiFi attempted something similar with the Power. Due to its bizarre, potentially offensive tonality, large size and most importantly the price, the MUSE Hifi Power seem to really be an attractive option only for those looking to collect all the planars in the market.
It’s not to say that the MUSE HiFi Power is bad. Far from that. I personally really enjoyed the Power and I’m actually really intrigued with what MUSE HiFi has in store in the future. But it’s one of, if not, the most contested market in the IEM world as of recent. If it was priced in the $150 range, I would have felt that the Power would be a very competitive option even with its fit and tuning quirks. But $200 is steep, especially now when you can get the likes of SHUOER S12, TangZu Zetian Wu, and the $49 Celest Gumiho. I still think that the MUSE HiFi power exists in a spot where there will be people who will be attracted to it, but I wouldn’t count on it to be the first suggestion when someone asked for a Planar IEM.
Thank you for taking the time to read my review! Please consider liking and following Facebook my page if you want to see more audio review content from me. Thank you and have a beautiful day!
https://www.facebook.com/OB.ODIO
If you would like to buy one for yourself, here is a non-affiliated link. Happy listening!
https://keephifi.com/products/muse-hifi-power
Attachments
Zerstorer_GOhren
Nice review and photography skills, mate.
kesobie
Thank you sir!
KBEar Ormosia
TOTAL SCORE: 36.5 out of 50
PRICE: $93 (as of 07/10/22)
WHO IS THIS UNIT FOR:
WHO IS THIS UNIT ISN’T FOR:
GENRES I RECOMMEND:
After a rather mellow release of the KBEar Ink, I felt KBEar was on a path of less-than-ideal releases. Ink’s build and accessories were swiftly overshadowed by a rather offensive tuning that only ears of steel could handle. This makes the Ormosia an even more intriguing release both in styling and form factor. An earbud-style with an MMCX connector and one of their most beautiful boxes to date. But will this just be another aesthetically pleasing but sonically poor sub $100 release from KBEar or will this change the landscape of not only the company but the market?
DISCLAIMERS: This unit was sent as a part of a touring group and provided by Keephifi and Mr. Eiji Romero. I am eternally grateful for this opportunity, but this does not in any way, shape, or form affect the quality of my review. This review will be based entirely on my experience with the IEM itself and I was not paid or told to say anything regarding the IEM. Lastly, I am only one reviewer; this is my personal experience with the unit. Many variables come to play to make everyone’s experience different and your mileage will vary depending on the circumstance.
SOURCES USED:
Zishan U1
Not-by-VE Abigail
VE Megatron
Poco M3
OTHER ACCESSORIES USED:
Final E in S & M
Newbee in S & M
Stock Widebore Tips in S & M
Stock Grey Tips in S & M
Stock Cable
TRACKS USED:
I used a mixture of DSD, Hi-Res Flac, CD, and MP3 for my songs. This is to widen the possible use case to as much people and would allow me to give my insight on lower fidelity bitrates.
Spotify Playlist:
Document explaining what to look for in each track:
https://docs.google.com/document/d/1oMa7GPLaqtpnnoR9tixvWI4aK-7tXMyTEZCJAVkIZx0/edit?usp=sharing
NOTES:
Two different fit configurations were used in this review. I personally wore the Ormosia earbuds style which I found to be the most comfortable. The sound difference between fits may vary from person to person, but I found the over-ear configuration to have a shallower fit than the earbud-style (using the stock wide bore tips) so as per, YMMV. I also used the stock wide bore tips as I found them to be both the most comfortable and most complimentary to the sound of the Ormosia, but it is highly recommended to tip roll on the Ormosia to your preferred tips (preferably longer tips).
INTRODUCTION:
KBEar is not alien to OB ODIO as they are the brand that has the most reviewed products on this page. On that note, they proved themselves to be capable of holding their own in the market. I found the KBEar Little Q to be a capable but fundamentally consumer-friendly bullet style IEM that is better for those without interest in audio while the Ink was a shrill and fatiguing IEM despite its sturdy and beautiful design, great inclusions, and comfortable fit. The Ormosia is quite the departure form-wise from their previous IEMs, but can it prove itself to be competitive or even start the movement of a different style of IEMs?
SPECIFICATIONS:
Brand Name: KBEAR
Style: In-ear
Vocalism Principle: Dynamic
Origin: Mainland China
Active Noise-Cancellation: No
Control Button: No
Communication: Wired
Volume Control: No
Plug Type: Line Type
Impedance Range: up to 32 Ω
Model Number: 6695 KBEAR Ormosia
Frequency Response Range: 20 - 20000Hz
Resistance: 16Ω
Sensitivity: 108dB
Connectors: 3.5mm
UNBOXING:
Before we look into the IEMs themselves, let’s take a look at the box and its contents.
Starting with the overall form factor of the box, it’s on the larger side of IEM boxes. The box comes at 16.5cm x 16.5cm x 4.5cm. The front of the box sports a beautiful and vibrant red and black colorway with a cheongsam dress printed on the very front.
It also has a very creatively implemented cardboard sleeve that keeps the box from being opened while adding character to the Ormosia. The sleeve is colored a similar red to the box with KBEAR’s name configured quite oddly (K/B/E/A/R) and a record-looking design that expands from the rectangular shape of the sleeve. In the middle are characters I am not familiar with. The left side of the sleeve has a white KBEar logo printed on it.
Turning the box around shows a plain background with text of the usual identifiers and specifications of the IEM along with their contact details and warning labels.
Swiftly removing the sleeve from the box and pulling the top part of the box reveals the contents. On the surface, these include the IEMs themselves on top, silicone tips spread out evenly around, and the standard KBEar/TRI case in the center. All of these are housed in a faux velvet/velour material which can be removed with a provided latch.
Pulling this latch then reveals the instruction manual and a rather spacious box.
The tips are relatively comfortable and soft, but definitely feel a little cheaper than what came with the Ink which was their KBEar 07 tips. I really wasn’t a big fan of either tip, but I found the softness of the black wide-bore tips to be the most comfortable out of the two. The faux leather case is your standard TRI/KBEar pouch and is a very welcome addition as I’ve always been a big fan of their magnet pouches. It’s sizable enough to comfortably fit one IEM and some accessories like the shirt clip or some tips. I would say this is just about the perfect size for a pouch as I am able to pocket the pouch rather comfortably. I would have definitely preferred a carabiner-style pouch that I can hang either on my bag or my belt strap, but no complaints with the case at all. I would say though that the cleaning brush and cloth that came with the Ink would have definitely made the Ormosia feel more complete as a set.
Overall, the box is quite the beauty. The combination of an oriental theme with the vibrant red cheongsam dress and a pretty efficient space distribution between the contents allows for a very collectible and presentable box to display. The use of negative space to fill out the rest of the dress was a smart decision as it gives an almost minimalist yet stylish design to the box. The inclusion of a cardboard sleeve that acts as more than just a cover also adds character to the overall aesthetics of the box making it genuinely one of the best IEM boxes I’ve seen. It’s nice to see that companies are starting to take inspiration for their box designs outside of the Japanese/Anime inspired characters and expand to different cultures. In fairness, KBEar is a Chinese brand and it makes sense that they take inspiration from Chinese culture. But it’s just nice that they choose to embrace this style on the Ormosia and I can only hope that they keep this kind of unboxing experience for their future releases.
BUILD AND FIT: 7.5 out of 10
Cable:
Starting with the cable, it’s a relatively thin 4-core SPC cable. The gold-plated 3.5mm jack is housed in a cheap-feeling plastic L-shaped housing that tapers to a sectioned jack tail to the cable.
The cable then braids tightly to the plain black plastic y-split and chin cinch. This then splits the cable into two thin 2 core strands that lead to the plastic MMCX connector. The connector itself sports a golden accent around the base above where the plug itself is located and housed in a similar plain black plastic build as the y-split. As far as I know, KBEar does not offer a mic’d variant of the Ormosia.
Overall, I was quite disappointed with the cable of the Ormosia. On the good side, the cable is light and free of microphonics (when used in the cable over-ear fit). It wouldn’t feel like you’re lugging around a rope with the stock cable or produce sound every time it rubs on your shirt. The inclusion of the chin cinch is and will always be happily accepted. But coming from the tough, sturdy, and well build cable of the Ink, this was a steep downgrade. The jack feels cheap and easily breakable, you can still see manufacturing strands on the y-split and I would even say that some cables that cost $5 are better built than this. The chin cinch also feels largely ineffective as it slides way too easily (possibly due to the thickness of the cable). I found the chin cinch sliding over time during my usage of the Ormosia. The lack of an option for a mic may also turn some people down (particularly those who use their IEMs as their daily drivers for calls or who play games that need a mic. If you were to get yourself an Ormosia, I highly recommend changing the cable to something thicker and better built if you enjoy a more premium-feeling cable.
Drivers:
The shell of the Ormosia is made from a “five-axis CNC machined aluminum alloy”. The overall form factor of the drivers is unique to compared anything I’ve tried before. First and foremost, it fits two different ways. Cable down is similar to earbuds or bullet-style IEMs or the traditional cable around the ear.
Looking closer at the build, the Ormosia sports a rounder, and less traditional shape compared to its contemporaries. The shell can be separated into two sections. The outer part which includes the faceplate and the stem where the MMCX connector is located and the inner part with the nozzle.
The outer part is shaped on the smoother and rounder side with creases and grooves evenly spread out on the surface. KBEar’s name is also printed in white on the faceplate. A vent could be found near the stem about ~5mm from the base.
Moving to the inner section shows an almost round shape that surrounds the nozzle. A small recession in the shell is found halfway down the inner section to compensate for the natural curve of your inner ear and a vent is also located just right beside the nozzle. The nozzle itself is gold plated of ~5mm in length and width of ~5mm as well. The nozzle is a separate material and section from the shell itself. The nozzle is sectioned with ring-like protrusions, potentially to allow for shorter or wider bored tips to still fit without being loose. The filter of the Ormosia is what I would call the “bath drain” filter which is a chrome-like finish on thicker sections with larger space between each hole.
Looking at the specifications, the Ormosia has a 1DD + 2BA driver configuration. Information regarding the exact models of the drivers used is currently disclosed at the moment as far as I know
Overall, I was quite surprised with the form factor that KBEar used for the Ormosia. It would have definitely been cheaper if they took a similar shell like the Ink, Diamond, and Believe. But their choice of going for a semi-earbud/bullet style fit that can also fit like a traditional cable-over-ear was an interesting and welcome surprise that I have not seen any other company try to do in recent times. This sadly comes at the risk of a potentially shallow fit when used with the stock tips, but shouldn’t be too big of an issue for most people. Besides, you have two different fits that you can experiment with if one doesn’t work out for you. Driver flex is thankfully absent for me on the Ormosia, potentially thanks to the multiple vents situated around the shell. The aesthetics personally doesn’t attract me, but I can definitely see the inspiration for the form coming from the ormosia coccinea seed which is quite interesting to see. On a similar note, it’s also nice to see how KBEar is inspired by nature on many of their releases. Whether it’d be earth stones, plants, or animals. It’s quite refreshing to see compared to the robotic naming schemes that other companies use.
I’m not surprised by how well-built the Ormosia is as even KBEar’s budget offering offers quite a sturdy and confident build quality. The CNC aluminum alloy body feels premium without not too hefty or weighty on the ear. This is especially useful as the cable-down earbud-style configuration would have made the Ormosia’s fit quite heavy and potentially uncomfortable. The size is just about right as I never found me finicking with the fit all too much unless it’s to change the configuration. Even as someone who dislikes MMCX, the MMCX connection also doesn’t worry me like other IEMs or buds as I don’t feel the connector going loose over time. The cable snaps in rather satisfyingly but is quite difficult to remove.
SOUND: 29 out of 40
NOTES:
Of all the tips I tried, I stuck with the stock wide-bore black tips as they offered the best experience on the Ormosia for my tastes. The narrow grey tips definitely added more weight and midbass to the experience, but at the cost of almost sounding boomy and the treble sounding less desirable.
Sound Signature:
Balanced/U shaped with a hint of brightness
Driving Power:
Relatively easy to run but having a DAC can make the bass cleaner and less harsh treble. Note that the Ormosia produced an audible noise floor with the Megatron which may not be desirable for some.
Bass: 7.5 out of 10
The bass presentation of the Ormosia leans on a midbass-centric presentation with a lot of punch and texture without the compromise of an unengaging midsection. Subbass definitely takes a backseat compared to the midbass on this set, but not by a big margin. Low bass rumbles are present, but not elevated for you to really feel the super low frequencies. Midbass is definitely the star of the show as the control, speed, and detail are all very well done and the transition from midbass to lower mids sounds articulate and organic. The overall bass speed is on the average side with more emphasis on a cleaner but textured presentation on the low end. I wouldn’t say the bass is tight, but it is loose enough to be fun. Tracks with a hefty amount of midbass are engaging and well-represented but not overbearing to the point where it muffles out the rest of the frequency. Lower register string and air have great body while still being able to hear the micro nuances of the instrument. Personally, it lacks the certain aggression that I seek for a bass of this quality as this lives in that smooth but well-done territory and presents midbass in a forward but clean manner. But this by no means makes it boring as it brings out bass nuances in a natural but articulate way to make instruments sound very engaging.
Mids: 7 out of 10
The mids of the Ormosia are rather smooth and natural sounding for being a somewhat u-shape sound signature. Decent body and texture bring out the tiny nuances on instruments and vocals of the lower registers while a natural elevation in the upper mids gives female vocals a sense of forwardness that doesn’t sound detached or overly forward from the rest mix. The problem comes with the lower mids being quite a spot of contention for vocals and instruments that their overall coherency occasionally gets jumbled and pushed back instead of highlighting their details. On vocal or instrument-centric tracks, however, the Ormosia’s mids bring a wonderful experience with a lot of detail and body. Upper mids are slightly pulled back but sound pleasant even for long listening sessions. The distance of the vocals presented in the mix offers a natural-sounding quality that I prefer over some mid-centric IEMs. This may, however, sound overall too distant to those that prefer a more intimate vocal presentation. Overall, I find the mids to be quite satisfactory for most genres and can represent both vocals and instruments in a very natural manner, but the lower mids competing with instruments and a recessed presentation may leave a lot to be desired for those who want a vocal-centric IEM.
Treble: 7.5 out of 10
The treble region is quite tasteful in presentation as a treble head like myself found the Ormosia to be pleasantly well extended. The lower treble, carrying over from the upper mids, transitions smoothly without having a metallic-sounding spectrum like some BAs do. Nuances in female vocals and air instruments sound well-represented and pleasing. I would have definitely preferred a more forward-sounding lower treble to make female vocals sound more engaging but that could potentially lead to a shouty vocal presentation due to the elevation in the mid-treble. Speaking of which, the BA truly kicks in around the mid-treble as I found myself to be pleasantly surprised with the amount of detail in percussion instruments in this region. It’s not treble-head level of sparkle, but a satisfying amount to bring those instruments out of the mix even on busier tracks. This however becomes dangerously close to sibilant and some may find it so. This however is not the case on well-mastered tracks as I found no sibilance on tracks such as Earth Wind and Fire’s “Raise!” album which I found the Ormosia to provide the right amount of sparkle. Air region definitely adds to the Ormosia’s already spicy treble presentation as I found the small details in vocals and instruments to be present and lingering in the air region. It lingers long enough to be satisfactory to the overall mix but not too long to ring in your ear. It, unfortunately, does not have the hiss that I enjoy on some brighter IEMs that give an extra layer in the air region. Headroom however seems to be on the more claustrophobic side as I never felt like the Ormosia gave an out-of-head experience in the air region. Overall, I find Ormosia’s treble presentation to be very well done with enough sparkle to make a treble head smile but not too much to be annoying. A leaner-sounding lower treble makes it desirable for longer listening sessions but may sound stale in comparison to the well-elevated mid-treble. It’s a treble that most people would find satisfactory, I would say.
Soundstage, Imaging and Separation: 7 out 10
I was pleasantly surprised with how technically capable the Ormosia is for most genres that I threw at it. It offered a decent 3D experience with less complex genres and I am able to highlight and pinpoint instruments in the room. The problem starts again due to its struggle to separate instruments in busy tracks that somewhat muddies up the presentation, but is more than capable to make up for it with its treble air that gives some instruments their own spot in the mix. Having a more midbass-centric sound also makes its bass depth narrower than I personally like but it doesn’t sound claustrophobic. Headroom definitely becomes the most impressive thing about the Ormosia as instruments have the tendency to feel quite 3D sounding on less complex tracks. Overall, its technical capabilities impressed me with my particular music taste. But those with genres like metal, EDM, and other electronic music may not find the Ormosia to be all that impressive
GAMING: ✪✪✪✰✰
The overall experience I had gaming with the Ormosia is quite pleasing, to say the least. A hefty bump in the midbass allows footsteps to be emphasized and a leaner upper mids allow for gunshots to not sound as harsh. Separating sounds during heated gunfights are also quite impressively laid out as I am able to turn my attention to an enemy. This aspect of the Ormosia is the weakest as there are definitely instances I am unable to hear flanks due to the emphasized lower section that overemphasizes certain sounds over others. Due to the below-average isolation, the Ormosia is not very ideal to use in noisier environments as I had issues with the TV being too loud or the kids shouting in the background and making it difficult to focus on the game sounds due to the noise. The lack of a mic may also be an issue for those that rely on their inline mic to communicate with their teammates. It’s not perfect, but the Ormosia is able to provide a comfortable and articulate gaming experience without a big sacrifice in the clarity of sounds.
MULTIMEDIA: ✪✪✪✰✰
Watching films on the Ormosia is about what you’d expect when using IEMs for films. The stage is not the most immersive but the details in sound design are well represented. Rumble in explosions definitely doesn’t sound as massive but is saved by the fact that the lingering sound creates a layered experience when watching films or shows. Dialogue sounds alright but struggles with films with tougher-to-hear dialog such as Interstellar or Ford v Ferrari. Micronuances in sound design, particularly with Wes Anderson or Edgar Wright’s films definitely shine with the Ormosia as you can really feel the detail. Overall, Ormosia is still just about decent when watching films. I never felt like I was in a cinema but the details definitely made me appreciate the film's sound design more.
COMPARISONS:
vs BQEYZ Topaz ($89)
vs Intime Sora 2 ($69)
vs KBEar Ink ($69)
VERDICT:
The KBEar Ormosia proves itself to be a very competitive option in the current market. I was a little worried for KBEar with the Ink as despite its technical capabilities, it seemed to be quite harsh in presentation with only its build and accessories making it truly worth it to get. But they took that great build (with the exception of the cable) and accessories and implemented it on a unique form factor and sound quality.
By going for an earbud-style form factor that allows for two different fits, it allows the Ormosia to cater to more people’s ears. And a more balanced, slightly U-Shaped tuning makes it sound natural and well-balanced and puts it above many of not only KBEar’s own releases but also in the price bracket it lives in. It may not be for those that prefer elevated sub-bass or a more intimate midrange, but I found this to be fitting for most genres I threw at it.
The 1DD complements the 2BA configuration and avoided a metallic or plasticky tonality and was overall a very coherent presentation. The biggest issues come at the micro aspects of the IEM such as separation, staging, and a more comfortable fit. If they would continue to explore and improve this style and sound and maybe put it in the sub $50 region, I would argue that it would become a very competitive choice. Until then, I believe that the Ormosia could become the seed to success to become at the top of the competition.
If you would like to get a unit for yourself, please refer yourself to the non-affiliated link to Keephifi down below.
https://keephifi.com/products/kbear-ormosia
Thank you for taking the time to read my review! Please consider liking and following facebook my page if you want to see more audio review content from me.
Facebook Page: https://www.facebook.com/OB.ODIO
TOTAL SCORE: 36.5 out of 50
PRICE: $93 (as of 07/10/22)
WHO IS THIS UNIT FOR:
- People who want a well-balanced sound signature
- People who enjoy a good midbass
- People who like options with how they fit their IEM
- People who like good inclusions (and packaging)
- People sensitive to too much bass or treble
WHO IS THIS UNIT ISN’T FOR:
- People who want a super rumbly bass
- People who want a super sparkly treble
- People who don’t like a shallower fit
- People who don’t like MMCX
- People who want an IEM for super-complex tracks
GENRES I RECOMMEND:
- Pop (in general)
- Rock (particularly slow rock)
- Jazz
- Funk
- JPOP
After a rather mellow release of the KBEar Ink, I felt KBEar was on a path of less-than-ideal releases. Ink’s build and accessories were swiftly overshadowed by a rather offensive tuning that only ears of steel could handle. This makes the Ormosia an even more intriguing release both in styling and form factor. An earbud-style with an MMCX connector and one of their most beautiful boxes to date. But will this just be another aesthetically pleasing but sonically poor sub $100 release from KBEar or will this change the landscape of not only the company but the market?
DISCLAIMERS: This unit was sent as a part of a touring group and provided by Keephifi and Mr. Eiji Romero. I am eternally grateful for this opportunity, but this does not in any way, shape, or form affect the quality of my review. This review will be based entirely on my experience with the IEM itself and I was not paid or told to say anything regarding the IEM. Lastly, I am only one reviewer; this is my personal experience with the unit. Many variables come to play to make everyone’s experience different and your mileage will vary depending on the circumstance.
SOURCES USED:
Zishan U1
Not-by-VE Abigail
VE Megatron
Poco M3
OTHER ACCESSORIES USED:
Final E in S & M
Newbee in S & M
Stock Widebore Tips in S & M
Stock Grey Tips in S & M
Stock Cable
TRACKS USED:
I used a mixture of DSD, Hi-Res Flac, CD, and MP3 for my songs. This is to widen the possible use case to as much people and would allow me to give my insight on lower fidelity bitrates.
Spotify Playlist:
Document explaining what to look for in each track:
https://docs.google.com/document/d/1oMa7GPLaqtpnnoR9tixvWI4aK-7tXMyTEZCJAVkIZx0/edit?usp=sharing
NOTES:
Two different fit configurations were used in this review. I personally wore the Ormosia earbuds style which I found to be the most comfortable. The sound difference between fits may vary from person to person, but I found the over-ear configuration to have a shallower fit than the earbud-style (using the stock wide bore tips) so as per, YMMV. I also used the stock wide bore tips as I found them to be both the most comfortable and most complimentary to the sound of the Ormosia, but it is highly recommended to tip roll on the Ormosia to your preferred tips (preferably longer tips).
INTRODUCTION:
KBEar is not alien to OB ODIO as they are the brand that has the most reviewed products on this page. On that note, they proved themselves to be capable of holding their own in the market. I found the KBEar Little Q to be a capable but fundamentally consumer-friendly bullet style IEM that is better for those without interest in audio while the Ink was a shrill and fatiguing IEM despite its sturdy and beautiful design, great inclusions, and comfortable fit. The Ormosia is quite the departure form-wise from their previous IEMs, but can it prove itself to be competitive or even start the movement of a different style of IEMs?
SPECIFICATIONS:
Brand Name: KBEAR
Style: In-ear
Vocalism Principle: Dynamic
Origin: Mainland China
Active Noise-Cancellation: No
Control Button: No
Communication: Wired
Volume Control: No
Plug Type: Line Type
Impedance Range: up to 32 Ω
Model Number: 6695 KBEAR Ormosia
Frequency Response Range: 20 - 20000Hz
Resistance: 16Ω
Sensitivity: 108dB
Connectors: 3.5mm
UNBOXING:
Before we look into the IEMs themselves, let’s take a look at the box and its contents.
Starting with the overall form factor of the box, it’s on the larger side of IEM boxes. The box comes at 16.5cm x 16.5cm x 4.5cm. The front of the box sports a beautiful and vibrant red and black colorway with a cheongsam dress printed on the very front.
It also has a very creatively implemented cardboard sleeve that keeps the box from being opened while adding character to the Ormosia. The sleeve is colored a similar red to the box with KBEAR’s name configured quite oddly (K/B/E/A/R) and a record-looking design that expands from the rectangular shape of the sleeve. In the middle are characters I am not familiar with. The left side of the sleeve has a white KBEar logo printed on it.
Turning the box around shows a plain background with text of the usual identifiers and specifications of the IEM along with their contact details and warning labels.
Swiftly removing the sleeve from the box and pulling the top part of the box reveals the contents. On the surface, these include the IEMs themselves on top, silicone tips spread out evenly around, and the standard KBEar/TRI case in the center. All of these are housed in a faux velvet/velour material which can be removed with a provided latch.
Pulling this latch then reveals the instruction manual and a rather spacious box.
- Laying out the contents, the Ormosia contains the following
- The drivers themselves
- 4 core, SPC grey MMCX cable
- 6 pairs of silicone tips (3 black wide-bore and 3 grey narrow-bore)
- Faux Leather Case
- Shirt clip
The tips are relatively comfortable and soft, but definitely feel a little cheaper than what came with the Ink which was their KBEar 07 tips. I really wasn’t a big fan of either tip, but I found the softness of the black wide-bore tips to be the most comfortable out of the two. The faux leather case is your standard TRI/KBEar pouch and is a very welcome addition as I’ve always been a big fan of their magnet pouches. It’s sizable enough to comfortably fit one IEM and some accessories like the shirt clip or some tips. I would say this is just about the perfect size for a pouch as I am able to pocket the pouch rather comfortably. I would have definitely preferred a carabiner-style pouch that I can hang either on my bag or my belt strap, but no complaints with the case at all. I would say though that the cleaning brush and cloth that came with the Ink would have definitely made the Ormosia feel more complete as a set.
Overall, the box is quite the beauty. The combination of an oriental theme with the vibrant red cheongsam dress and a pretty efficient space distribution between the contents allows for a very collectible and presentable box to display. The use of negative space to fill out the rest of the dress was a smart decision as it gives an almost minimalist yet stylish design to the box. The inclusion of a cardboard sleeve that acts as more than just a cover also adds character to the overall aesthetics of the box making it genuinely one of the best IEM boxes I’ve seen. It’s nice to see that companies are starting to take inspiration for their box designs outside of the Japanese/Anime inspired characters and expand to different cultures. In fairness, KBEar is a Chinese brand and it makes sense that they take inspiration from Chinese culture. But it’s just nice that they choose to embrace this style on the Ormosia and I can only hope that they keep this kind of unboxing experience for their future releases.
BUILD AND FIT: 7.5 out of 10
Cable:
Starting with the cable, it’s a relatively thin 4-core SPC cable. The gold-plated 3.5mm jack is housed in a cheap-feeling plastic L-shaped housing that tapers to a sectioned jack tail to the cable.
The cable then braids tightly to the plain black plastic y-split and chin cinch. This then splits the cable into two thin 2 core strands that lead to the plastic MMCX connector. The connector itself sports a golden accent around the base above where the plug itself is located and housed in a similar plain black plastic build as the y-split. As far as I know, KBEar does not offer a mic’d variant of the Ormosia.
Overall, I was quite disappointed with the cable of the Ormosia. On the good side, the cable is light and free of microphonics (when used in the cable over-ear fit). It wouldn’t feel like you’re lugging around a rope with the stock cable or produce sound every time it rubs on your shirt. The inclusion of the chin cinch is and will always be happily accepted. But coming from the tough, sturdy, and well build cable of the Ink, this was a steep downgrade. The jack feels cheap and easily breakable, you can still see manufacturing strands on the y-split and I would even say that some cables that cost $5 are better built than this. The chin cinch also feels largely ineffective as it slides way too easily (possibly due to the thickness of the cable). I found the chin cinch sliding over time during my usage of the Ormosia. The lack of an option for a mic may also turn some people down (particularly those who use their IEMs as their daily drivers for calls or who play games that need a mic. If you were to get yourself an Ormosia, I highly recommend changing the cable to something thicker and better built if you enjoy a more premium-feeling cable.
Drivers:
The shell of the Ormosia is made from a “five-axis CNC machined aluminum alloy”. The overall form factor of the drivers is unique to compared anything I’ve tried before. First and foremost, it fits two different ways. Cable down is similar to earbuds or bullet-style IEMs or the traditional cable around the ear.
Looking closer at the build, the Ormosia sports a rounder, and less traditional shape compared to its contemporaries. The shell can be separated into two sections. The outer part which includes the faceplate and the stem where the MMCX connector is located and the inner part with the nozzle.
The outer part is shaped on the smoother and rounder side with creases and grooves evenly spread out on the surface. KBEar’s name is also printed in white on the faceplate. A vent could be found near the stem about ~5mm from the base.
Moving to the inner section shows an almost round shape that surrounds the nozzle. A small recession in the shell is found halfway down the inner section to compensate for the natural curve of your inner ear and a vent is also located just right beside the nozzle. The nozzle itself is gold plated of ~5mm in length and width of ~5mm as well. The nozzle is a separate material and section from the shell itself. The nozzle is sectioned with ring-like protrusions, potentially to allow for shorter or wider bored tips to still fit without being loose. The filter of the Ormosia is what I would call the “bath drain” filter which is a chrome-like finish on thicker sections with larger space between each hole.
Looking at the specifications, the Ormosia has a 1DD + 2BA driver configuration. Information regarding the exact models of the drivers used is currently disclosed at the moment as far as I know
Overall, I was quite surprised with the form factor that KBEar used for the Ormosia. It would have definitely been cheaper if they took a similar shell like the Ink, Diamond, and Believe. But their choice of going for a semi-earbud/bullet style fit that can also fit like a traditional cable-over-ear was an interesting and welcome surprise that I have not seen any other company try to do in recent times. This sadly comes at the risk of a potentially shallow fit when used with the stock tips, but shouldn’t be too big of an issue for most people. Besides, you have two different fits that you can experiment with if one doesn’t work out for you. Driver flex is thankfully absent for me on the Ormosia, potentially thanks to the multiple vents situated around the shell. The aesthetics personally doesn’t attract me, but I can definitely see the inspiration for the form coming from the ormosia coccinea seed which is quite interesting to see. On a similar note, it’s also nice to see how KBEar is inspired by nature on many of their releases. Whether it’d be earth stones, plants, or animals. It’s quite refreshing to see compared to the robotic naming schemes that other companies use.
I’m not surprised by how well-built the Ormosia is as even KBEar’s budget offering offers quite a sturdy and confident build quality. The CNC aluminum alloy body feels premium without not too hefty or weighty on the ear. This is especially useful as the cable-down earbud-style configuration would have made the Ormosia’s fit quite heavy and potentially uncomfortable. The size is just about right as I never found me finicking with the fit all too much unless it’s to change the configuration. Even as someone who dislikes MMCX, the MMCX connection also doesn’t worry me like other IEMs or buds as I don’t feel the connector going loose over time. The cable snaps in rather satisfyingly but is quite difficult to remove.
SOUND: 29 out of 40
NOTES:
Of all the tips I tried, I stuck with the stock wide-bore black tips as they offered the best experience on the Ormosia for my tastes. The narrow grey tips definitely added more weight and midbass to the experience, but at the cost of almost sounding boomy and the treble sounding less desirable.
Sound Signature:
Balanced/U shaped with a hint of brightness
Driving Power:
Relatively easy to run but having a DAC can make the bass cleaner and less harsh treble. Note that the Ormosia produced an audible noise floor with the Megatron which may not be desirable for some.
Bass: 7.5 out of 10
- Punchy and engaging bass response
- Midbass emphasis over sub-bass
- Subbass is on the leaner side compared to midbass but provides enough rumble to give bass depth
- Well-controlled, textured, and detailed midbass without intruding
- Balanced overall bass presentation with midbass edging the sub only by a small margin
The bass presentation of the Ormosia leans on a midbass-centric presentation with a lot of punch and texture without the compromise of an unengaging midsection. Subbass definitely takes a backseat compared to the midbass on this set, but not by a big margin. Low bass rumbles are present, but not elevated for you to really feel the super low frequencies. Midbass is definitely the star of the show as the control, speed, and detail are all very well done and the transition from midbass to lower mids sounds articulate and organic. The overall bass speed is on the average side with more emphasis on a cleaner but textured presentation on the low end. I wouldn’t say the bass is tight, but it is loose enough to be fun. Tracks with a hefty amount of midbass are engaging and well-represented but not overbearing to the point where it muffles out the rest of the frequency. Lower register string and air have great body while still being able to hear the micro nuances of the instrument. Personally, it lacks the certain aggression that I seek for a bass of this quality as this lives in that smooth but well-done territory and presents midbass in a forward but clean manner. But this by no means makes it boring as it brings out bass nuances in a natural but articulate way to make instruments sound very engaging.
Mids: 7 out of 10
- Slightly recessed but by no means unengaging
- Male vocals are well-bodied but can occasionally compete with instruments for emphasis
- Lower registers of string instruments and pianos have good detail and texture but may sound disjointed from the mix in busy tracks
- Female vocals and males on higher register sound smooth and natural without any shoutiness
- Pianos, electric guitars, and violins sound natural but occasionally pulled back in the mix depending on the track
- Overall vocals are properly placed but may sound disconnected for mid centric people
The mids of the Ormosia are rather smooth and natural sounding for being a somewhat u-shape sound signature. Decent body and texture bring out the tiny nuances on instruments and vocals of the lower registers while a natural elevation in the upper mids gives female vocals a sense of forwardness that doesn’t sound detached or overly forward from the rest mix. The problem comes with the lower mids being quite a spot of contention for vocals and instruments that their overall coherency occasionally gets jumbled and pushed back instead of highlighting their details. On vocal or instrument-centric tracks, however, the Ormosia’s mids bring a wonderful experience with a lot of detail and body. Upper mids are slightly pulled back but sound pleasant even for long listening sessions. The distance of the vocals presented in the mix offers a natural-sounding quality that I prefer over some mid-centric IEMs. This may, however, sound overall too distant to those that prefer a more intimate vocal presentation. Overall, I find the mids to be quite satisfactory for most genres and can represent both vocals and instruments in a very natural manner, but the lower mids competing with instruments and a recessed presentation may leave a lot to be desired for those who want a vocal-centric IEM.
Treble: 7.5 out of 10
- Well extended with a good clarity and sparkle
- Lower treble is properly placed but can occasionally sound lean compared to the rest of the treble region
- Nuances in female vocals are very well represented without sounding harsh
- Middle treble sounds quite forward with just the right amount of spice but bordering sibilant
- Air region is tastefully extended but can be a bit lacking instrumental hiss
- Microdetails are well represented but can get lost in busy tracks
The treble region is quite tasteful in presentation as a treble head like myself found the Ormosia to be pleasantly well extended. The lower treble, carrying over from the upper mids, transitions smoothly without having a metallic-sounding spectrum like some BAs do. Nuances in female vocals and air instruments sound well-represented and pleasing. I would have definitely preferred a more forward-sounding lower treble to make female vocals sound more engaging but that could potentially lead to a shouty vocal presentation due to the elevation in the mid-treble. Speaking of which, the BA truly kicks in around the mid-treble as I found myself to be pleasantly surprised with the amount of detail in percussion instruments in this region. It’s not treble-head level of sparkle, but a satisfying amount to bring those instruments out of the mix even on busier tracks. This however becomes dangerously close to sibilant and some may find it so. This however is not the case on well-mastered tracks as I found no sibilance on tracks such as Earth Wind and Fire’s “Raise!” album which I found the Ormosia to provide the right amount of sparkle. Air region definitely adds to the Ormosia’s already spicy treble presentation as I found the small details in vocals and instruments to be present and lingering in the air region. It lingers long enough to be satisfactory to the overall mix but not too long to ring in your ear. It, unfortunately, does not have the hiss that I enjoy on some brighter IEMs that give an extra layer in the air region. Headroom however seems to be on the more claustrophobic side as I never felt like the Ormosia gave an out-of-head experience in the air region. Overall, I find Ormosia’s treble presentation to be very well done with enough sparkle to make a treble head smile but not too much to be annoying. A leaner-sounding lower treble makes it desirable for longer listening sessions but may sound stale in comparison to the well-elevated mid-treble. It’s a treble that most people would find satisfactory, I would say.
Soundstage, Imaging and Separation: 7 out 10
- Good overall headroom but width is a little bit cramped
- Imaging is precise but struggles in busy/midbass heavy tracks, particularly on bassier instruments
- Separation is good across the frequency but struggles on busy tracks as stated above
I was pleasantly surprised with how technically capable the Ormosia is for most genres that I threw at it. It offered a decent 3D experience with less complex genres and I am able to highlight and pinpoint instruments in the room. The problem starts again due to its struggle to separate instruments in busy tracks that somewhat muddies up the presentation, but is more than capable to make up for it with its treble air that gives some instruments their own spot in the mix. Having a more midbass-centric sound also makes its bass depth narrower than I personally like but it doesn’t sound claustrophobic. Headroom definitely becomes the most impressive thing about the Ormosia as instruments have the tendency to feel quite 3D sounding on less complex tracks. Overall, its technical capabilities impressed me with my particular music taste. But those with genres like metal, EDM, and other electronic music may not find the Ormosia to be all that impressive
GAMING: ✪✪✪✰✰
The overall experience I had gaming with the Ormosia is quite pleasing, to say the least. A hefty bump in the midbass allows footsteps to be emphasized and a leaner upper mids allow for gunshots to not sound as harsh. Separating sounds during heated gunfights are also quite impressively laid out as I am able to turn my attention to an enemy. This aspect of the Ormosia is the weakest as there are definitely instances I am unable to hear flanks due to the emphasized lower section that overemphasizes certain sounds over others. Due to the below-average isolation, the Ormosia is not very ideal to use in noisier environments as I had issues with the TV being too loud or the kids shouting in the background and making it difficult to focus on the game sounds due to the noise. The lack of a mic may also be an issue for those that rely on their inline mic to communicate with their teammates. It’s not perfect, but the Ormosia is able to provide a comfortable and articulate gaming experience without a big sacrifice in the clarity of sounds.
MULTIMEDIA: ✪✪✪✰✰
Watching films on the Ormosia is about what you’d expect when using IEMs for films. The stage is not the most immersive but the details in sound design are well represented. Rumble in explosions definitely doesn’t sound as massive but is saved by the fact that the lingering sound creates a layered experience when watching films or shows. Dialogue sounds alright but struggles with films with tougher-to-hear dialog such as Interstellar or Ford v Ferrari. Micronuances in sound design, particularly with Wes Anderson or Edgar Wright’s films definitely shine with the Ormosia as you can really feel the detail. Overall, Ormosia is still just about decent when watching films. I never felt like I was in a cinema but the details definitely made me appreciate the film's sound design more.
COMPARISONS:
vs BQEYZ Topaz ($89)
- Topaz is more L-shaped while Ormosia is U shaped
- Bass is better on Topaz but meddles with the mids just a bit too much compared to Ormosia
- Mids sound more coherent and pleasing on the Ormosia, but less bodied compared to Topaz
- Treble sounds better on the Ormosia with better extension and presentation of female vocals and instruments
Topaz has better depth and stage than Ormosia, but Ormosia has better micro details and air - Fit is better on Ormosia on both configurations, but isolation is better on Topaz
vs Intime Sora 2 ($69)
- Similar tuning on both sets
- Bass is leaner on the Sora with better texture on Ormosia but cleaner on Sora 2
- Mids sound spicier on the Sora 2 while Ormosia sounds smoother and more bodied
- Treble is equally as satisfying on both sets, but Sora 2 is spicier and more to my taste
- Staging is wider on the Ormosia by a small margin, but Sora 2 sounds better separated
- Fit is equally good but more versatile on the Sora 2
vs KBEar Ink ($69)
- Agressive V-Shape sound signature on the Ink while a more balanced U-shape on Ormosia
- Bass is better controlled on Ormosia but quantity of sub bass is more on Ink
- Mids are WAY better on the Ormosia compared to the Ink in every regard
- Treble and microdetail retrieval are better on the Ink, but also harsher compared to the Ormosia
- Staging width is better on the Ormosia, but slightly better depth on Ink.
- Overall separation is better on the Ormosia, but better treble separation on Ink
- Ink oddly has better inclusions than the Ormosia (cleaning brush, cleaning cloth, better tips)
VERDICT:
The KBEar Ormosia proves itself to be a very competitive option in the current market. I was a little worried for KBEar with the Ink as despite its technical capabilities, it seemed to be quite harsh in presentation with only its build and accessories making it truly worth it to get. But they took that great build (with the exception of the cable) and accessories and implemented it on a unique form factor and sound quality.
By going for an earbud-style form factor that allows for two different fits, it allows the Ormosia to cater to more people’s ears. And a more balanced, slightly U-Shaped tuning makes it sound natural and well-balanced and puts it above many of not only KBEar’s own releases but also in the price bracket it lives in. It may not be for those that prefer elevated sub-bass or a more intimate midrange, but I found this to be fitting for most genres I threw at it.
The 1DD complements the 2BA configuration and avoided a metallic or plasticky tonality and was overall a very coherent presentation. The biggest issues come at the micro aspects of the IEM such as separation, staging, and a more comfortable fit. If they would continue to explore and improve this style and sound and maybe put it in the sub $50 region, I would argue that it would become a very competitive choice. Until then, I believe that the Ormosia could become the seed to success to become at the top of the competition.
If you would like to get a unit for yourself, please refer yourself to the non-affiliated link to Keephifi down below.
https://keephifi.com/products/kbear-ormosia
Thank you for taking the time to read my review! Please consider liking and following facebook my page if you want to see more audio review content from me.
Facebook Page: https://www.facebook.com/OB.ODIO
BLON Z200
TOTAL SCORE: 29 out of 50
PROS:
CONS:
WHO THIS UNIT IS FOR:
WHO THIS UNIT ISN’T FOR:
RECOMMENDED GENRES
To think that the most competitive IEMs a few months ago were almost all exclusively IEMs above the $50 mark. Now, the market became so competitive that we’ve been seeing releases in the $20 range outperforming even $80 sets. With such a heated market, especially in this price range, how does a tuning more reminiscent of the past fair against the increasingly growing standard for a more “mature” sound signature?
DISCLAIMERS: This unit was sent as a part of a touring group and provided by Keephifi and Mr. Eiji Romero. I am eternally grateful for this opportunity, but this does not in any way, shape, or form affect the quality of my review. This review will be based entirely on my experience with the IEM itself and I was not paid or told to say anything regarding the IEM. Lastly, I am only one reviewer; this is my personal experience with the unit. Many variables come to play to make everyone’s experience different and your mileage will vary depending on the circumstance.
SOURCES USED:
OTHER ACCESSORIES USED:
TEST TRACKS:
Spotify Playlist:
Document explaining what to look for in each track:
https://docs.google.com/document/d/1oMa7GPLaqtpnnoR9tixvWI4aK-7tXMyTEZCJAVkIZx0/edit?usp=sharing
By now, many of us are familiar with who BLON is. They are the company that brought us the BLON-BL03 that redefined what budget IEMs should be like. Some love it and others despise it, but no one can deny how it pushed other companies to be competitive with their budget releases. They’ve also released many other IEMs like the BL-01, BL-05 and 05s, BL-07 and more. They have also released headphones like the B20 that feature a planar driver. Unfortunately, their recent releases have been quite lackluster based onreviews which puts the Z200 in a position to prove itself to be worthy of the legacy that the BL-03 has set years prior.
SPECSHEET:
MODEL: BLON ZS200
IMPEDANCE: 32Ω
SENSITIVITY: 102dB
FREQUENCY RESPONSE: 20Hz – 20KHz
CABLE LENGTH: 1.2M
PIN TYPE: -NA-
PLUG TYPE: 3.5mm
DRIVER UNIT(S): (1) DYNAMIC DRIVER
UNBOXING:
Before we take a look at the Z200, let’s take a look at the box and its contents.
The Z200s box is your standard white cardboard box with a plastic cover on top. The top half of the plastic cover shows a preview window of the IEM and a bit of the cable while the bottom half includes the logo, their tagline and the meaning of BLON (BELIEF, LETMUSICBURN, OPPORTUNITY, NEVERGIVEUP) printed on it. This time around, they have removed the legendary Oppoty for Opportunity which was quite the disappointment (just kidding!).
The sides are plain with the right side being the only side with writings on it. It includes the BLON logo at the center and the variant options on the left side.
On the bottom of the box is the same text shown on the plastic cover but with an additional spec sheet in Chinese, English, and Japanese. The very bottom shows their contact information and some warning labels.
Pulling up the plastic tab from the bottom reveals basically what we’ve seen from the front without the text. Pulling the white cardboard shows the rest of the cable, a white cloth pouch, spare tips, and the user manual. 3 pairs of standard silicone tips are included in the package. As the Z200 is non-detachable, the cable is fixed into the units themselves. Lastly, the small pouch is a relatively standard-looking white cloth pouch with BLONs logo printed on the front. The box overall is measured at 16 x 7.5 x 3.5 which is larger than your usual Chi-Fi box.
Overall, the unboxing experience of the BLON Z200 really isn’t anything special (It was quite saddening to see Oppoty go). For $20 though, I wouldn’t complain much as this is a budget set after all. In fact, the inclusion of a nice cloth pouch was quite welcome as I personally like the pouches as they allow for a more compact storage solution (I always make sure to include a silicone pack to mitigate oxidation). But with BLON already compromising on the Z200s form factor, it would have been nice to have gotten at least a hard care or more tip choices (especially since the stock tips may not fit well with the Z200s nozzle angle). Regardless, I will always find the lack of space in the phrase LETMUSICBURN and NEVERGIVEUP to be a funny choice for BLON to not include and not change.
BUILD AND FIT: 5 out of 10
Starting with the cable, it’s a relatively thin, copper brown-colored non-detachable cable of about 1.2m in length. BLON advertises it as an anti-tension and anti-interference wire. The plug is a gold-plated 3.5mm house in plain black aluminum housing which tapers to a black jack tail.
It then braids smoothly to a pretty standard y-split with the WGZBLON and Z200 text printed on it. It then splits into 2 double-strand sections that lead to the units themselves. Sadly, the Z200 does not include a chin cinch which I’ve found to be occasionally problematic, particularly whenever I wanted to keep the cable from getting caught on edges or objects
The ear hook is relatively comfortable but can lead to pressure points depending on how you fit the Z200.
As stated previously, the Z200 sports a non-detachable cable. Cable rolling would not be an option unless modded. Finally, to the Z200 themselves. If you prefer your Z200 to have a mic, don’t fret as they do have an option with a mic. Unfortunately, the unit that I received did not include a mic so I am unable to make a comment on the mic quality and controls.
Before I get into the units themselves, BLON has provided a black and purple colorway for the Z200. The unit I have received comes in a black colorway. The Z200 is smaller than your average budget chi-fi, akin to the likes of Shure’s IEMs like the SE215. BLON advertises the shell to be of a Zinc Alloy dual cavity, dual magnet circuit. The shell can then be split into two pieces.
Starting with the faceplate, there is a protrusion coming from the base of the shell all the way to the top where a somewhat diamond shape flattens to create a plane. The top then has an illustration of a moon in gold. The nozzle side of the shell is rounded off smoothly with an absence of any wings or fins to dig into your ear. There are two vents in total with both of them being located just to the side of the nozzle and approximately 6mm diagonal to it.
Speaking of the nozzle, the nozzle is ~5mm long and ~5mm wide. It uses a grill-type filter which is placed ~1mm deep inside of the nozzle.
Inside sits the 3rd generation 10mm carbon diaphragm driver which according to BLON evolved from the 03.
I was quite disappointed to find out that the BLON Z200 had a non-detachable cable when I heard of it first, but I gave it the benefit of the doubt as it could be a really well-made cable that would make cable-rolling irrelevant. Sad to say, the cable is not what I’d confidently flaunt about on my commutes or when fumbling about in my house. The braiding is smooth and the cable feels quite sturdy, but the cable’s thinness definitely raises concern about my tendency to be quite rowdy with my IEMs. The build quality of the IEMs themselves is what I’d expect from BLON as they are very well built. I would say that the moonlight theme fits quite perfectly for the form factor of the Z200 with its smaller-than-average size and weighty Zinc Alloy shell. It has a level of heft and weight on it to speak confidence in its build quality without being too heavy to be distracting in the ear.
Speaking of having it in your ear, this was personally one of the most comfortable IEMs I’ve tried by far. Its smaller than average size allows it to sit comfortably in my ear and the absence of wings or fins allowed for virtually no pressure points in the ear when worn for longer periods of time. This, however, comes at the cost of insertion depth. If you were to use this with the stock tips, it’s very evident that you have to push the IEMs in your ear at a weird angle on certain occasions. A longer tip would definitely be recommended if you want a more comfortable positioning in your ear. Personally, the stock tips were just right for me to have a deeper insertion into my ear without being too intrusive or uncomfortable. I would actually assume that people would small ears would find the Z200 would be quite comfortable. But to people with ears who are more comfortable with IEMs that have wings or fins to keep them snug in your ear, the Z200 may not be for you.
SOUND: 24 out of 40
Sound Signature: V-Shaped
Driving Power: Very easy to run, decent scalability but a phone can run it well
Bass: 7 out of 10
As someone who enjoys some low-end, the BLON Z200 gave me that kick that reminded me of the early days in my audio journey. Boosted and fun are the two words that I can confidently describe the bass of the Z200. Impressive low-end coherency with just enough texture in the midbass for me to deck it out on an evening of relaxation. This, however, comes at the cost of overall cleanliness and speed of bass to be able to depict clear details. Personally, the bass lingers on just long enough to be enjoyable but borders an almost boomy and bloated presentation. Due to this, details in the midbass can be blurry sounding in tracks like Make It Better by Anderson .Paak where an aggressive kick drum can often overpower the details of the backing bass guitar. This then has a pretty bad effect on the overall coherency leading to mids as a recession that will be discussed further in the mids section. But overall, I found the bass of the Z200 to be just the right kind while not sounding overly bloated or boomy. Details definitely take a step back from the overall presentation due to the elevated nature of the bass, so don’t expect a layered experience.
Mids: 6 out of 10
I was surprised how smooth the mids of the Z200 were for being a quite aggressive V-Shape, more so than the original BL-03. Regardless, a clear recession in the entire spectrum is evident thanks to both ends being more emphasized. This isn’t really a surprise for this kind of tuning, but it can definitely be better even if you do enjoy V-Shaped IEMs. Instruments that live primarily in the mids will be present but very distant sounding and almost absent on busy tracks. Pianos and electric guitars particularly sound quite stale and undetailed in most tracks which, again, is not a surprise for this kind of tuning. I will give it to BLON for sticking true to their smooth, natural-sounding midrange as I never heard any peaks or massive dips in the vocals and I never found the mids to sound odd. Overall, it’s alright. The traditional BLON smooth recession with added upper mids emphasis without sounding shrill or shouty. But with a recession this significant that basically makes instruments quite distant or even absent, this is not going to be for those who enjoy a lot of details or forward mids.
Treble: 6 out 10
The overall treble presentation of the BLON Z200 is what I would call inoffensive with a bit of fun. Most people would probably find this to be just the right amount of treble with a little bit of zing and sparkle to make it more fun and more detailed in turn. On that note, the overall detail retrieval of the Z200 isn’t that bad, but microdetails can occasionally sound dull while being present. The bass could be blamed in this regard, but it could really just be the overall driver coherency that it is unable to properly represent microdetails. Regardless, BLON did a decent job with the treble by making it inoffensive while fun enough for those who like some spiciness in the treble. But with just a decent level of detail retrieval and overall lack in the air region, it’s nowhere close to providing that spice I enjoy. But could be good enough for you.
Soundstage, Imaging and Separation: 5 out of 10
The technical performance of the Z200 is about average and what I was expecting from the Z200 but what surprised me the most is how the bass added depth to the overall soundstage of the Z200 when I expected it to be more narrow. Sadly, the same bass ended up muddying up instruments in the lower mids and, to an extent, the vocal performance and layering in certain tracks. Overall, the Z200 doesn’t break any boundaries with its technical performance, but it also doesn’t do anything wrong
COMPARISONS:
Vs BLON BL-03
VERDICT:
It’s difficult to conclude that the Z200 is just another average IEM in the budget segment because I personally enjoyed the Z200. I could honestly be nostalgic about my early days of getting into audio where most if not all the IEMs were a taste of v-shaped. It was nice that the Z200 brought that feeling once again, but living in the past is living a life of a fool. It’s good that we use the past as a tool or an image to move forward, but to linger will only leave you disappointed with what you see around you. Such is the case for the BLON Z200.
It sports a v-shaped sound signature many are familiar with while offering little to nothing new with the form factor. Worse, it even sports a thin and potentially frail cable due to how thin it is. Its softness at least allows for little to no microphonics and is surprisingly tangle-free. But the fact that it’s non-removable easily ticks down recommendations for the fact that once the cable breaks, you can’t replace the cable and you’d have to buy a completely new unit.
With the current market favoring a more “mature” sound signature, the BLON Z200 offers another fun option under the $20 segment. I would honestly say that it is an improvement over the 03, but not significantly to redefine the price bracket as the 03 did. But what it lacks in a removable cable and refinement of its sound quality, it balances (to its best) with a nice build quality with a very attractive design and a fit that will cater to people with smaller ears (or just generally prefers smaller IEMs like me). But at the end of the day, the BLON Z200 proves to be just another fish in the sea of competitive budget IEMs
I would like to thank you for taking the time to read my review! If you haven’t please consider liking and following my facebook page for more audio reviews!
https://www.facebook.com/OB.ODIO/
TOTAL SCORE: 29 out of 50
PROS:
- Attractive design
- Study and well-built shell
- Satisfying low-end presentation
- Bodied lower mids
- Inoffensive sounding treble
- Smooth and natural-sounding timbre
CONS:
- More accessories could have been more desirable for their form factor
- Non-detachable cable
- Recessed overall midrange
- Occasional sibilance on certain tracks
- Average detail retrieval
WHO THIS UNIT IS FOR:
- BLON BL-03 enjoyers
- Prefers a smooth and fun v-shaped sound signature
- Wants an attractive and small form factor
- An “upgrade” to the 03
- People who want thick and bodied mids
WHO THIS UNIT ISN’T FOR:
- People who want a neutral sound signature
- People who want a detachable cable
- People who prefer a snug fit in the ear
- People who want good detail retrieval and technical ability
- Midcentric enjoyers
RECOMMENDED GENRES
- HipHop
- Most pop genres
- Funk
- Less busy rock genres
To think that the most competitive IEMs a few months ago were almost all exclusively IEMs above the $50 mark. Now, the market became so competitive that we’ve been seeing releases in the $20 range outperforming even $80 sets. With such a heated market, especially in this price range, how does a tuning more reminiscent of the past fair against the increasingly growing standard for a more “mature” sound signature?
DISCLAIMERS: This unit was sent as a part of a touring group and provided by Keephifi and Mr. Eiji Romero. I am eternally grateful for this opportunity, but this does not in any way, shape, or form affect the quality of my review. This review will be based entirely on my experience with the IEM itself and I was not paid or told to say anything regarding the IEM. Lastly, I am only one reviewer; this is my personal experience with the unit. Many variables come to play to make everyone’s experience different and your mileage will vary depending on the circumstance.
SOURCES USED:
- Zishan U1
- Not-by-VE Abigail
- VE Megatron
- Poco M3
OTHER ACCESSORIES USED:
- Final E in S & M
- KBEar 07 in S & M
- Stock Tips
- Stock Cable (fixed)
TEST TRACKS:
Spotify Playlist:
Document explaining what to look for in each track:
https://docs.google.com/document/d/1oMa7GPLaqtpnnoR9tixvWI4aK-7tXMyTEZCJAVkIZx0/edit?usp=sharing
By now, many of us are familiar with who BLON is. They are the company that brought us the BLON-BL03 that redefined what budget IEMs should be like. Some love it and others despise it, but no one can deny how it pushed other companies to be competitive with their budget releases. They’ve also released many other IEMs like the BL-01, BL-05 and 05s, BL-07 and more. They have also released headphones like the B20 that feature a planar driver. Unfortunately, their recent releases have been quite lackluster based onreviews which puts the Z200 in a position to prove itself to be worthy of the legacy that the BL-03 has set years prior.
SPECSHEET:
MODEL: BLON ZS200
IMPEDANCE: 32Ω
SENSITIVITY: 102dB
FREQUENCY RESPONSE: 20Hz – 20KHz
CABLE LENGTH: 1.2M
PIN TYPE: -NA-
PLUG TYPE: 3.5mm
DRIVER UNIT(S): (1) DYNAMIC DRIVER
UNBOXING:
Before we take a look at the Z200, let’s take a look at the box and its contents.
The Z200s box is your standard white cardboard box with a plastic cover on top. The top half of the plastic cover shows a preview window of the IEM and a bit of the cable while the bottom half includes the logo, their tagline and the meaning of BLON (BELIEF, LETMUSICBURN, OPPORTUNITY, NEVERGIVEUP) printed on it. This time around, they have removed the legendary Oppoty for Opportunity which was quite the disappointment (just kidding!).
The sides are plain with the right side being the only side with writings on it. It includes the BLON logo at the center and the variant options on the left side.
On the bottom of the box is the same text shown on the plastic cover but with an additional spec sheet in Chinese, English, and Japanese. The very bottom shows their contact information and some warning labels.
Pulling up the plastic tab from the bottom reveals basically what we’ve seen from the front without the text. Pulling the white cardboard shows the rest of the cable, a white cloth pouch, spare tips, and the user manual. 3 pairs of standard silicone tips are included in the package. As the Z200 is non-detachable, the cable is fixed into the units themselves. Lastly, the small pouch is a relatively standard-looking white cloth pouch with BLONs logo printed on the front. The box overall is measured at 16 x 7.5 x 3.5 which is larger than your usual Chi-Fi box.
Overall, the unboxing experience of the BLON Z200 really isn’t anything special (It was quite saddening to see Oppoty go). For $20 though, I wouldn’t complain much as this is a budget set after all. In fact, the inclusion of a nice cloth pouch was quite welcome as I personally like the pouches as they allow for a more compact storage solution (I always make sure to include a silicone pack to mitigate oxidation). But with BLON already compromising on the Z200s form factor, it would have been nice to have gotten at least a hard care or more tip choices (especially since the stock tips may not fit well with the Z200s nozzle angle). Regardless, I will always find the lack of space in the phrase LETMUSICBURN and NEVERGIVEUP to be a funny choice for BLON to not include and not change.
BUILD AND FIT: 5 out of 10
Starting with the cable, it’s a relatively thin, copper brown-colored non-detachable cable of about 1.2m in length. BLON advertises it as an anti-tension and anti-interference wire. The plug is a gold-plated 3.5mm house in plain black aluminum housing which tapers to a black jack tail.
It then braids smoothly to a pretty standard y-split with the WGZBLON and Z200 text printed on it. It then splits into 2 double-strand sections that lead to the units themselves. Sadly, the Z200 does not include a chin cinch which I’ve found to be occasionally problematic, particularly whenever I wanted to keep the cable from getting caught on edges or objects
The ear hook is relatively comfortable but can lead to pressure points depending on how you fit the Z200.
As stated previously, the Z200 sports a non-detachable cable. Cable rolling would not be an option unless modded. Finally, to the Z200 themselves. If you prefer your Z200 to have a mic, don’t fret as they do have an option with a mic. Unfortunately, the unit that I received did not include a mic so I am unable to make a comment on the mic quality and controls.
Before I get into the units themselves, BLON has provided a black and purple colorway for the Z200. The unit I have received comes in a black colorway. The Z200 is smaller than your average budget chi-fi, akin to the likes of Shure’s IEMs like the SE215. BLON advertises the shell to be of a Zinc Alloy dual cavity, dual magnet circuit. The shell can then be split into two pieces.
Starting with the faceplate, there is a protrusion coming from the base of the shell all the way to the top where a somewhat diamond shape flattens to create a plane. The top then has an illustration of a moon in gold. The nozzle side of the shell is rounded off smoothly with an absence of any wings or fins to dig into your ear. There are two vents in total with both of them being located just to the side of the nozzle and approximately 6mm diagonal to it.
Speaking of the nozzle, the nozzle is ~5mm long and ~5mm wide. It uses a grill-type filter which is placed ~1mm deep inside of the nozzle.
Inside sits the 3rd generation 10mm carbon diaphragm driver which according to BLON evolved from the 03.
I was quite disappointed to find out that the BLON Z200 had a non-detachable cable when I heard of it first, but I gave it the benefit of the doubt as it could be a really well-made cable that would make cable-rolling irrelevant. Sad to say, the cable is not what I’d confidently flaunt about on my commutes or when fumbling about in my house. The braiding is smooth and the cable feels quite sturdy, but the cable’s thinness definitely raises concern about my tendency to be quite rowdy with my IEMs. The build quality of the IEMs themselves is what I’d expect from BLON as they are very well built. I would say that the moonlight theme fits quite perfectly for the form factor of the Z200 with its smaller-than-average size and weighty Zinc Alloy shell. It has a level of heft and weight on it to speak confidence in its build quality without being too heavy to be distracting in the ear.
Speaking of having it in your ear, this was personally one of the most comfortable IEMs I’ve tried by far. Its smaller than average size allows it to sit comfortably in my ear and the absence of wings or fins allowed for virtually no pressure points in the ear when worn for longer periods of time. This, however, comes at the cost of insertion depth. If you were to use this with the stock tips, it’s very evident that you have to push the IEMs in your ear at a weird angle on certain occasions. A longer tip would definitely be recommended if you want a more comfortable positioning in your ear. Personally, the stock tips were just right for me to have a deeper insertion into my ear without being too intrusive or uncomfortable. I would actually assume that people would small ears would find the Z200 would be quite comfortable. But to people with ears who are more comfortable with IEMs that have wings or fins to keep them snug in your ear, the Z200 may not be for you.
SOUND: 24 out of 40
Sound Signature: V-Shaped
Driving Power: Very easy to run, decent scalability but a phone can run it well
Bass: 7 out of 10
- Hefty low-end elevation with lots of rumble and texture
- Sub bass offers a near basshead level of rumble
- Midbass texture is good but lacks in the micro-nuances and proper details
- Considerable midbass elevation bleeds into the lower mids
As someone who enjoys some low-end, the BLON Z200 gave me that kick that reminded me of the early days in my audio journey. Boosted and fun are the two words that I can confidently describe the bass of the Z200. Impressive low-end coherency with just enough texture in the midbass for me to deck it out on an evening of relaxation. This, however, comes at the cost of overall cleanliness and speed of bass to be able to depict clear details. Personally, the bass lingers on just long enough to be enjoyable but borders an almost boomy and bloated presentation. Due to this, details in the midbass can be blurry sounding in tracks like Make It Better by Anderson .Paak where an aggressive kick drum can often overpower the details of the backing bass guitar. This then has a pretty bad effect on the overall coherency leading to mids as a recession that will be discussed further in the mids section. But overall, I found the bass of the Z200 to be just the right kind while not sounding overly bloated or boomy. Details definitely take a step back from the overall presentation due to the elevated nature of the bass, so don’t expect a layered experience.
Mids: 6 out of 10
- Recessed overall presentation
- Meaty lower mids thanks to the midbass emphasis
- Poor string and piano-like instrument details and presentation
- Decently presented upper mids without a shout
- Female vocals sound natural but pulled back from the overall mix
I was surprised how smooth the mids of the Z200 were for being a quite aggressive V-Shape, more so than the original BL-03. Regardless, a clear recession in the entire spectrum is evident thanks to both ends being more emphasized. This isn’t really a surprise for this kind of tuning, but it can definitely be better even if you do enjoy V-Shaped IEMs. Instruments that live primarily in the mids will be present but very distant sounding and almost absent on busy tracks. Pianos and electric guitars particularly sound quite stale and undetailed in most tracks which, again, is not a surprise for this kind of tuning. I will give it to BLON for sticking true to their smooth, natural-sounding midrange as I never heard any peaks or massive dips in the vocals and I never found the mids to sound odd. Overall, it’s alright. The traditional BLON smooth recession with added upper mids emphasis without sounding shrill or shouty. But with a recession this significant that basically makes instruments quite distant or even absent, this is not going to be for those who enjoy a lot of details or forward mids.
Treble: 6 out 10
- Non-offensive overall presentation
- Generally smooth on most tracks but bordering sibilant on certain tracks
- Lower treble emphasis smoothly rolls from upper mids
- Noticeable peaks on certain tracks, but not unbearable
- Microdetails can come off as dull sounding at times but is present nonetheless
- Air is somewhat lacking, but sparkles just enough to not sound dark
The overall treble presentation of the BLON Z200 is what I would call inoffensive with a bit of fun. Most people would probably find this to be just the right amount of treble with a little bit of zing and sparkle to make it more fun and more detailed in turn. On that note, the overall detail retrieval of the Z200 isn’t that bad, but microdetails can occasionally sound dull while being present. The bass could be blamed in this regard, but it could really just be the overall driver coherency that it is unable to properly represent microdetails. Regardless, BLON did a decent job with the treble by making it inoffensive while fun enough for those who like some spiciness in the treble. But with just a decent level of detail retrieval and overall lack in the air region, it’s nowhere close to providing that spice I enjoy. But could be good enough for you.
Soundstage, Imaging and Separation: 5 out of 10
- Stage is average with headroom and spaciousness being equal in depth
- Low-end emphasis muddies with imaging and separation on the lower end but makes the bass sound richer and deeper in turn
- Upper mids elevation makes certain instruments sound well placed and separated
The technical performance of the Z200 is about average and what I was expecting from the Z200 but what surprised me the most is how the bass added depth to the overall soundstage of the Z200 when I expected it to be more narrow. Sadly, the same bass ended up muddying up instruments in the lower mids and, to an extent, the vocal performance and layering in certain tracks. Overall, the Z200 doesn’t break any boundaries with its technical performance, but it also doesn’t do anything wrong
COMPARISONS:
Vs BLON BL-03
- Z200 is a steeper v-shape while 03 is warmer v-shape
- Build is equally good, but 03 is better for removable cable
- Fit is iffy on both, but Z200 is personally more comfortable
- Bass is cleaner, tighter, and better textured with better sub rumble on Z200
- Mids are smoother on 03, female vocals sound more forward but less natural on Z200
- Treble better extended on Z200 but also peakier compared to 03
- Smoother overall sound with a slightly more natural timbre on 03 than Z200
VERDICT:
It’s difficult to conclude that the Z200 is just another average IEM in the budget segment because I personally enjoyed the Z200. I could honestly be nostalgic about my early days of getting into audio where most if not all the IEMs were a taste of v-shaped. It was nice that the Z200 brought that feeling once again, but living in the past is living a life of a fool. It’s good that we use the past as a tool or an image to move forward, but to linger will only leave you disappointed with what you see around you. Such is the case for the BLON Z200.
It sports a v-shaped sound signature many are familiar with while offering little to nothing new with the form factor. Worse, it even sports a thin and potentially frail cable due to how thin it is. Its softness at least allows for little to no microphonics and is surprisingly tangle-free. But the fact that it’s non-removable easily ticks down recommendations for the fact that once the cable breaks, you can’t replace the cable and you’d have to buy a completely new unit.
With the current market favoring a more “mature” sound signature, the BLON Z200 offers another fun option under the $20 segment. I would honestly say that it is an improvement over the 03, but not significantly to redefine the price bracket as the 03 did. But what it lacks in a removable cable and refinement of its sound quality, it balances (to its best) with a nice build quality with a very attractive design and a fit that will cater to people with smaller ears (or just generally prefers smaller IEMs like me). But at the end of the day, the BLON Z200 proves to be just another fish in the sea of competitive budget IEMs
I would like to thank you for taking the time to read my review! If you haven’t please consider liking and following my facebook page for more audio reviews!
https://www.facebook.com/OB.ODIO/
Attachments
KBEar Ink
TOTAL SCORE: 32.5 out of 50
WHO THIS UNIT IS FOR:
WHO THIS UNIT ISN’T FOR:
FAVORITE GENRES ON THE SET
“When the world tells you to change, it pays to be yourself to be different”
With the current state of the budget in-ear market, it really makes one wonder what the future holds for us. It's exciting to see what companies are doing now to keep up with the competition. Whether that would be implementing the newest driver technology or revolutionizing the certain targets that have been around. Others, on the other hand, follow a simpler philosophy. If it ain't broke, don't fix it. Will such philosophy prove to stand the test of
tough competition?
𝐃𝐈𝐒𝐂𝐋𝐀𝐈𝐌𝐄𝐑𝐒:
𝘛𝘩𝘪𝘴 𝘶𝘯𝘪𝘵 𝘸𝘢𝘴 𝘴𝘦𝘯𝘵 𝘢𝘴 𝘢 𝘱𝘢𝘳𝘵 𝘰𝘧 𝘢 𝘵𝘰𝘶𝘳𝘪𝘯𝘨 𝘨𝘳𝘰𝘶𝘱 𝘢𝘯𝘥 𝘱𝘳𝘰𝘷𝘪𝘥𝘦𝘥 𝘣𝘺 𝘒𝘦𝘦𝘱𝘩𝘪𝘧𝘪 𝘢𝘯𝘥 𝘔𝘳. 𝘌𝘪𝘫𝘪 𝘐 𝘢𝘮 𝘦𝘵𝘦𝘳𝘯𝘢𝘭𝘭𝘺 𝘨𝘳𝘢𝘵𝘦𝘧𝘶𝘭 𝘧𝘰𝘳 𝘵𝘩𝘪𝘴 𝘰𝘱𝘱𝘰𝘳𝘵𝘶𝘯𝘪𝘵𝘺, 𝘣𝘶𝘵 𝘵𝘩𝘪𝘴 𝘥𝘰𝘦𝘴 𝘯𝘰𝘵 𝘪𝘯 𝘢𝘯𝘺 𝘸𝘢𝘺, 𝘴𝘩𝘢𝘱𝘦, 𝘰𝘳 𝘧𝘰𝘳𝘮 𝘢𝘧𝘧𝘦𝘤𝘵 𝘵𝘩𝘦 𝘲𝘶𝘢𝘭𝘪𝘵𝘺 𝘰𝘧 𝘮𝘺 𝘳𝘦𝘷𝘪𝘦𝘸. 𝘛𝘩𝘪𝘴 𝘳𝘦𝘷𝘪𝘦𝘸 𝘸𝘪𝘭𝘭 𝘣𝘦 𝘣𝘢𝘴𝘦𝘥 𝘦𝘯𝘵𝘪𝘳𝘦𝘭𝘺 𝘰𝘯 𝘮𝘺 𝘦𝘹𝘱𝘦𝘳𝘪𝘦𝘯𝘤𝘦 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘐𝘌𝘔 𝘪𝘵𝘴𝘦𝘭𝘧 𝘢𝘯𝘥 𝘐 𝘸𝘢𝘴 𝘯𝘰𝘵 𝘱𝘢𝘪𝘥 𝘰𝘳 𝘵𝘰𝘭𝘥 𝘵𝘰 𝘴𝘢𝘺 𝘢𝘯𝘺𝘵𝘩𝘪𝘯𝘨 𝘳𝘦𝘨𝘢𝘳𝘥𝘪𝘯𝘨 𝘵𝘩𝘦 𝘐𝘌𝘔. 𝘓𝘢𝘴𝘵𝘭𝘺, 𝘐 𝘢𝘮 𝘰𝘯𝘭𝘺 𝘰𝘯𝘦 𝘳𝘦𝘷𝘪𝘦𝘸𝘦𝘳; 𝘵𝘩𝘪𝘴 𝘪𝘴 𝘮𝘺 𝘱𝘦𝘳𝘴𝘰𝘯𝘢𝘭 𝘦𝘹𝘱𝘦𝘳𝘪𝘦𝘯𝘤𝘦 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘶𝘯𝘪𝘵. 𝘔𝘢𝘯𝘺 𝘷𝘢𝘳𝘪𝘢𝘣𝘭𝘦𝘴 𝘤𝘰𝘮𝘦 𝘵𝘰 𝘱𝘭𝘢𝘺 𝘵𝘰 𝘮𝘢𝘬𝘦 𝘦𝘷𝘦𝘳𝘺𝘰𝘯𝘦’𝘴 𝘦𝘹𝘱𝘦𝘳𝘪𝘦𝘯𝘤𝘦 𝘥𝘪𝘧𝘧𝘦𝘳𝘦𝘯𝘵 𝘢𝘯𝘥 𝘺𝘰𝘶𝘳 𝘮𝘪𝘭𝘦𝘢𝘨𝘦 𝘸𝘪𝘭𝘭 𝘷𝘢𝘳𝘺 𝘥𝘦𝘱𝘦𝘯𝘥𝘪𝘯𝘨 𝘰𝘯 𝘵𝘩𝘦 𝘤𝘪𝘳𝘤𝘶𝘮𝘴𝘵𝘢𝘯𝘤𝘦.
SOURCES USED:
OTHER ACCESSORIES:
TEST TRACKS:
NOTE: The playlist below may contain a mixture of MP3, FLAC and potentially DSD Files
Spotify Playlist:
Document explaining what to look for in each track:
https://docs.google.com/document/d/1oMa7GPLaqtpnnoR9tixvWI4aK-7tXMyTEZCJAVkIZx0/edit?usp=sharing
According to HifiGo, KBEar is a HiFi earphone brand founded in 2014 by the Chinese company Shenzhen Lingyin Technology Co., Ltd. They were formed by a young team of audiophiles with an aim to design high-fidelity audio earphones and cables at affordable prices. They are known for their quite wide array of products ranging from cables and other accessories to multidriver IEMs. They also have a subbrand named TRI which focuses more on cables.
So far, the only KBEar product I've spent a considerable amount of time with is the KBEar Little Q which I found to be a considerable bullet-in-ear option under the $20 segment. I have heard from other reviewers that KBEar has a house sound that may or may not be for you. So let's find out together whether the KBEar Ink can also be an option in the under $80 segment.
UNBOXING
Before we view the IEMs themselves, let's take a look at the box and its contents
The box comes in a pretty considerable size, coming in at 22 x 11.5 x 4.5 cm. With this size, you’re bound to expect that it would come with a lot of goodies.
Looking at the form and design, the box is covered with a square cardboard sleeve. The top shows the KBEar Logo, a tactile hexagon design, and INK printed on the very right. The sides of the cardboard are plain and the sides are open for access to the box. Under the cardboard sleeve are the necessary details such as the address of KBEar, certifications, and the specs of the IEM and cable
Opening the sleeve reveals the box with a nicely textured design that feels grippy to the touch. On top of the box is KBEar’s logo in gold print while the sides have KBEar’s website printed in the same gold color.
Opening the box splits the box into two pieces. The top cover and the bottom contains the IEMs and the bottom compartment that holds all the unit and the accessories
As I received this unit already opened, my initial experience with the presentation was with the Ink’s inside the leather pouch and the entire top section clean besides the leather pouch. So for aesthetic purposes, I have laid out what I would assume the position of the initial unboxing experience would be.
The box includes a nice-looking faux leather pouch with KBEar’s logo embedded on the middle. Under the leather pouch, the tips, cleaning brush, and cloth are located. In total, there are 8 pairs of silicone buds that come with the unit. There are 3 wide-bored in the SML sizing while the rest seems to be their famous KBEar 07 in S, M, L, and XL sizes. Under that is the warranty card
Overall, the unboxing experience was quite the treat and I would say it has got to be one of the most jam-packed unboxing experiences I’ve had so far. I would go as to say that this is one of the most keepable boxes out of all the IEMs I’ve had so far as it would be a great showpiece to display in your living room or bedroom. The combination of the cardboard sleeve and the minimalist box offers quite a premium presentation. If I were to nitpick, I would say that they could have also used a cardboard or velvet material on the inside of the box to really sell that premium unboxing experience.
BUILD AND FIT: 7 out of 10
Starting with the cable, its technical specifications describe it to be an 8-core OFC silver plated wire of about ~1.2m in length.
The jack comes in 3.5mm and is gold plated with the body painted in black. KBEar’s name is printed on the side with small creases on the sides separating the 3.5mm jack and the jack tail.
This then leads to the quite beautifully braided black 8-core cable that leads to the splitter. The splitter is colored the same black as the jack and has the KBEar logo. It sports a similar crease over the entire splitter similar to the jack. This is also where a pretty standard-looking and feeling circular chin cinch is. The chin cinch thankfully has sections that hug each strand which helps in holding the cable down more efficiently
The wire splits to a 4 core per side that leads to the well-done pre-formed ear hook to the relatively standard-looking 2-pin modules.
Now, to the unit themselves.
KBEar Ink sports a 2.5D arc high transparent epoxy resin faceplate, one-piece molding alloy cavity, and a “precision” brass nozzle.
Observing the units further, the faceplate includes a hexagonal design with a predominantly grey color. Blue lines appear near the outer hexagons and the KBEar name is printed on both sides with a yellow/gold color.
Under the faceplate is the metal shell or “cavity” that is akin to their previous releases, namely the KBEar Believe and Diamond. According to KBear, it was optimized to give full play to the 8.8mm DLC Diaphragm that is at the heart of the Ink. A single vent is located across the sunken 2-pin connector which also has the side indicator printed between the two. The overall shape is on a smoother side as the shell is devoid of fins that other IEMs have to compensate for the shape of the ear. Lastly, we reach the brass nozzle which is a completely separate piece from the shell.
The overall build quality of the KBEar Ink is outstanding. From the cable to the IEM itself, I was completely astonished by how well-built the unit is.
Unsurprisingly coming from KBEar, their cables are robust. They are thick and durable feeling without being too overwhelmingly heavy or stiff. Each strand feels just right without being too thin to compensate for the thicker braid. Speaking of the braid, it feels very smooth and well braided with no visible kinks in both the 8-core and the two 4-core sections. The jack, splitter, and 2-pin connectors are also well made with the small creases offering a better grip when removing and plugging the jack or adjusting the chin cinch. The preformed ear hooks are also comfortable as I never felt any pressure points regardless of how long I wore the Ink.
The IEMs themselves were no slouches either as the combination of a resin faceplate and aluminum shell made it feel very premium to the touch. Holding the Ink for the first time completely shook me, especially coming after the BQEYZ Topaz and the Tangzu Zetian Wu which were primarily using resin material for their shells and metal faceplates. If I’ll be honest, this is one of the most premium feeling IEMs I’ve tried purely for how well built it feels. The fitting is also very good as the absence of the fins allowed for fewer pressure points in my ear. Lastly, the brass nozzle is just the right length and radius for my ears in combination with the included tips (both the wide-bore and KBEar 07). Overall, I have to commend KBear for a very well-made IEM with the KBear Ink. If I were to nitpick, the hexagon design on the faceplate could have definitely been executed better as I found the design to be pretty underwhelming.
Sound: 25.5 out of 40
Sound Signature:
Drivability:
Bass: 7 out of 10
Pretty traditional v-shaped tuned bass with its entire spectrum boosted significantly enough to affect the rest of the frequencies. Despite the sacrifices it has made to boost that bass, it still doesn’t sound enough for me to be a proper basshead set as the rumble and texture of instruments. Particularly on tracks like Savant’s Witchcraft which usually has a very well-textured and layered bass that you really can both feel and hear, the KBEar Ink does only a decent job of depicting such complexity. Thankfully, it can still make a track like Sustainer by Savant sound dynamic and quite satisfying (possibly thanks to its upper mids emphasis but we’ll get to that later). Overall though, I expected this kind of elevated but somewhat subdued bass quality coming from KBEar, but I would love for them to try something more along the lines of truly a dirty bass. If they were to keep this somewhat smoother, sub-bass-oriented tuning, improvements in detail and quality of the bass speed are definitely needed as I find the bass to have just a sufficient amount of sub-bass for the amount of texture and detail is achieved
Mids: 5 out of 10
Yikes. I feel as if this had a larger driver, this would be borderline unlistenable and I would have had a bad time reviewing the unit. But thankfully, my shout-exposed ears just managed to hear through this mids of Ink as it was overall unbearable to listen on certain tracks. I will give credit where it’s due if you come from the old KZs, CCAs, or TRNs, this would not be far off from your experiences. But whether you enjoy that is beyond me. Lower mids are distant and unbodied especially on busy tracks while upper mids have an insanely forward presentation that even for someone like me who likes a forward upper mids to make female vocals shine, was way too much. Necry Talkie’s “You Should Head North” which is my primary shout test track was not a good experience as Mossa’s vocals were both dry and scratchy sounding due to her high notes being overly forward and shouty which forces you to lower the volume quite a significant amount when listening to that and the rest of the tracks in their album, “ZOO!!”. Overall, not a good experience. Only saved by the fact that lower mids don’t sound as bloated as I expected them to be and I can get a decent experience with instrumentals and naturally forward male vocals and the details that the upper mids can occasionally offer. Tracks that have the upper mids pulled back sound good with the Ink, especially when synths and electric guitars are concerned as they pull out the microdetails in those instruments.
Treble: 7 out of 10
As someone who can bear a significant amount of treble, I will say this is almost close to how I like my treble done. Weird to say after absolutely disliking the mids I know. Regardless, I should state that the treble is definitely peaky and sibilant to some tracks that are most likely unbearable for some. Personally, this elevated treble is fine for me. This leads me to the surprisingly good amount of microdetails in the lower to middle treble. This is most likely due to its elevated nature which forces some instruments to be forward and shows pretty great detail. This comes at the cost that it sounds unnatural, but treble heads may enjoy this quality of treble. The air region is sufficient enough for me as there is a sense of headroom that makes pulls some instruments out of your head. Cymbals, hi-hats, and air instruments have a surprisingly nice amount of micro details but may come across as splashy to some. But overall, the treble response may be too hot and intense to some while being just right to people like me. It’s not clean and sibilance is quite frequent, but its hefty microdetail capabilities and a good sense of air make the treble quite enjoyable to listen to particularly on tracks with recessed treble.
Soundstage, imaging, and separation: 6.5 out of 10
Its overall technicalities surprised me both in a good way and a bad way. The lower registers were quite disappointing with how details, separation, and staging were handled (with the exception of a decent amount of bass depth) but the upper registers offered an expansive feel (probably due to the treble elevation). I would still say it's about average in its total detail retrieval, but that treble really makes up for its microdetails. Separation is surprisingly nice on synths and guitars are I can quite easily separate those particular instruments, due in part to the recessed mids which makes some songs sound uneven in terms of separation.
COMPARISON:
vs BQEYZ Topaz ($89)
vs Tin T3+ ($79)
VERDICT:
As I personally enjoy a taste of V-Shape myself every once and a while, I found myself to be enjoying the KBEar Ink during my first few hours of listening. But due to the aggressive upper mids and occasionally sibilant treble, I found myself unable to listen to the Ink for long periods of listening. The very dry and recessed mids also make certain genres sound flat and unengaging to listen to, particularly vocal-centric tracks. I was honestly expecting more note weight for how commanding the bass region was, but mid-bass generally lacked authority and detail.
Coming back to my question earlier about whether the philosophy of not fitting with the trends of the time would prove to be sustainable, it would definitely fall to the consumer to judge as to whether their needs align with their needs. KBEar Ink offers a familiar but also aggressive V-Shaped tuning that we have heard years prior while providing accessories that are very generous even for the under $80. But it’s very clear that KBEar will struggle if we’re talking about the just IEMs themselves, I personally think that the Ink is not competitive in terms of technical ability against those that precede it. Regardless, the Ink still provides an option for those who like a nice bass experience and spicy upper mids. If anything, this will at least write itself in ink for being a complete package that offers a lot!
If you're interested to buy the KBEar Ink, you may get buy one through a non-affiliated link to Keephifi
https://keephifi.com/products/kbear-ink
Thank you for taking the time to read my review! Please consider liking and following my Facebook page below if you want to see more audio review content from me. Thank you and have a nice day!
https://www.facebook.com/OB.ODIO
TOTAL SCORE: 32.5 out of 50
WHO THIS UNIT IS FOR:
- Dirty V-Shape Enjoyers
- People who like microdetails in the upper frequencies
- People who are immune to shout and sibilance
- People who like a well built IEM
- People who want a lot of accessories
WHO THIS UNIT ISN’T FOR:
- People who like a lot of details and wide stage
- People who are sensitive to treble
- People who don’t like recessed and dry-sounding mids
- People that like a lot of bass texture and details
- People who hate thick cables and hefty IEMs
FAVORITE GENRES ON THE SET
- HipHop
- Certain JPOP
- EDM and other electronic music with an emphasis on bass and treble
- R&B
“When the world tells you to change, it pays to be yourself to be different”
With the current state of the budget in-ear market, it really makes one wonder what the future holds for us. It's exciting to see what companies are doing now to keep up with the competition. Whether that would be implementing the newest driver technology or revolutionizing the certain targets that have been around. Others, on the other hand, follow a simpler philosophy. If it ain't broke, don't fix it. Will such philosophy prove to stand the test of
tough competition?
𝐃𝐈𝐒𝐂𝐋𝐀𝐈𝐌𝐄𝐑𝐒:
𝘛𝘩𝘪𝘴 𝘶𝘯𝘪𝘵 𝘸𝘢𝘴 𝘴𝘦𝘯𝘵 𝘢𝘴 𝘢 𝘱𝘢𝘳𝘵 𝘰𝘧 𝘢 𝘵𝘰𝘶𝘳𝘪𝘯𝘨 𝘨𝘳𝘰𝘶𝘱 𝘢𝘯𝘥 𝘱𝘳𝘰𝘷𝘪𝘥𝘦𝘥 𝘣𝘺 𝘒𝘦𝘦𝘱𝘩𝘪𝘧𝘪 𝘢𝘯𝘥 𝘔𝘳. 𝘌𝘪𝘫𝘪 𝘐 𝘢𝘮 𝘦𝘵𝘦𝘳𝘯𝘢𝘭𝘭𝘺 𝘨𝘳𝘢𝘵𝘦𝘧𝘶𝘭 𝘧𝘰𝘳 𝘵𝘩𝘪𝘴 𝘰𝘱𝘱𝘰𝘳𝘵𝘶𝘯𝘪𝘵𝘺, 𝘣𝘶𝘵 𝘵𝘩𝘪𝘴 𝘥𝘰𝘦𝘴 𝘯𝘰𝘵 𝘪𝘯 𝘢𝘯𝘺 𝘸𝘢𝘺, 𝘴𝘩𝘢𝘱𝘦, 𝘰𝘳 𝘧𝘰𝘳𝘮 𝘢𝘧𝘧𝘦𝘤𝘵 𝘵𝘩𝘦 𝘲𝘶𝘢𝘭𝘪𝘵𝘺 𝘰𝘧 𝘮𝘺 𝘳𝘦𝘷𝘪𝘦𝘸. 𝘛𝘩𝘪𝘴 𝘳𝘦𝘷𝘪𝘦𝘸 𝘸𝘪𝘭𝘭 𝘣𝘦 𝘣𝘢𝘴𝘦𝘥 𝘦𝘯𝘵𝘪𝘳𝘦𝘭𝘺 𝘰𝘯 𝘮𝘺 𝘦𝘹𝘱𝘦𝘳𝘪𝘦𝘯𝘤𝘦 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘐𝘌𝘔 𝘪𝘵𝘴𝘦𝘭𝘧 𝘢𝘯𝘥 𝘐 𝘸𝘢𝘴 𝘯𝘰𝘵 𝘱𝘢𝘪𝘥 𝘰𝘳 𝘵𝘰𝘭𝘥 𝘵𝘰 𝘴𝘢𝘺 𝘢𝘯𝘺𝘵𝘩𝘪𝘯𝘨 𝘳𝘦𝘨𝘢𝘳𝘥𝘪𝘯𝘨 𝘵𝘩𝘦 𝘐𝘌𝘔. 𝘓𝘢𝘴𝘵𝘭𝘺, 𝘐 𝘢𝘮 𝘰𝘯𝘭𝘺 𝘰𝘯𝘦 𝘳𝘦𝘷𝘪𝘦𝘸𝘦𝘳; 𝘵𝘩𝘪𝘴 𝘪𝘴 𝘮𝘺 𝘱𝘦𝘳𝘴𝘰𝘯𝘢𝘭 𝘦𝘹𝘱𝘦𝘳𝘪𝘦𝘯𝘤𝘦 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘶𝘯𝘪𝘵. 𝘔𝘢𝘯𝘺 𝘷𝘢𝘳𝘪𝘢𝘣𝘭𝘦𝘴 𝘤𝘰𝘮𝘦 𝘵𝘰 𝘱𝘭𝘢𝘺 𝘵𝘰 𝘮𝘢𝘬𝘦 𝘦𝘷𝘦𝘳𝘺𝘰𝘯𝘦’𝘴 𝘦𝘹𝘱𝘦𝘳𝘪𝘦𝘯𝘤𝘦 𝘥𝘪𝘧𝘧𝘦𝘳𝘦𝘯𝘵 𝘢𝘯𝘥 𝘺𝘰𝘶𝘳 𝘮𝘪𝘭𝘦𝘢𝘨𝘦 𝘸𝘪𝘭𝘭 𝘷𝘢𝘳𝘺 𝘥𝘦𝘱𝘦𝘯𝘥𝘪𝘯𝘨 𝘰𝘯 𝘵𝘩𝘦 𝘤𝘪𝘳𝘤𝘶𝘮𝘴𝘵𝘢𝘯𝘤𝘦.
SOURCES USED:
- Zishan U1
- Not-by-VE Abigail
- Poco M3
OTHER ACCESSORIES:
- Stock KBEar07 in medium
- Stock cable
TEST TRACKS:
NOTE: The playlist below may contain a mixture of MP3, FLAC and potentially DSD Files
Spotify Playlist:
Document explaining what to look for in each track:
https://docs.google.com/document/d/1oMa7GPLaqtpnnoR9tixvWI4aK-7tXMyTEZCJAVkIZx0/edit?usp=sharing
According to HifiGo, KBEar is a HiFi earphone brand founded in 2014 by the Chinese company Shenzhen Lingyin Technology Co., Ltd. They were formed by a young team of audiophiles with an aim to design high-fidelity audio earphones and cables at affordable prices. They are known for their quite wide array of products ranging from cables and other accessories to multidriver IEMs. They also have a subbrand named TRI which focuses more on cables.
So far, the only KBEar product I've spent a considerable amount of time with is the KBEar Little Q which I found to be a considerable bullet-in-ear option under the $20 segment. I have heard from other reviewers that KBEar has a house sound that may or may not be for you. So let's find out together whether the KBEar Ink can also be an option in the under $80 segment.
UNBOXING
Before we view the IEMs themselves, let's take a look at the box and its contents
The box comes in a pretty considerable size, coming in at 22 x 11.5 x 4.5 cm. With this size, you’re bound to expect that it would come with a lot of goodies.
Looking at the form and design, the box is covered with a square cardboard sleeve. The top shows the KBEar Logo, a tactile hexagon design, and INK printed on the very right. The sides of the cardboard are plain and the sides are open for access to the box. Under the cardboard sleeve are the necessary details such as the address of KBEar, certifications, and the specs of the IEM and cable
Opening the sleeve reveals the box with a nicely textured design that feels grippy to the touch. On top of the box is KBEar’s logo in gold print while the sides have KBEar’s website printed in the same gold color.
Opening the box splits the box into two pieces. The top cover and the bottom contains the IEMs and the bottom compartment that holds all the unit and the accessories
As I received this unit already opened, my initial experience with the presentation was with the Ink’s inside the leather pouch and the entire top section clean besides the leather pouch. So for aesthetic purposes, I have laid out what I would assume the position of the initial unboxing experience would be.
The box includes a nice-looking faux leather pouch with KBEar’s logo embedded on the middle. Under the leather pouch, the tips, cleaning brush, and cloth are located. In total, there are 8 pairs of silicone buds that come with the unit. There are 3 wide-bored in the SML sizing while the rest seems to be their famous KBEar 07 in S, M, L, and XL sizes. Under that is the warranty card
Overall, the unboxing experience was quite the treat and I would say it has got to be one of the most jam-packed unboxing experiences I’ve had so far. I would go as to say that this is one of the most keepable boxes out of all the IEMs I’ve had so far as it would be a great showpiece to display in your living room or bedroom. The combination of the cardboard sleeve and the minimalist box offers quite a premium presentation. If I were to nitpick, I would say that they could have also used a cardboard or velvet material on the inside of the box to really sell that premium unboxing experience.
BUILD AND FIT: 7 out of 10
Starting with the cable, its technical specifications describe it to be an 8-core OFC silver plated wire of about ~1.2m in length.
The jack comes in 3.5mm and is gold plated with the body painted in black. KBEar’s name is printed on the side with small creases on the sides separating the 3.5mm jack and the jack tail.
This then leads to the quite beautifully braided black 8-core cable that leads to the splitter. The splitter is colored the same black as the jack and has the KBEar logo. It sports a similar crease over the entire splitter similar to the jack. This is also where a pretty standard-looking and feeling circular chin cinch is. The chin cinch thankfully has sections that hug each strand which helps in holding the cable down more efficiently
The wire splits to a 4 core per side that leads to the well-done pre-formed ear hook to the relatively standard-looking 2-pin modules.
Now, to the unit themselves.
KBEar Ink sports a 2.5D arc high transparent epoxy resin faceplate, one-piece molding alloy cavity, and a “precision” brass nozzle.
Observing the units further, the faceplate includes a hexagonal design with a predominantly grey color. Blue lines appear near the outer hexagons and the KBEar name is printed on both sides with a yellow/gold color.
Under the faceplate is the metal shell or “cavity” that is akin to their previous releases, namely the KBEar Believe and Diamond. According to KBear, it was optimized to give full play to the 8.8mm DLC Diaphragm that is at the heart of the Ink. A single vent is located across the sunken 2-pin connector which also has the side indicator printed between the two. The overall shape is on a smoother side as the shell is devoid of fins that other IEMs have to compensate for the shape of the ear. Lastly, we reach the brass nozzle which is a completely separate piece from the shell.
The overall build quality of the KBEar Ink is outstanding. From the cable to the IEM itself, I was completely astonished by how well-built the unit is.
Unsurprisingly coming from KBEar, their cables are robust. They are thick and durable feeling without being too overwhelmingly heavy or stiff. Each strand feels just right without being too thin to compensate for the thicker braid. Speaking of the braid, it feels very smooth and well braided with no visible kinks in both the 8-core and the two 4-core sections. The jack, splitter, and 2-pin connectors are also well made with the small creases offering a better grip when removing and plugging the jack or adjusting the chin cinch. The preformed ear hooks are also comfortable as I never felt any pressure points regardless of how long I wore the Ink.
The IEMs themselves were no slouches either as the combination of a resin faceplate and aluminum shell made it feel very premium to the touch. Holding the Ink for the first time completely shook me, especially coming after the BQEYZ Topaz and the Tangzu Zetian Wu which were primarily using resin material for their shells and metal faceplates. If I’ll be honest, this is one of the most premium feeling IEMs I’ve tried purely for how well built it feels. The fitting is also very good as the absence of the fins allowed for fewer pressure points in my ear. Lastly, the brass nozzle is just the right length and radius for my ears in combination with the included tips (both the wide-bore and KBEar 07). Overall, I have to commend KBear for a very well-made IEM with the KBear Ink. If I were to nitpick, the hexagon design on the faceplate could have definitely been executed better as I found the design to be pretty underwhelming.
Sound: 25.5 out of 40
Sound Signature:
- Bright V-Shaped
Drivability:
- Very easy to drive but makes the treble more bearable and the mids less thin sounding on a powerful source.
Bass: 7 out of 10
- An elevated overall bass section in the frequency
- A good amount of rumble, but not basshead level
- Sufficient midbass kick, but slightly lacks in texture and detail making instruments like bass guitars, cellos, and lower registers of electric guitars sound a bit dull or muffled
- Elevation in the bass slightly bleeds into the lower mids
Pretty traditional v-shaped tuned bass with its entire spectrum boosted significantly enough to affect the rest of the frequencies. Despite the sacrifices it has made to boost that bass, it still doesn’t sound enough for me to be a proper basshead set as the rumble and texture of instruments. Particularly on tracks like Savant’s Witchcraft which usually has a very well-textured and layered bass that you really can both feel and hear, the KBEar Ink does only a decent job of depicting such complexity. Thankfully, it can still make a track like Sustainer by Savant sound dynamic and quite satisfying (possibly thanks to its upper mids emphasis but we’ll get to that later). Overall though, I expected this kind of elevated but somewhat subdued bass quality coming from KBEar, but I would love for them to try something more along the lines of truly a dirty bass. If they were to keep this somewhat smoother, sub-bass-oriented tuning, improvements in detail and quality of the bass speed are definitely needed as I find the bass to have just a sufficient amount of sub-bass for the amount of texture and detail is achieved
Mids: 5 out of 10
- Very dry and recessed overall sounding
- Male vocals are pulled back and occasionally lack body even with the midbass bleed
- Details are very subpar in this region, particularly anything guitar, synths, pianos, and vocal nuance in the lower registers
- Unnaturally forward and borderline shouty upper mids that make female vocals not only sound unnaturally forward and occasionally shrill and shouty
Yikes. I feel as if this had a larger driver, this would be borderline unlistenable and I would have had a bad time reviewing the unit. But thankfully, my shout-exposed ears just managed to hear through this mids of Ink as it was overall unbearable to listen on certain tracks. I will give credit where it’s due if you come from the old KZs, CCAs, or TRNs, this would not be far off from your experiences. But whether you enjoy that is beyond me. Lower mids are distant and unbodied especially on busy tracks while upper mids have an insanely forward presentation that even for someone like me who likes a forward upper mids to make female vocals shine, was way too much. Necry Talkie’s “You Should Head North” which is my primary shout test track was not a good experience as Mossa’s vocals were both dry and scratchy sounding due to her high notes being overly forward and shouty which forces you to lower the volume quite a significant amount when listening to that and the rest of the tracks in their album, “ZOO!!”. Overall, not a good experience. Only saved by the fact that lower mids don’t sound as bloated as I expected them to be and I can get a decent experience with instrumentals and naturally forward male vocals and the details that the upper mids can occasionally offer. Tracks that have the upper mids pulled back sound good with the Ink, especially when synths and electric guitars are concerned as they pull out the microdetails in those instruments.
Treble: 7 out of 10
- Decent extension
- Instances of sibilances that may be unbearable for some
- Surprisingly nice amount of microdetails
- Good amount of headspace and air
As someone who can bear a significant amount of treble, I will say this is almost close to how I like my treble done. Weird to say after absolutely disliking the mids I know. Regardless, I should state that the treble is definitely peaky and sibilant to some tracks that are most likely unbearable for some. Personally, this elevated treble is fine for me. This leads me to the surprisingly good amount of microdetails in the lower to middle treble. This is most likely due to its elevated nature which forces some instruments to be forward and shows pretty great detail. This comes at the cost that it sounds unnatural, but treble heads may enjoy this quality of treble. The air region is sufficient enough for me as there is a sense of headroom that makes pulls some instruments out of your head. Cymbals, hi-hats, and air instruments have a surprisingly nice amount of micro details but may come across as splashy to some. But overall, the treble response may be too hot and intense to some while being just right to people like me. It’s not clean and sibilance is quite frequent, but its hefty microdetail capabilities and a good sense of air make the treble quite enjoyable to listen to particularly on tracks with recessed treble.
Soundstage, imaging, and separation: 6.5 out of 10
- Good height and depth, but width needs work
- Imaging is a hit or miss depending on the instruments at hand
- Good separation on less complex tracks, but suffers on busier tracks
Its overall technicalities surprised me both in a good way and a bad way. The lower registers were quite disappointing with how details, separation, and staging were handled (with the exception of a decent amount of bass depth) but the upper registers offered an expansive feel (probably due to the treble elevation). I would still say it's about average in its total detail retrieval, but that treble really makes up for its microdetails. Separation is surprisingly nice on synths and guitars are I can quite easily separate those particular instruments, due in part to the recessed mids which makes some songs sound uneven in terms of separation.
COMPARISON:
vs BQEYZ Topaz ($89)
- Topaz sports an almost L-shaped tuning while the Ink is Bright V-Shaped
- Bass texture and quality are better on topaz while Ink offers a smoother, sub-bass-oriented sound
- Mids sounds more bodied and detailed on Topaz without any noticeable peaks while Ink offers a more forward and engaging upper mids (which is essentially a double-edged sword)
- Treble is better extended but also more prone to sibilant on the Ink while the Topaz sounds duller but smoother
- Technicalities are better on the Topaz with better overall detail retrieval, staging, imaging, and separation on all aspects compared to Ink
vs Tin T3+ ($79)
- T3+ is closer to a Harman style tuning compared to Ink’s V-Shape
- T3+ bass is overall smoother and better detailed than Ink
- Mids are also smoother, better body, and less recessed on the T3+ compared to the Ink.
- No shout on the T3+ while still providing good body and forwardness for female vocals compared to Ink
- Treble is better extended but also more sibilant on Ink compared to T3+
- Overall technicalities besides microdetails are better on T3+
VERDICT:
As I personally enjoy a taste of V-Shape myself every once and a while, I found myself to be enjoying the KBEar Ink during my first few hours of listening. But due to the aggressive upper mids and occasionally sibilant treble, I found myself unable to listen to the Ink for long periods of listening. The very dry and recessed mids also make certain genres sound flat and unengaging to listen to, particularly vocal-centric tracks. I was honestly expecting more note weight for how commanding the bass region was, but mid-bass generally lacked authority and detail.
Coming back to my question earlier about whether the philosophy of not fitting with the trends of the time would prove to be sustainable, it would definitely fall to the consumer to judge as to whether their needs align with their needs. KBEar Ink offers a familiar but also aggressive V-Shaped tuning that we have heard years prior while providing accessories that are very generous even for the under $80. But it’s very clear that KBEar will struggle if we’re talking about the just IEMs themselves, I personally think that the Ink is not competitive in terms of technical ability against those that precede it. Regardless, the Ink still provides an option for those who like a nice bass experience and spicy upper mids. If anything, this will at least write itself in ink for being a complete package that offers a lot!
If you're interested to buy the KBEar Ink, you may get buy one through a non-affiliated link to Keephifi
https://keephifi.com/products/kbear-ink
Thank you for taking the time to read my review! Please consider liking and following my Facebook page below if you want to see more audio review content from me. Thank you and have a nice day!
https://www.facebook.com/OB.ODIO
Attachments
ZETIAN WU: The Empress Sound
WHO IS THIS UNIT FOR:
- Harman enjoyer
- People who enjoy a good, smooth and well extended treble
- Enjoys aesthetics (particularly traditional Chinese-style)
- A competitive planar option
WHO THIS UNIT ISN’T FOR:
- Bass Heads
- People who like thick and meaty mids
- People who are keen about build quality
- People who like modularity in their stock cables
FAVORITE GENRES ON THE SET:
- Pop and most of its subsidiaries with emphasis on female vocals
- Tamer rock genres (metal and the likes may leave you unsatisfied)
- Jazz with prominent trumpets
- R&B
“As an Empress should, she dances gracefully as the world is introduced to a new beauty”
As the Planar Wars continue to rage, TangZu (formerly known as TForce) offers quite a competitive release, that being the wonderfully named Zetian Wu. With the current trends leaning towards a planar future, will the Empress in Her New Clothes reign supreme against the competition?
DISCLAIMERS: This unit was sent as a part of a touring group and provided by Mr. Steve Tong and Mr. Kent. I am eternally grateful for this opportunity, but this does not in any way, shape, or form affect the quality of my review. This review will be based entirely on my experience with the IEM itself and I was not paid or told to say anything regarding the IEM. Lastly, I am only one reviewer; this is my personal experience with the unit. Many variables come to play to make everyone’s experience different and your mileage will vary depending on the circumstance.
ADDITIONAL NOTE: The unit I received came with a cable terminated to 4.4 BAL. Unfortunately, I could not obtain a source or adaptor for the 4.4mm within the review period which led me to use a different cable (specifically from the HZSound Heart Mirror) for this review. Whether you believe that cable material has a sonic effect, having a balanced output on a planar unit as the Zetian Wu may potentially affect the quality of sound one way or another
SOURCES USED:
- Zishan Z3 ES9038 + OPA 1602 opamp
- Zishan U1 (AKM Variant)
- Poco M3
- Not-by-VE Abigail
OTHER ACCESSORIES USED:
- KBear07
TEST TRACKS:
NOTE: The playlist below may contain a mixture of MP3, FLAC and potentially DSD Files
Spotify Playlist:
Document explaining what to look for in each track:
https://docs.google.com/document/d/1oMa7GPLaqtpnnoR9tixvWI4aK-7tXMyTEZCJAVkIZx0/edit
SPEC SHEET:
Driver: 14.5mm Planar Magnetic Driver
Impedance: 16ohms
Sensitivity: 100db (1kHz)
Distortion Rate: <1%
Frequency: 20-20KHz
Cable Type: High-Purity 5N OFC Cable
Cable Length: 1.2m ± 5cm
Pin Type: 0.78 - 2 pin
Plug Type: 3.5mm/2.5mm/4.4mm
TangZu, formerly known as TForce and known for their previous releases like the Yuan Li and Shimin Li are back at it again for another beautiful release. But unlike all their previous models, they have decided to take part in the war of planar magnetic IEMs that other companies have been trying to dominate. I would say that this shift in technologies really pushed some companies to compete to provide the best of the best. The question then lies before us, will TangZu provide the best of the best?
Unfortunately, I am unable to add my thoughts in regard to the ongoing planar war as this will be my very first planar IEM. Instead, I would like to highlight the state of planar against DD and other driver configurations and whether there are any advantages to the traditional configurations.
PACKAGING:
Before we talk about the IEMs themselves, let’s take a look at the packaging that the IEM comes in.
We were only provided the carrying pouch that comes with the IEM so I am unable to comment on the box ergonomics, design, and contents besides the aforementioned inclusions (and cable).
The carrying pouch comes in a larger than usual carrying pouch with a beautiful shade of burgundy. I am unable to confirm the material of the pouch but f I were to assume, I would say this is a very well-made faux leather. It is approximately 14cm x 11cm x 5cm which is quite large compared to all the carrying pouches that other IEMs I’ve tried come in. The top side of the pouch has Tangzu’s logo in gold written on top of it. The zipper and slider are colored in gold, too.
Opening the pouch reveals quite a grandiose presentation of the cable and the IEMs themselves. Insides are covered in what seems to be velvet or velour material. The center includes a protruding section for the IEMs to lay rest in while the cable wraps around the said protruding section. On top is a large, netted section where you may put your extra buds, cables, dongles, or other accessories. Heck, if you have a small enough DAP I reckon you would be able to fit it inside that net without issue. Although due to the protruding sections, it may prove to be difficult to close if you were to put anything reasonably thick in there.
Overall, this has to be one of the most beautiful unboxing (ironically without the box) experiences I’ve had in an IEM. Unzipping the pouch to reveal two beautiful, purple gems with a braided brown cable contrasting around the IEMs almost made me cry. That being said, I would like to nitpick on the sections being a bit too tall. With this size of a carrying pouch, I want to be carrying everything I need with the IEM. But the sections limit it to only be a certain size or certain amount. As much as I love the presentation that the pouch offers, its practical application leaves a lot to be desired.
BUILD AND FIT: 7 out of 10
Starting with the cable, it is a high-purity 5N OFC 4 core cable of about 1.2m in length. It’s colored in an attractive copper-like brown.
The jack is your standard silver finish with a pretty nice crease to grip whenever you plug and unplug. My particular unit is also terminated in 4.4 BAL which is quite the treat if you have a source that allows for balanced 4.4 output. But fret not my 3.5 SE brethren, TangZu also offers a 3.5 SE termination (and at a cheaper price too!).
Going up the cable leads to another pretty standard cylindrical splitter and chin cinch. Nothing too special here.
The preformed ear hooks are also pretty standard but thankfully quite comfortable to wear and do not lead to pressure points. Lastly, we end up at the 0.78 2-pin connectors. It is cylindrical in shape like the splitter and has the L R indicators printed on one side
Now unto the beauties themselves.
Oh boy, where do I start? The faceplate is a CNC machined aluminum alloy in a beautiful shade of purple. According to TangZu themselves, the faceplate is designed with traditional culture in mind and used an “auspicious cloud pattern”. The use of the color purple is also representative of the emperor as purple is the color of royalty. The faceplate curves about 1mm down until it transitions into the resin shells.
The resin shells are 4th Gen DLP 3D printed resin cavities which are arguably pretty stale looking but TangZu claims that they used a large data of human ears on their OEM division to provide a shape that should fit most people. They also stated that due to the large size of the planar magnetic driver, they had to increase the size of the shell. There are 3 vents in total. One directly under the drivers, one across that, and one right beside the 2-pin connector. The nozzle length is ~4mm and the width is ~5mm
The cable overall is quite your average cable at this price range. A solidly built 4-core cable that probably won't tangle due to its thicker strands and an inoffensive split and cinch. At this price, though, I would’ve expected a modular cable to come with the Zetian Wu as it would have been quite nice to be able to switch up the termination at any given moment without the need for another cable. Even $35 sets nowadays get modular cables now! But nothing wrong with creating a solid, single termination cable especially if you don’t have or don’t plan to get a source with balanced termination.
When you think of an empress, you think exceptional, grand, royal, exclusive, majestic and every other synonym you can muster in the face of royalty. Zetian Wu’s aesthetic pulls that off quite perfectly, I would say. I don’t think I’ve seen an IEM this beautifully designed. Obviously, beauty, like this hobby, is subjective. But you can’t deny the handicraft done on the Zetian Wu is a beauty. The stated “auspicious clouds” give the Zetian Wu an almost hand-crafted look while the shade of purple that they used is stunning especially when viewed under a glaring light. Despite that, it does not feel too cramped or overly designed as it still has a sense of cleanliness and understatedness that allows it to not stand out when you don’t want it to. Truly a beauty in the palm of your hands (and your earlobes too).
What cannot be said to be quite perfect though is its build quality. From the moment I held it in my hands, I did not feel like I was holding a piece of art. It could be my expectations, but I anticipated that the Zetian Wu would be heavier (especially since it sports a planar driver). But even with its CNC machined aluminum faceplate and resin cavities, it somewhat feels cheap. The seams between the resin and the faceplate aren’t smooth and are pretty sharp making it feel like they just slapped it on the resin and called it a day (I think I can actually rip off the faceplate if I tried). The $40 HZSound Heart Mirror feels more luxurious to hold than the $150 Zetian Wu. That being said, the Heart Mirror is also a 10mm CNT driver encased in a fully metal build while the Zetian Wu is a 14.5mm Planar which, cost-wise, makes more sense why they went with a half aluminum, half resin build. But least to say, I was quite disappointed with how it felt in my hands.
Comfort-wise, I would say that they nailed their research as upon first wear I did not feel any discomfort or looseness with the IEMs (keep in mind I used KBear07 as the tips that came with the unit were pretty awful). The nozzle length and width are just alright to my ears as I did not have difficulties tip-rolling. Fins on the resin also helped with the snug fit into my ear and I never felt like it was going to leave my ear. The problems rose in longer listening sessions. Possibly due to its size, there were too many pressure points on the ear that made it quite uncomfortable to wear for hours on end. You could argue that you shouldn’t even be using IEMs for long periods of time, but there are people who need isolation or monitoring for hours. In that case, Zetian Wu may or may not give you issues.
Speaking of monitoring;
SOUND: 32.5 out of 40
Sound Signature:
- Harman-ish with elevated sub bass, natural midrange, and slightly elevated treble with good extension
Driving Power:
- Surprisingly, it can be driven by a non-hifi phone (albeit definitely sounding more distant, dry, and less technical compared to being driven properly) but definitely benefits from a more powerful source. Still enjoyable through a phone though.
Bass: 8 out of 10
- Great overall balance of sub-bass and midbass control
- Subbass has dominance over midbass but does not overpower
- A satisfying amount of rumble, but probably not enough to satisfy bass heads
- Great control and decay without sounding lean or weak
- Good detail and texture that carries over on busier tracks
- Smooth midbass kick that doesn’t sound too harsh or bleeds to the mids
Overall, the bass response of the Zetian Wu is immaculate. I wouldn’t say it's perfect as I still find it a tad bit weak-hitting on some tracks but this could really just be attributed to its planar nature. This doesn’t mean it’s weak by any means. If your tracks call for bass, the Zetian Wu delivers. The midbass is very nicely done and transitions into the lower mids quite smoothly thanks to quicker decay. Transients in the bass are also not very offensive while providing a good amount of kick in midbass heavy tracks. A track I would like to highlight here is Air Pillow by Valiant Vermin as the kick on the midbass tends to linger on some units which mud the vocals a tad bit. The Zetian Wu lingers just the right amount on the track and provides a satisfying overall kick. As a whole, the bass response of the Zetian Wu was quite enjoyable and I would go on to say that this would be my preference in the bass. I would prefer something leaner than this, though.
Mids: 7.5 out of 10
- Natural sounding vocals
- Good instrument presentation
- Male vocals have good body albeit distant sounding on busier tracks
- Lower registers of string instruments can sound pulled back on some tracks
- Instruments are neither forward nor distant and offer a realistic depiction
- Upper mids are more forward than the lower mids
- Female vocals are slightly forward and very well depicted with a little bit of thinness on some artists
- Upper registers of pianos sound very resolving
Overall, I would say the mids are the weakest part of the Zetian Wu. Male vocals and some string instruments occasionally sound weak or distant on certain tracks. Steve Lacy’s Static makes his voice a bit dry, but this could potentially be with how aggressive the bass on this track is that it pulls back his vocals. Regardless, the overall presentation of mids is good but not quite impressive. Vocals did not totally wow me but the instrument presentation was pretty good. Female vocals and string instruments like violins and guizhongs I’d say would be the star of the show as they are quite beautifully presented. A small gripe that some may have and that I’ve noticed is that the upper mids can get quite hot on certain tracks. This is not unfamiliar for this kind of tuning (and I prefer it to an extent) but still worthy of a mention.
Treble: 9 out of 10
- Smooth yet well-extended treble presentation
- Transition to upper mids is very well done and does not exhibit any edginess
- Good body on instruments and high-reaching vocals without sounding tinny
- No sibilances or peaks present
- Microdetails are present and well placed without being too harsh
- Transients are well controlled while being detailed enough to hear the details
- Upper treble doesn’t exhibit inherent sibilance whatsoever
- Great airiness
- Cymbals, strings, and air instruments sound well represented in the upper registers
Wow. As a treble head, this has got to be one of the smoothest yet most detailed trebles I’ve heard. Is this the planar experience? The aforementioned thinness from the upper midrange does not last as the overall control that the driver has on the treble is incredible. I will be talking about soundstage, imaging, and separation in a bit but thanks to the treble response it handles treble in most if not all tracks really well. Personally, this is almost the perfect treble for me and I would really only nitpick for the mid to upper treble to be up slightly as I would definitely love to hear that sizzle. But all in all, the treble response of the Zetian Wu is probably the best thing about the set. Almost all of my treble test tracks like 3 on E by Vulfpeck, Blaze by Lettuce, and A Brand New Start by Tracktribe all pass with flying colors as they provide a very enjoyable and detailed treble experience
Soundstage, Imaging, and Separation: 8 out of 10
- Great sense of stage for an IEM
- Good width and depth, but slightly lacking in height
- Impressive imaging, but can be a tad bit difficult to pinpoint in busier tracks
- Very good instrument separation but can also be difficult to separate on busier tracks
Quite impressive overall technicalities that the Zetian Wu offers. The staging was what really shocked me on the first listen as this is probably the widest stage I’ve heard in an IEM by far. This is thanks in part to its treble tuning as it provides quite a good amount of air that instruments don’t sound in your head and are well separated on the surface. This obviously pales in comparison to headphones or earbuds, but to achieve this on in ears is quite impressive. I still feel like the height could be improved, but the overall really good staging. Imaging is also very impressive but something I’ve observed is on busier tracks such as However the Illusionist shake the dice, Zetian Wu has the slightest tendency to be a bit more difficult to separate the instruments and their positions. Albeit this is only on certain segments, particularly the chorus. For the rest of the song, Zetian Wu performs almost perfectly.
COMPARISON:
Well, this is more of a discussion than an actual comparison. This is where I would like to raise the question of how planars go against other driver configurations. I won’t go too deep into each one but I will say that the biggest difference that planar has against other configurations, especially DD is resolution, stage, and clarity. I found that the Zetian Wu was so close to reaching that out-of-your-head experience that headphones and earbuds offer but still too closed in for a proper depiction of the stage to be achieved. In turn, Zetian Wu’s bass response compared to DDs still fall a bit lean and less engaging. Lastly, the treble response that Zetian Wu has is honestly one of the best in any IEM I’ve tried. It’s both well extended and smooth to offer an inoffensive yet detailed experience. But at the end of the day, we should really celebrate the advancing technology that companies are using to move audio forward. Regardless of what’s better for you, having more choices will always be a win-win.
VERDICT:
When I first tried the Zetian Wu, I wasn’t really all that shocked or surprised by its sound. Possibly this is due to the tuning that it has being saturated in the market. But when I took the time to listen to it properly, it quickly showed itself to be quite the capable set. Adding to that, it’s also my first experience in planar magnetic IEMs which was quite exciting.
I would say that TangZu has struck gold with the Zetian Wu, but some things can still definitely be improved. These would include a more confident build quality, modular cable, and further refinement in its sound quality. While its technicalities impressed me, it did not wow me to the point where I felt like my life was changed after hearing the Zetian Wu.
But with a combination of a well-balanced and inoffensive tuning, great technicalities, beautiful aesthetics, and a planar driver all for $150 (PHP. 8,600.00) , I doubt there’s much to complain about. The empress has truly impressed with the beauty that anyone can enjoy.
If you enjoyed this review, please consider also liking and following my FaceBook page down below!
https://www.facebook.com/OB.ODIO/
BQEYZ Topaz: The Gem to Be Loved
“Like the gem it calls itself, the Topaz offers an experience unlike the competition that makes it a precious entry in the IEM market”
Today we will be looking at BQEYZs latest release named the Topaz. Will the Topaz show honor and strength to be competitive in the under $100 market or will it just be another brittle gem to be crushed by the competition?
SOURCES:
TEST TRACKS:
NOTE: The playlist below may contain a mixture of MP3, FLAC, and potentially DSD Files
Tracks on Spotify
https://open.spotify.com/playlist/3O9IoiZqDL0IMhfkfVUN82...
Document file explaining what to look for in the tracks
https://docs.google.com/.../1oMa7GPLaqtpnnoR9tixv.../edit...
SPEC SHEET:
PACKAGING
Before we talk about the IEMs themselves, let’s take a look at the packaging that the IEM comes in.
The box dimensions are 16.5 x 10 x 4.5 CM. Sporting a split box design similar to some smartphone boxes, it offers quite the spacious box for the IEM to sit in before unboxing. The top of the box has a nice purple color with wave-like designs scattered throughout. The BQEYZ Logo can be seen on the top left and a large TOPAZ fills up most of the top.
The sides of the box are rather plain with the top half of the box having the same purple and wave design as the top. The two sides also feature text with one side including the BQEYZ logo and their tagline of “Best Quality Earphone for You” and the other side has the words “Stereo Earphone” on it.
The underside of the box contains its spec sheet and other necessary information you may want to know before opening the box like accessories. Their logo, a big Topaz, and their address are also located here.
Opening the box, a piece of cardboard with the same logo and tagline meets you. Removing the cardboard shows the IEMs themselves and the carrying pouch. I received the grey colorway of the Topaz which accentuates the very well-textured aluminum faceplate. We’ll expound on the IEM themselves further in the review.
The carrying pouch comes in a circular form. Relatively small and can really only fit 1 IEM and maybe a small dongle DAC. Inside the case comes a small cleaning brush. I wouldn’t say that this carrying pouch is all that pocketable, but it allows your cables to stay in a circular wrap when stored which I prefer over the rectangular form that can tangle up your cables. A pretty standard-looking Velcro strap with the BQEYZ logo is also included.
Under the case, the essential paperwork and warranty reside. Above that is the foam cutout for the IEMs themselves which, when removed show an array of ear tips. 12 pairs in total with one set looking to be a wider bored form while the other has a narrower bore. I personally prefer the wider bore, but I noticed that it has the tendency to scrape my inner ear. The tips are about average for what I’d expect in this price range. It would’ve definitely been nice if they had included at least 1 pair of foam tips. Comfort-wise, both tips are adequate enough for my ears. Build-wise, on the other hand, the outer part of the tips seems to be quite thin and can be easily ripped compared to other freebie tips that come with IEMs their price.
Overall, the box is quite ergonomic and spacious while keeping a very stylish design. I like the purple shade they used, but the wave design seems more reminiscent of the BQEYZ KC2 rather than the edgier design that the Topaz has. The unboxing experience was quite the treat and I commend BQEYZ for using a cut box design as I personally prefer this over the slide-down style that many other manufacturers use on their boxes. If I were to nit-pick, removing the tips from their holder was quite unenjoyable as I had to take a long tool to pluck out the tips. But a great experience as a whole.
BUILD AND FIT
The BQEYZ Topaz sports an attractive grey-on-aluminum shell with golden traces that form a rounded triangle shape at the center with either BQEYZ or Topaz written on the very center. A very creative and interesting design choice they did was to use one of the circular letters of each word (that being the Q and O) as vents. This is to me quite a creative way of integrating vents into your IEM without making it look boring or out of place. Under the faceplate is the resin housing and the golden nozzle which measures ~5mm in width and ~4mm in length. The front of the resin housing sports in total 3 vents. 1 standard-looking vent and 2 odd symmetrical vents within a rectangular dip. Whether this configuration has a big impact on the sound can only be confirmed by those willing to filter mod their particular unit. The resin also curves a wing to compensate for the shape of one's ear better.
The cable itself is a thick, 4-core silver cable, terminated to 3.5mm (although you can get a 4.4mm or 2.5mm balanced cable as an option). It has a relatively average length of 1.2m and includes a decent chin slider and a non-fatiguing ear hook. The jack is gold-plated and aluminum and includes the logo on the side. The splitter and chin sinch are colored similarly to the jack and have the BQEYZ logo on the splitter. The chin sinch is just alright and may move around over time but will be unlikely thanks to the material of the cable.
Overall, the comfort of the IEM is very hit or miss. The fit is quite loose regardless of which of the stock tips I used, and the wing does more harm than good to me as it does not “lock” into my ear as other IEMs do. This could be attributed to the wide nozzle that may or may not allow you to insert the IEM deeper into your ear.
The cable is relatively good compared to other stock cables if you’re into thicker cables as each strand seems to be as thick as a standard 2 core with a pretty large but lightweight jack. The splitter and chin sinch are also well-built and implemented.
Due to its quite odd fitting of the IEMs themselves, it has the potential to cause problems for some users. It’s higher recommended to tip roll to something you’re more comfortable with as the stock may prove to be uncomfortable for some users.
SOUND: 28.5 out of 40
Sound Signature:
Driving Power:
Bass: 8 out of 10
Soundstage, Imaging, and Separation: 7 out of 10
COMPARISONS
Vs T3+
CONCLUSION:
“Like the gem it calls itself, the Topaz offers an experience unlike the competition that makes it a precious entry in the IEM market”
Today we will be looking at BQEYZs latest release named the Topaz. Will the Topaz show honor and strength to be competitive in the under $100 market or will it just be another brittle gem to be crushed by the competition?
DISCLAIMERS: This unit was sent as a part of a touring group and provided by Ms. Elle Zhou and Sir. Eiji Romero. I am eternally grateful for this opportunity, but this does not in any way, shape, or form affect the quality of my review. This review will be based entirely on my experience with the IEM itself and I was not paid or told to say anything regarding the IEM. Lastly, I am only one reviewer; this is my personal experience with the unit. Many variables come to play to make everyone’s experience different and your mileage will vary depending on the circumstance.
SOURCES:
- Zishan Z3 ES9038 + OPA 1602 opamp
- Zishan U1 (AKM Variant)
- Poco M3
- Not-By-VE Abigail
- Not-By-VE Avani
- KBear07 Tips
- Sony EP-EX11 Tips
TEST TRACKS:
NOTE: The playlist below may contain a mixture of MP3, FLAC, and potentially DSD Files
Tracks on Spotify
https://open.spotify.com/playlist/3O9IoiZqDL0IMhfkfVUN82...
Document file explaining what to look for in the tracks
https://docs.google.com/.../1oMa7GPLaqtpnnoR9tixv.../edit...
SPEC SHEET:
- Driver: 13mm Coaxial Dual Cavity Dynamic Driver + 9 Layers Piezoelectric
- Impedance: 32ohms
- Sensitivity: 108db
- Frequency: 5-40KHz
- Cable Length: 1.2m
- Pin Type: 0.78 - 2 pin
- Plug Type: 3.5mm/2.5mm/4.4mm
BQEYZ Topaz. Quite a beautiful name for an IEM to have. Coming from the brand that offered the likes of the Autumn, Summer, and Spring, BQEYZ has a track record of releasing very interesting and competitive IEMs. This is personally my very first BQEYZ which expectedly leaves me with quite fresh ears in experiencing the BQEYZ experience.
PACKAGING
Before we talk about the IEMs themselves, let’s take a look at the packaging that the IEM comes in.
The box dimensions are 16.5 x 10 x 4.5 CM. Sporting a split box design similar to some smartphone boxes, it offers quite the spacious box for the IEM to sit in before unboxing. The top of the box has a nice purple color with wave-like designs scattered throughout. The BQEYZ Logo can be seen on the top left and a large TOPAZ fills up most of the top.
The sides of the box are rather plain with the top half of the box having the same purple and wave design as the top. The two sides also feature text with one side including the BQEYZ logo and their tagline of “Best Quality Earphone for You” and the other side has the words “Stereo Earphone” on it.
The underside of the box contains its spec sheet and other necessary information you may want to know before opening the box like accessories. Their logo, a big Topaz, and their address are also located here.
Opening the box, a piece of cardboard with the same logo and tagline meets you. Removing the cardboard shows the IEMs themselves and the carrying pouch. I received the grey colorway of the Topaz which accentuates the very well-textured aluminum faceplate. We’ll expound on the IEM themselves further in the review.
The carrying pouch comes in a circular form. Relatively small and can really only fit 1 IEM and maybe a small dongle DAC. Inside the case comes a small cleaning brush. I wouldn’t say that this carrying pouch is all that pocketable, but it allows your cables to stay in a circular wrap when stored which I prefer over the rectangular form that can tangle up your cables. A pretty standard-looking Velcro strap with the BQEYZ logo is also included.
Under the case, the essential paperwork and warranty reside. Above that is the foam cutout for the IEMs themselves which, when removed show an array of ear tips. 12 pairs in total with one set looking to be a wider bored form while the other has a narrower bore. I personally prefer the wider bore, but I noticed that it has the tendency to scrape my inner ear. The tips are about average for what I’d expect in this price range. It would’ve definitely been nice if they had included at least 1 pair of foam tips. Comfort-wise, both tips are adequate enough for my ears. Build-wise, on the other hand, the outer part of the tips seems to be quite thin and can be easily ripped compared to other freebie tips that come with IEMs their price.
Overall, the box is quite ergonomic and spacious while keeping a very stylish design. I like the purple shade they used, but the wave design seems more reminiscent of the BQEYZ KC2 rather than the edgier design that the Topaz has. The unboxing experience was quite the treat and I commend BQEYZ for using a cut box design as I personally prefer this over the slide-down style that many other manufacturers use on their boxes. If I were to nit-pick, removing the tips from their holder was quite unenjoyable as I had to take a long tool to pluck out the tips. But a great experience as a whole.
BUILD AND FIT
The BQEYZ Topaz sports an attractive grey-on-aluminum shell with golden traces that form a rounded triangle shape at the center with either BQEYZ or Topaz written on the very center. A very creative and interesting design choice they did was to use one of the circular letters of each word (that being the Q and O) as vents. This is to me quite a creative way of integrating vents into your IEM without making it look boring or out of place. Under the faceplate is the resin housing and the golden nozzle which measures ~5mm in width and ~4mm in length. The front of the resin housing sports in total 3 vents. 1 standard-looking vent and 2 odd symmetrical vents within a rectangular dip. Whether this configuration has a big impact on the sound can only be confirmed by those willing to filter mod their particular unit. The resin also curves a wing to compensate for the shape of one's ear better.
The cable itself is a thick, 4-core silver cable, terminated to 3.5mm (although you can get a 4.4mm or 2.5mm balanced cable as an option). It has a relatively average length of 1.2m and includes a decent chin slider and a non-fatiguing ear hook. The jack is gold-plated and aluminum and includes the logo on the side. The splitter and chin sinch are colored similarly to the jack and have the BQEYZ logo on the splitter. The chin sinch is just alright and may move around over time but will be unlikely thanks to the material of the cable.
Overall, the comfort of the IEM is very hit or miss. The fit is quite loose regardless of which of the stock tips I used, and the wing does more harm than good to me as it does not “lock” into my ear as other IEMs do. This could be attributed to the wide nozzle that may or may not allow you to insert the IEM deeper into your ear.
The cable is relatively good compared to other stock cables if you’re into thicker cables as each strand seems to be as thick as a standard 2 core with a pretty large but lightweight jack. The splitter and chin sinch are also well-built and implemented.
Due to its quite odd fitting of the IEMs themselves, it has the potential to cause problems for some users. It’s higher recommended to tip roll to something you’re more comfortable with as the stock may prove to be uncomfortable for some users.
SOUND: 28.5 out of 40
Sound Signature:
- Warm L Shape with emphasis on the bass region, thick lower mids, occasionally recessed upper midrange, and occasionally peaky treble
Driving Power:
- I personally did not have any issues with driving the Topaz through the phone, but due to its piezoelectric and LCP drivers, it’s harder to run than the average single DD. Scalable but still enjoyable at less hifi sources
Bass: 8 out of 10
- Thick, punchy, and yet very well controlled and detailed bass response
- Sub bass rumble is adequate and compliments the midbass elevation very well
- Very punchy and engaging midbass kick while retaining a lot of detail
- Surprisingly does not bleed into the midrange and even compliments the lower vocals on having a lot of body in them
- Average decay but well controlled for a non-muddy or boomy presentation
- Kick drums, bass guitars, and cellos are extremely well represented with great detail and timbre
- Male vocals are very well represented with a lot of body
- Nuances in male vocals such as raspiness and heft are also well represented
- Lower registers of string and air instruments are engaging and detailed
- Male vocals are often forward and very intimate
- The upper midrange has the tendency to sound nasally and unnatural
- Female vocals are not very well represented and can either sound distant or too warm (depending on their register)
- Upper registers of pianos, violins, and some air instruments have the tendency to sound distant and almost absent on some tracks
- Smooth and laid back on the lower end but can still offer a good amount of details
- Higher female vocals start to recess and have a lot of distance on busier tracks
- Somewhat blunted which combined with the prominent bass dulls the upper midrange to the presence region
- Odd sharpness and piercing in some tracks may bring out some details that feel out of place to some
- A sufficient enough amount of air that presents a larger stage
- Technicalities are surprisingly well represented despite the somewhat blunted lower treble/upper midrange
Soundstage, Imaging, and Separation: 7 out of 10
- Bass prominence somewhat hinders the depth of vocals but instruments are quite expansive sounding in the spectrum
- Height is decent and can offer a surprising amount of headroom on tracks and particularly in gaming
- Imaging is above average and can point out where instruments are most of the time except for busy/bassy tracks
- Instrument separation is average with the upper treble bump aiding in a more out-of-the-head experience
COMPARISONS
Vs T3+
- T3+ has a warmer leaning Harman tuning while Topaz is a warmer L Shaped tuning
- Bass is leaner and better controlled on T3+ while Topaz has a punchier, more engaging, detailed, and textured bass
- T3+ has a better-balanced midrange with a more forward upper midrange but thinner lower mids while Topaz has a better body on male vocals but less engaging and slightly recessed upper mids
- T3+ has a brighter treble with the microdetails being just slightly better than the Topaz. Topaz’s treble is smoother and more laid back while still retaining most of the details. Topaz is less fatiguing for longer listening than T3+
- Technicalities are a tad bit better on the Topaz but T3+ has a slightly wider sounding stage in turn
- Fit is MUCH better on T3+ compared to Topaz (personal)
CONCLUSION:
It’s really interesting to see a technically capable set with this kind of tuning at this price range. My first impressions of this unit were not very good as I was not used to the BQEYZ house sound. But my friends told me that the Topaz required some time for you to get used to the sound as it was different from the usual Harman that populates not only its price range but the market right now.
Over time, I started to open up more to the Topaz’s sound which I have to agree is quite the acquired taste. This type of somewhat warm tuning is quite uncommon in the IEM space and is more prominent in the headphone and earbuds space. Least to say, this kind of tuning is quite the unexpected surprise to be as good as it is. I personally believe that straying from the trend to give people options on a different kind of tuning is great for allowing people to try more than just a variant of something like Harman.
But I will have to reiterate the fact that this is going to be an acquired taste or a curiosity. If all you’ve tried are V-Shaped or Harman-style IEMs, this will strike to be odd and to an extent, wrong sounding. But please give it time. And if you’re looking for something different from the sea of Harman and want a warm and bassy sound without compromise on a technical front, then maybe the BQEYZ Topaz is the gem that you’ve been searching for.
If you enjoyed my review, please support me by liking and following my FaceBook page!
https://www.facebook.com/OB.ODIO
Over time, I started to open up more to the Topaz’s sound which I have to agree is quite the acquired taste. This type of somewhat warm tuning is quite uncommon in the IEM space and is more prominent in the headphone and earbuds space. Least to say, this kind of tuning is quite the unexpected surprise to be as good as it is. I personally believe that straying from the trend to give people options on a different kind of tuning is great for allowing people to try more than just a variant of something like Harman.
But I will have to reiterate the fact that this is going to be an acquired taste or a curiosity. If all you’ve tried are V-Shaped or Harman-style IEMs, this will strike to be odd and to an extent, wrong sounding. But please give it time. And if you’re looking for something different from the sea of Harman and want a warm and bassy sound without compromise on a technical front, then maybe the BQEYZ Topaz is the gem that you’ve been searching for.
If you enjoyed my review, please support me by liking and following my FaceBook page!
https://www.facebook.com/OB.ODIO
Attachments
Last edited:
kesobie
Sadly, I have not tried the KC2 or SG01. But I have tried the Heart Mirror!
If the fit is really important, I suggest borrowing a Topaz from a friend to see whether it would fit your ear as despite the not very ideal fit for me I would still be willing to buy it just for the tuning alone.
I would also recommend tip rolling on all your IEMs, especially your Heart Mirror as I've found longer tips such as Final E tips somehow fix the poor fitting that it occasionally has.
If the fit is really important, I suggest borrowing a Topaz from a friend to see whether it would fit your ear as despite the not very ideal fit for me I would still be willing to buy it just for the tuning alone.
I would also recommend tip rolling on all your IEMs, especially your Heart Mirror as I've found longer tips such as Final E tips somehow fix the poor fitting that it occasionally has.
tendou
I don't really like the heart mirrors tonality and probably gonna sell them.
I still really likes the Bqeyz KC2 and Reechoo SG01 eventhough they're not the best fit for me.
I still really likes the Bqeyz KC2 and Reechoo SG01 eventhough they're not the best fit for me.
kesobie
Definitely invest in better tips for them. You're bound to find a tip that fits either of them just right!
KBear Little Q: Lay Down with the Little Q
Today we will be taking a look at the relatively new release from KBear, namely the Little Q. Will the Little Q tower the competition despite its size? Continue reading to find out!
NOTE: My particular unit came without its stock tips and instead I’ve used Sony EP-EX11 tips as my main eartips for the Little Q
Sources Used:
- Zishan Z3 ES9038 with OPA1602 opamp
- Not-by-VE Abigail
- Not-by-VE Avani
- Poco M3
Build Quality and Comfort:
Cable:
- Thick yet malleable which can definitely take a strong tug without any damage thanks to the PVC material
- Fixed cable which may turn some people off, but very durable quality that won’t make you feel scared of breaking the cable
- Not a lot of memory and is quite behave to stay put when wrapped (having velcro or cord winder would help to store it more efficiently
- Gold plated 3.5mm Jack looks sturdy but the jack tail tube may have the tendency to put unnecessary pressure on the cable for potential damage
- Cable texture is soft and will most likely not irritate people’s skins (unless allergic to PVC material)
- Does not include ear hooks or cable sinch
- Surprisingly good mic quality
The IEMs Themselves:
- Small and compact, will most likely fit most people’s ears
- ~5mm nozzle that may become an issue to those who have smaller ears and want a deep fit
- Text on the IEMs is relatively easy to erase
- Tip rolling is highly recommended to find the proper fit
NOTE: My particular ears find that the driver flex on the Little Q to be quite intense but this could be my ears being weird despite rolling tips
- Does not exhibit any pressure points/hotspots within and out of the earlobes (even when pushed in deep)
Sound Signature:
- Smooth, laid back V-Shaped with emphasis on the low end, slightly recessed mids, and decently elevated and extended treble
Bass:
- Impactful yet non-boomy or muddy bass
- Provides a sufficient amount of rumble and bass texture without being excessively bass heavy
- Midbass elevation may slightly bleed into the mids on certain tracks
- Decent speed bass speed but could've been tightened without losing its impact
- You can pinpoint a good amount bass details but some dulling, particularly on midbass heavy tracks may be heard
Mids:
- Thick, bodied mids but has the tendency to sound distant and sloppy on bass-heavy tracks
- The aforementioned midbass elevation affects the mids noticeably enough to pull back the vocals on some tracks
- Male vocals sound warm, thick and rich
- Female vocals are pleasing enough but slightly distant sounding on certain tracks
- Overall, the vocals are of a laid-back and smooth presentation
- Upper mids don’t exhibit shout and peaks but at the cost of slightly pulled back string or air instruments
Treble:
- Safe yet decently extended treble for a non-fatiguing listen
- Only peaks and sibilance on certain songs with poor mastering but clean treble most of the time
- Resolving ability is nothing special, but can still provide a decent amount of clarity and detail so as to not dull most tracks
- Microdetails are present, but only on more powerful sources and have the tendency to get overpowered by the bass
Soundstage and Imaging
- Decent all across the board, above average for its price range
- Despite the elevated bass, it doesn’t seem to affect the staging to a point where the bass feels like its enveloping you, allowing for a surprising amount of air
- Vocal and instrument distance is adequate but as stated, can be a bit distant
Verdict:
The KBear Little Q was quite the surprise as when I had initially heard of it, I thought it was just going to be an IEM lost in the sea of sub $20 due to the competition. But unlike the competition, the Little Q seems to offer quite the package in terms of how practical this can be. Its small size may make it seems quite fragile, but the aluminum build with PVC material used for its cable will defy its little name and appearance. As for sound, it’s nothing we haven’t heard in the price. But unlike most of the IEMs, especially bullet types in the market right now the Little Q offers quite the laid-back V-Shape that most people would find themselves enjoying for a good casual listen. But that’s where I would place the Little Q at. Best for casual use. Due to the quite dulled mid and to a point treble, this would not be a unit you’d use to analyze music. But at the end of the day when all you want is a relaxing listening session, the Little Q will provide you a big source of comfort and peace.
You may also follow my page in Facebook to be updated on my future reviews!
https://web.facebook.com/OB.ODIO
I would like to preface this review by saying that this is my very first review. I am no professional audio gear reviewer and I only enjoy music. So, I apologize for some incorrect terminologies.
The HZSound Heart mirror. Technically my 2nd IEM to date and the one that really got me into IEMs in the first place. After a month of using it as my daily driver, I shall give you my honest thoughts.
These are also bought with my own money and bought from giftru in Shopee. Link will be on the very bottom if you're interested to purchase one for yourself.
GEAR USED:
VE Odyssey HD
Not-by-VE Avani
B450M DS3H stock sound card
Poco M3
MODS DONE:
Tips changed: (Final E, Stock Foam, Stock EX11-like tips and stock Clear Tips)
NOTE: I will be abbreviating the Heart Mirror to HM to save some time.
COMFORT AND FIT:
I would wear the HM for at least 10 hours a day and not once did I feel any hotspot or pressure points when wearing it. These are very comfortable and light to wear despite having a metal build. The fit isn't very deep into my ear which has an effect on isolation as it doesn't block out outside noise that well, but personally I didn't mind as the not-so-deep fit attributed to how comfortable it was to wear.
The different tips that came with the HM were also very impressive. The Sony EX11 looking tips were quite comfortable. I switched between the SML and found that the small was the most comfortable. There were also clear SML and foam tips which I found to be not as comfy to wear. The foam offered a good fit and didn't slide out of my ear like the clear tips. I also tried using Final E tips in Medium which slightly enhanced the bass, but the fit was similar to the stock clear tips in that it slides over long periods.
The stock cable was pretty decent for me. I'm not a big fan of braided cables as I find them irritating my neck and jaws, but the build quality of the cable is good. It has a bit of memory but is, for the most part well behaved when wrapped. The chin strap was also sturdy and kept its position throughout the day. The hook did not create pressure points on my ears which helped big time in wearing it for almost an entire day. The mic location of the cable is also perfect as it's close enough to my mouth that I don't have to position the mic awkwardly under my lip or nose but far enough that it doesn't irritate my skin. Although there was an issue where the mic would pick up the sounds that I'm listening to. This would make the people I'm in a call hear what I'm listening to. Thankfully this is merely a cable problem and can be remedied by changing cables.
SOUND:
Sound Signature: Neutral - Bright
NOTE: The Heart Mirror sound scales very well with a dac-amp and is recommended to be powered to make the most out of its potential
Bass:
It's there. And that surprised me as prior to getting the HM, I thought that the bass would be non-existent. This still is the furthest thing to a bassy IEM as there's barely any kick, but it's there. Bass guitars sound smooth but will exhibit recession on certain tracks where there lower mids are emphasized and the midbass slightly gets drowned out. Not by a big margin but significant to be mentioned. Personally, the bass quantity comes at the benefit of not being fatiguing to listen to overtime as I have found myself to be dizzy at the end of the day when using bassy audio gear.
Mids:
The mids sound very clear and crisp. As stated, the midbass and lower mids can compete for whichever wants to be heard. Nonetheless, lower mids such as male vocals still sound very smooth. Upper mids are intimate and can be quite sharp to those that are sensitive to higher frequencies. But this only happens when listening at higher volumes. This makes this pair really good for most vocal-based purposes whether it'd be songs, gaming or podcasts.
Highs:
The sparkle of these IEMs is some of the most satisfying treble I've heard. A great amount of clarity is heard when listening to music that have a lot of details in the high. Air instruments like saxophones are absolutely wonderful sounding with this IEM. Cymbals also sound very clear and impactful. Big asterisk though as these can get quite sibilant and may cause concerns for those sensitive to high frequencies. But those that enjoy sparkle will surely love these as I did.
Technicalities:
Separation is genuinely impressive as I found myself to still pinpoint instruments. Imaging and stage are just about above average as I noticed that there isn't much depth to the stage and vocals are intimate for the most part.
Gaming Performance:
Above average as in my experience, it's tuning is what helps it be better than traditionally v-shaped IEMs as the bass doesn't compress all the sounds and make pinpointing specific sounds confusing. In FPS games like Valorant and Escape From Tarkov, I can tell what direction where the enemy would be but not when they're above or below. On Escape From Tarkov specifically, you can still hear other sounds even while in a gun fight which is extremely useful and has saved me many times. Story-driven games such as Genshin Impact is where the HM truly shines as the orchestral soundtrack sound wonderful. Overall, it's a pretty average gaming experience for the price.
Conclusions:
10+ hours of usage as my daily driver for an entire month and I still wake up every day excited to wear the Heart Mirrors. This is honestly one of the most worth-it audio gear I have bought. Impressive mids and treble, comfortable fit, great technicalities and a wonderful design. If you're looking for a traditionally fun v-shaped IEM, this isn't for you. But if you're looking for something neutral-bright or just want to try a different tuning, then I would say that the Heart Mirrors are an amazing buy for the price.
LINK:
https://shopee.ph/HZSOUND-Heart-Mir...h-2Pin-0.78mm-OFC-Cable-i.43253829.6957070650
