Pros: Formulated to bring out the best when combined with a personal audio system
Provides not only physical fitment, but also you have a choice or Orange or Black sidewall material and/or physical thickness?
Black enhances the lower midrange and smooths out the top response
Orange increases the perception of resolution and creates a slightly faster stage response
Together they offer the both perfect union of technicalities and well-roundedness, in choice
Absolutely different than I have ever come across, both in shape and material used in both
Black is thicker and offering a bass kick to the signal and enhanced lower midrange
Orange is slightly thinner material making for a higher resolution signal and larger more nimbal stage
Yet both have a nozzle tube of diameter of 4.5mm across every size and color
S :11mm M : 12.5mm L : 14mm XL : 15.5mm
Height: 9.2mm
Can possibly find fitment with multiple sizes thus having control over bass wave maturity inside your ear canal
Cons: They don't come free with any model of IEM that I am familiar with
PENON LIQUEUR SILICONE EAR-TIPS Redcarmoose Labs February 21, 2024
Penon:
Penon started getting internet fame around 2013 with their retail set-up called Penon Audio, a place with hundreds of personal audio items for sale. At first Penon made cables only, yet in a short time they were making and selling their very own IEMs. Using additional IEM accessories like ear-tips to enhance sound into a new direction can be tricky as everyone has their own ideas as to what a perfect sound signature is. But beyond that we are taking a foreign object and joining in to the human body. Each human has a slightly different ear-hole shape, yet they are closer to the same person by person than the outer pinna area of the ear, which is photographed and used to identify people just like fingerprints.
Little if ever do people speculate on this, but in fact there are many sound tubes and nozzles internally inside your IEM. The shapes and curves and sonic resonant chambers are all very convoluted and hidden from plain sight, yet the end results are really the most important here............the final nozzle (at the end) and the blossoming of frequencies which takes place at that final destination point.
Ear-tips:
One thing is certain…….ear-tips affect sound quality. But beyond that this ear-tip selection rabbit hole is quite deep and convoluted. Yep, it goes on forever with Head-fi being the place to go to learn about the latest ear-tips. You see that is one of the most valuable aspects of Head-Fi, learning about a new product and getting it to perform just like (another human) you read about on-line. You see that saves money and footwork trying to understand the value of a product that deals with sound...........sound that we can only verify by listening to (the product in question) ourselves. Yet when these parallel results start to surface…….then another, then another….a reality is found. There is maybe truth to be found if experienced by a number of listeners, that has been the key to Head-Fi success ever since day one around this place.
Ear-tips:
It is safe to say not all ear-tips are created equal. I mean this understanding is really a learning curve, but also it's filled with personal biases. Personal bias as often we disregard a style of ear-tip that came with an IEM because “we don’t like wide-bores”. Or maybe we only use expensive ear-tips because expensive is 100% always better……right? Wrong! This psychology in ear-tips goes on forever.........even forming opinions inside our mind as we proclaim the reality of results upon listening. Yep, we can gravitate towards using a specific style of ear-tip.............and just like your favorite jeans or shirt…….they go with everything………we make them go with everything……….even if they don’t go. With that said there has always been aftermarket ear-tips, yet as of late the technology and use of ear-tip technology has blossomed into a new roaring sub-business (offered-up) for IEM lovers. And in the end this concentration on the ideas of ear-tips changing sound is further developed with more designer ear-tips arriving to market monthly. Head-Fi is filled with these ear-tips stories on a daily basis.
The ear:
Probably the most confusing thing about trying a new IEM is even when we think we have the best fit, we don’t. That occurs because we have never truly heard the IEM before and don’t realize its sonic potential. Imagine we never heard a new IEM correctly, yet we don't even know it yet. Yep, we think we have the best fit, yet an hour later and with the 4th ear-tip we say WOW, to ourselves. Why, well that can be from many factors, one is that folks (even at rare times) enjoy a semi-fit as a way to diminish bass. And the small Orange and Black ear-tips allow that kind of fitment with me.
But getting back on track here. An air-tight fit is what most are looking for, now that is achieved by having pressure of the material pushing out, on the inside of the ear canal. If uniform then a fit starts to take place. Yet we are still not out of the woods yet. Why? Because bass is determined by the sound waves maturing inside the ear canal with the IEM in place, yet every brand of ear-tip positions the IEM nozzle at a different distance from the ear drum. As some ear-tips seem to use an exceptionally long shape combined with a special style of silicone to really get an airtight fitment. Yet the other factor here is ear-tip inner circumference, the size of the ear-tip nozzle port. And not only the size but the shape of the port. Some are like trumpets, others get narrower and so on. Yet one simple thing we can all argue about, sorry…….I mean agree upon is that wide-bores open the stage and narrow bore close in the stage and add bass.
The physical fitment:
So it is a rabbit hole that when success is reached we seem to know it. The next component of this adventure deals with IEM placement outside the ear. Meaning there is a physical relationship between the foreign (object) IEM and the human. As such the IEM can be positioned too far outside the ear and move around, or can be positioned too close to not work due to being in the wrong position to get the ear-tip to lodge in place. What this means is we are concentrating on the inner ear canal air-tight fit, and the distance the IEM is sitting in the end. Where too far out and the fit is not consistent, or too far in and we lose airtight fit too. Remember the make and construction of the ear-tip must be both soft enough to find air-tight fit, but firm enough to possibly be put into use to hold the IEM in place. Now when I say hold, the IEM needs to be correctly positioned at times so the outer ear holds it partially, and there is a little ear canal holding due to material coming into play. So it is a blend, but one of the main reasons those throw away ear-tips that come with your IEM are thrown away is the walls are too thin and change form into a non air-tight fitment when attempting to be used. This is sad to me because typically new folks will try and put these cheap tips into use with their new IEM and never really hear the IEM in the first place. This results in not knowing you have or don't have perfect fit, thus they mistakenly complain about the iEM, or EQ the Schiit out of it........with the worst part being they never achieve soundstage. Soudstage is 100% dependent on IEM fitment, and secondary imaging......ect,ect. Yet the most common negative effect is lack of bass.
Nozzle shape and size:
The actual nozzle (of a specific IEM) has its own singular diameter and nozzle length which affects fitment. Yep, there can be pressure lost from escape around the nozzle between the ear-tip and nozzle, rare but it can happen. There is also the way some ear-tips seem to lock into place (seemingly joined to the nozzle) and some are slide-prone to find a new position every time you use an IEM. Though some folks get an advantage with this IEM slide...........and use it every time, to find the sweet spot where the IEM sits outside your ear. So there are not always right ways or wrong ways, as it is totally individual, as ear-tips should be.
So there are lots of choices:
There are a lot of personal results to be found, yet we do know one thing. There are better ear-tips which get regarded by the masses as better and the throwaways. Yet one other factor is materials and the combinations of materials. So foam has been used, and multiple styles of silicone offering dual density even in one IEM, and there are as many different styles of silicone as there are fingers and toes on your body……(maybe) more as it is a specific formula where sound is altered by a union of formula and shape/design. There is also size to be chosen, and surprisingly with these Penon tips, they fit so well I have a choice of three different sizes that seem to fit. That means I can go slightly deep (with the bigger size). Or way deep with the (medium) size, also noted is how the smaller size fits more firm. Why, it is more firm because it is farther inside your ear canal thus grabbing more support by a larger contact area.
Penon LIQUEUR silicone ear-tips:
As such you have a choice of two flavors Orange or Black, and you can get one or the other or both colors. The noticeable thing here is you get a case and a wide selection, with three pairs that are regularly found in size and one pair that takes the cake as the largest ear-tip I have ever seen. Yet for me I can fit the largest and the second to largest, maybe even the third to largest. I mean just look at them, don’t they look unique…..they are unique because of material and shape…….but most importantly the walls are extremely thick yet soft, so they really find fitment in a slightly macho way........even the Orange ones are macho. We are not messing around here, and audio success is a science, and Penon applies that science to shift the outcome paradigm.
Specification
Brand PENON
Materials: Silicone
Tube diameter: 4.5mm
Height: 9.2mm
S/M/L/XL Diameter :
S :11mm
M : 12.5mm
L : 14mm
XL : 15.5mm
The other brand ear-tips:
The thing is once you travel down the ear-tip rabbit hole these new GUCCI designer ear-tips seem to be priced terribly expensive? At times up to $50.00 for a two pair ear-tips. It’s like they think that their ear-tips are made of gold or something, that or they know audiophiles will pay as these ear-tips are unique, often being one of a kind. Still Penon supplies a nice reusable case which snaps closed, just like this review!
3 Pairs of 4.5mm Penon Liqueur Series Silicone Eartips
Description
Penon Liqueur O (Orange color)
Enhanced low-frequency atmosphere, clean background, clearer vocal, reduce the sibilance,high resolution.
Penon Liqueur B (Black color)
Rich details of low frequency, high frequency is transparent, clean background, the vocal is clear, and reduce the sibilance
Here is the deal: The two colors are totally different in sidewall construction, and or material. I'm not privy the material differences, except in your hand (and between your fingers) they are somewhat different with the Black holding genuinely more tactile resistance, then the Orange which go to display a thinner more dexterous stature. These physical attributes are real and go to set the two ideas of sound responses apart, allowing each color to gently position your tonal response into an avenue of town, while subtly the same, also genuinely different.
The difference between Orange and Black:
Probably the very first thing is to notice the texture of the ear-tip in hand. Now of course the Blacks are thicker walled, but most likely also a slightly different material, though because they are in truth different ear-tips................it’s hard to tell if the stability they offer is only from the thicker walls, as it could in fact be different materials here? As all the ear-tips here today have the exact same center diameter regardless of size, this 4.5mm inner tube placement is uniform.
Where you want to concentrate on is the actual feel of Orange to Black, as even with your eyes closed the Black is noticeably more tough to move the walls inward with your finger, the Orange offering a more flexible stance. What all this means is the Orange are a little higher in resolution because of their makeup, and the Black are actually reducing slightly the treble energy in the highs.........probably absorbing the energy? This also takes place even if you compare both side-by-side as the Orange (can) go in slightly deeper to engage more treble and reduce the bass wave maturity.
I mean sure the Orange walls are thinner, and the Black are actually incredibly macho…..yet usable and strangely comfortable due to enhanced tactile feedback from the walls. Yet they are so soft, nothing is too intrusive. Though I have to say with further testing the Black are strangely well fitting, in that I could easily get the XL, L and medium tips to find perfect air-tight fit, a first here at Redcarmoose Labs. As a result the bass wave maturity was altered with the farthest back being the XL, and the closest distance from the nozzle end to my ear drum being the Medium, creating a wonderful choice of tones and textures. The small Black did fit, but offered a non air-tight fitment, which made the bass even faster, except the stage and imaging suffered as well.
This style of replay change is as real as it gets and may be some folks' ultimate way of understanding the best from their IEM purchases. Though remember the inclusive results affect both sound and physical fit. As such it may come down to resulting in only less adjustment on the listeners part, in addition to the sonic benefits.
The Results:
I don’t want to say it would be a make it or break an IEM's tonal difference, only you are enhancing a direction that was first established by the song file choice, then the DAP, then the cable……….only to be polished off by the ear-tip. That or of course if a problem arises where the tone is somehow not as desired, a certain ear-tip can come about a fix, and alignment into what your sonic expectations are/were. The other really important thing is the Blacks can offer maybe (for most) the tightest fit (as they are pushing back the hardest) which for many would be an added benefit for TWS sports IEM, seemingly getting the most noise occlusion out and about from the well fitting union of IEM and ear, plus getting deeper low end which drowns out any outside distractions. Plus the bore circumference enables a tight lock on your IEM nozzle enabling only a separation at will and not by happenstance when involved with activity other than the Lazy Boy recliner.
Conclusion:
Are the Penon LIQUEUR silicone ear-tips for you? If you use IEMs they most probably are. As this is very different from IEM reviews, and different from many other ear-tips. Why? Well they give you an option of more resolution with the Orange and a more meaty lower midrange and bass with the Black. Then the next level is they offer different sizes that enable a choice of insertion depth…….how cool is that? I’m not you so I can’t guarantee you will ridiculously find three sizes to work, but I can almost guarantee at least one size will work. The sonic results here may be the differences from DAPs, where one is more forgiving and reduces sibilance, where the other is coercing brighter tones. Yet when I say there are differences depending on the IEM, it’s not that much, not night and day, except you knew that. But it is noticeable. Lucky we are here on the retail side of this venture in sound, and not inside the factory with the development of the LIQUEUR ear-tips. You see this LIQUEUR development curve wasn’t an easy thing to do. Somehow it was complicated to get to the place we are now, with many prototype tips made and sent out, finally arriving at what we now have in our mitts. So even though you can get them relatively fast now, I advise you to slow down once you get them……..to try and listen and not make judgments right off. As what shows up in the package is very different from anything you have probably come across. And interfacing with each IEM they seem to be defined to use Black for brighter IEMs, and Orange for darker IEMs……….of course nothing is writen in stone as far as ear-tips go. Truly the only way to learn is to forget your biases and take the tips one day at a time, like the first moment you ever used IEMs, as at times playing stupid in life is the fastest way to learning something.
Unfortunately, those tips don't work for everyone. I just tried every size in Black and Orange and could not get a seal. My iem (Quattro) sounded anemic and holo.
Reads like Penon ad/inventory compilation.
The question to HeadFi moderators/officials - where would be the boundary between "reviewers" and obvious (if not blatant) mass advertisrers? Why would not these advertisers be identified as "members of the trade" (or mass reviewers) to minimize deceit and confusion to less experienced members of the community.
I learned my lessons hard way with my money, so I really wish it would be easier for new Head-Fiers.
Pros: Not a whole lot here, maybe a sculpted and vibrant midrange and correct timbre
Small
Nice cohesive soundstage
Cons: Not enough bass to float this boat
MMCX
Strange not ergonomic shape
Relatively pricy for the sound you are gifted with
The TINHIFI T2 MKII Redcarmoose Labs February 17th, 2023
You know I would like to say the T2 MKII brings back memories, or something remotely romantic, to find a way in, a way into liking it? I mean that is what TIN HIFI obviously is trying to do right, reintroducing a model of IEM that was popular in 2017? Hoping and betting on the chance that you may remember the T2 from way back when, before when the original T2 was famous, and carried that respect that comes from notoriety found amongst the in-ear world. In truth I have a long relationship with TIN HIFI, as such I have reviewed over my fair share of their music makers…….
The TINHIFI T5 May 7th, 2021
The TINHIFI T1S April 26th, 2022
The TINHIFI Giant Panda Planar April 28th, 2022
The TINHIFI Tin Buds TWS June 24th, 2022
The TINHIFI T2 DLC October 20th, 2022
The TINHIFI C2 January 10th, 2023
The TINHIFI T4 PLUS January 11th, 2023
The TINHIFI C3 January 20th, 2023
The TINHIFI C5 April 20th, 2023
The TINHIFI C0 ELF October 17th, 2023
The TINHIFI T5S February 4th, 2024
The TINHIFI T2 MKII February 17th, 2024
So you can see I just reviewed the expensive T5S just recently. Yet I have to say the two IEMs, the T2 MKII and the T5S seem to be manufactured by two completely different companies. As you can see the T5S was a bold departure from the house sound of TINHIFI. Now some claim that it sounds a lot like the recently released C3, and even though it may measure somewhat close to the C3, it sounds way better to my ears. I mean sure the T5S is a 129.99 TOTL IEM, the best the company TIN can do, and it fact I recently way after the review was written and posted.......found a great aftermarket cable which further took the T5S to an amazing self-actualized place, a place that in reality asks for more listening time.
All I’m saying here with this past T5S review and right at this moment is that TINHIFI knows how to tune an IEM, for me anyway? My first example of TINHIFI’s work was the original T5 (shown graphically) which totally bombed in my eyes. In fact Linsoul dropped me from the review program for about a year due to my honest 3 out of 5 review……..and whatever, I mean I just said what I thought. After my year in purgatory they let me review IEMs again. And whatever….the TINHIFI T2 MKII is going to get another 3 star review here. How could it not, how?
Lightweight Aluminum Build for Comfort and Durability
Premium MMCX Cable
Outstanding Ergonomics with Circular Deep Fit Design
Price USD $59.00 USD
Now the scary part is it is relatively expensive for what you get. Meaning I have tried to embellish the T2 MKII, making sure I report to the very best of my subjective/objective observations here? You see, IEMs are always a matter of subjective opinion. When we are forwarded these things at no cost some folks get their underwear in a bind thinking that our reviews are going to be biased to positive thoughts only cus we got a free gift. But the reality is the more IEMs I review the easier it is to judge them, and truly I don’t care what anyone thinks as these are simply my ramblings here, for better or worse.
The review process:
I have had the T2 MKII for a whole month, during that time they spent over 100 hours on the burn-in machine, they have been tried with multiple DAPs, some bright, some bass laden and dark and one with a subtle M shape signature. I have used various ear-tips including the regular wide-bore ear-tips, and the DIVINUS VELVET EARTIPS……I tried it all to come-up with sound performance quotas.
Packaging:
Build:
Interestingly these are actually a subtly different build from my history with the brand, thus holding that barrel shape of the original T2, except having extra additional form-factors added, by looking at photos. Where the T2 DLC almost looks exactly like the original T2 as seen in these comparison photos. And the totally strange thing is TIN HIFI went with MMCX with this MK II this time for the cable connections. Also in the end, the build shows many small flaws I have never encountered from TIN. As such you can see the rough edges to the connection site, like the form was all new and difficult to get polished right on this model? Where if you take the time to look at my past reviews there is better construction outcome with the finish……and even that new MMCX device placement seems to be used to adapt the MKII’s new design look to fit more people? What I am saying is from using the T2 DLC IEM, it seems this new design is a step backwards in comfort, with me shaking my head, especially wondering why MMCX was chosen, and the fact that there is a total departure from the original ergonomics that lead to the original T2 success.
Sure I have never heard the original, except I understand enough about this IEM business, that if you create a 2017 revolutionary sound and combine that with a 2017 memorable (and comfortable) shape, at the original price of $49.90…..you will maybe create market disruption, if marketed right? Though the original T2 was MMCX too. Yet the original T2 has 15 reviews here at Head-Fi and over 115,000 views. I probably just need to hear a pair as my curiosity really is getting the best of me, and they still sell them for $65.98………………….do they even sound better than this new model or have time passed them buy? I will reiterate that plenty of better sounding IEMs have surfaced, and this is way past any subjective listening ideas on my part. Stuff that is in the $20.00 to $30.00 range that simply blows the T2 MKII out of the proverbial water! Let’s list a few just to pour a little more salt into the wound, shall we?
So this simply is a list a quick put together to help someone who was looking for sonic value in the world of entry level IEMs, entry level audiophile IEMs, no doubt. And these options are not just mine, as this list has a few legends, like the 7Hz Salnotes Zero MK1 and MK2. The Tangzu Waner SG, and even the TINHIFI C2, surprisingly enough?
And just look at the C2?
Maybe the design is for 14 year old boys, but this IEM is sturdy and sounds great, a far cry from what we have here, in fact it follows accepted and understood tuning philosophies.
Sure I’m trying to stay brand loyal here, but also keep it in reality, the T2 MKII simply doest have enough bass to make this work-out under any stretch of the imagination. I’m not being biased here, get the C2 instead.
Conclusion:
All I’m saying is TINHIFI knows what is up, now sure there could in fact be those who want a lean, vocal centric style of playback, yet even then the midrange the 7Hz Salnotes Zero 2 has………..its better separation and 3D charm, and does vocals well. So? This is not 100% my opinion just because I like bass, but I do like bass, and it is missing here.
Also if you want to know what TINHIFI is up to recently check out my review of the T5S, truly the best I ever heard from this brand, and yes, it is smooth and performs bass!
The TINHIFI T5S: 100% the better choice!
Disclaimer:
I would like to thank Kareena from Linsoul for the love and TINHIFI T2 MKII review sample.
Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Shanling UA3 Dongle 4.4mm balanced and 3.5mm output
Samsung Phone 3.5mm
HiBy R3 II 3.5mm/4.4mm output and USB Type-C output
SIMGOT AUDIO DEW4X with 4.4mm balanced output
These are the experiences and thoughts of a single individual, your results may vary.
Ending:
To end this review on a kind of positive note, the T2 MKII is not terrible. What it does is offer a clear soundstage especially in perception of midrange energies. I suspect this is partially due to balance, which states you try to strip away bass, mental focus happens to be relocated to the treble and midrange. As such the response character in those areas moves forward to actually proclaim even more detail and better midrange stage, even from a medium skilled driver. This is simply what is left over to compensate for not fighting the bass frequencies for attention, your mental attention, also there can be a pronounced perception of such imaging, only because such frequencies exist out in the open. So more relief, more vividness and fast and correct timbre takes place. There is OK note-weight still surprisingly, and these (the T2 MKII) do fairly OK with vocal music. In this highly competitive IEM modern day world there are still IEMs that cost less and do many of these features better……….as such I feel TINHIFI is simply playing the field, knowing there is still some low burning embers of fame from 2017 that they can still capitalize on, and sure besides the missing bass, there is not a whole lot else wrong with the T2 MKII. Besides being a little cluttered in performance, and boring……..there is an even and complete response which performs timbre correctly, yet with limited reverberations it may be already bettered by what you already have in your collection? The fact that they can’t all be winning tunes and design here.
Pros: While leaning slightly warm, the RENATA proclaims victory of the full gambit of detail
Guaranteed with every IEM to enhance stage and separation, it is just what it does
Bigger imaging than (ever) known about from your older IEMs
Even bringing new life to new purchases
Strangely never to dark or too bright with any and all IEMs tested
Wild midrange enhancement, even though the RENATA doesn't seem like it could perform as such
Beautiful treble spectacles making for (long time) IEM love-ins
196 cores of Furukawa silver copper alloy plated silver
35 cores of single crystal silver
3 in 1 modular plugs included 2.5mm/3.5mm/4.4mm
Ear guides providing ear enhanced ergonomics
Weighing-in at an incredible 58 grams, 2 grams less than the RENATA Prototype Cable first tested
All the included spatial imaging and stage of pure silver, minus the normally occurring brightness
Cons: Form factor is one of the biggest/largest cables sizes I have experienced trying
Some may be against the use of modular plugs
A cable this brawny needs ear-hooks, so they are included, some may not be man enough to cope?
Can seem big in size when interfaced with micro-DAPs
Not a cable you want to go jogging with or dancing with unless you have had a few cocktails prior
The PENON RENATA Cable Redcarmoose Labs February 16th, 2024 Penon has their roots in manufacturing and understanding the effects of cables. In fact back (starting) in 2013 Penon only sold self-made cables as well as other companies manufactured retail items on their website Penon Audio. And in many ways this past 10+ years has been a journey. Lucky somehow I was able to review more than my fair share of Penon/ISN cables. So even though I have only been involved with Penon/ISN manufacturing for a short time, since May of 2022, I have reviewed 23 (including this one) cable/plug/adapter products. One example of the journey is the ISN GC4......a bird of a different feather........a cable made of single crystal copper plating with gold. One of the thinnest cables I own, which in-turn has the thickest sound, because copper adds thickness at times, and so does gold! I mean this is really where the rabbit hole opening is…………..a journey into the wild, strange and enchanting word of cables. Double confounded by the fact that many don’t believe cables do anything at all to modify sound.
Silver for its highest transparency and stage enhancing.
Gold for that rich tone and depth.
Palladium for that remarkable imaging and detail.
Copper for body and warmth.
The way I can best describe the effects of cables is generating a slightly new tone. Yet that tone also carries with it soundstage changes and timbre afterburners. The results could be looked at as almost using a different instrument for the recording, in that (to me) tone and reverberation are so drastically modified. Like in the studio switching to record a specific Les Paul to maybe a newer model of Les Paul guitar? There can be warm woody tones emphasized, or brighter faster decays which almost sound like the recording was done in a different room. Then there is stage positioning, where these new additions of midrange flourish to proclaim their existence in a specific place inside the stage, again also with a very certain character which could be brighter of slightly softer (Graphene maybe?) at the very edge of the heights of extension!
Neutral cables?
As such cables can be always relatively pure in tone, meaning they never alter the original tone of the DAP or IEM and the difference from many other ’neutral’ cables is that they widen stage footprint. Now with-in this phenomenon of neutral there can be subtle changes which still create a difference, like maybe neutral with a lower midrange bump, which still is relatively the same as a pure neutral cable. Why? Because the overall tone has not been modified too much. So in addition we have bright cables which seem to enhance the treble, and possibly add pace to the low-end at times, then there are warmer cables that seem to wash everything with an amber light, resulting in an attenuation of treble energy. At a point somewhere these different cables do color the sound, and it could be subjective as to how a person interprets the amount of color? As such, some cables could be looked at as only slightly colored, and some unarguably colored. Remember too, all this is still dependent on the source and IEM. Meaning at times a darker source will seem to even-out a brighter cable and vice versa. And while probably the greatest value can be found when whole groups of people align with understanding a specific cable personality, still ear anatomy, ear-tips and source color are going to need to be included into such consideration. What we do know is at times we can guess what the cable outcome will be with an IEM. Then again there are at times surprises………after trying the ISN GC4 cable on the previous Reecho SG-01 OVA and getting nothing out-of-the-ordinary, to switching to the new edition model, the Reecho SG-01 DAWN 10mm driver, and having the resulting sound difference knocking-my-socks-off! So I mean that is kind of how it goes here at Redcarmoose Labs……once in a while there are smaller cable result changes, then there are the landmark differences. And of course it takes the IEM in question to reveal these changes, combined with a DAP. Hopefully this inclusion of a specific cable purchase simply adds a window. It would be a specific window of boosting of diminished a stage, and or tonal character, resulting in more carefully aligning the end-sound to the listeners wants and needs.
RENATA:
‘Renata is a feminine Latin name meaning “reborn.” It is derived from the Latin Renatus, meaning “born again,” which comes from the word natus, translating to “born.” Renata is a popular name in Italian, Portuguese and Spanish, with Renée being the fashionable French version of the name.’
You see, this is my second RENATA review. The first prototype was sent over with absolutely no information included. Meaning they said nothing about what the RENATA was or what its price-point would be? When I said “what the RENATA was” I mean often we will have clues as to what we can expect, and while the RENATA did look like a giant version of the previously released ISN CS02 cable, the first edition didn’t exactly sound like the CS02? I was left with a lot of questions/confusion taking place. Going to my regular RENATA and added RENATA MK2 test vehicles and combining with them the Penon Volt TOTL past flagship, and my Noble Audio K-10 Encore, the results were profound.
Now when I say profound nothing is really so drastic in the cable world, only there was noticeable difference!
I will often use a few IEMs to test a cable, but in relation to the old RENATA MK1 and the new publicly for sale M2 model I’m very specifically studying the upper midrange tone. You see that is the critical area of change here. The old RENATA was too dark in the upper midrange, so dark that it even went to drown-out the upper-midrange with the Noble Audio K-10 Encore, and that’s impossible, almost.
The Noble K-10 Encore Universal IEM
RENATA 2 So enough about the labor pains, show me the baby!
I really don’t want to focus on the past, only this old RENATA MK1 test cable does still have a use, I gave it a full-on 5 score here at Head-Fi when I did my November 25th review. The RENATA has a lot of material, as the MK1 and the MK2 are almost identical physically, it is just the balance of materials in the MK1...........it was like a fire hose. A giant firehose which seemed to only work to smooth-out extended upper midrange and treble fires. So I’m still left with a MK1 as a usable tool which will always work to put-out daily alarms here in the community of Redcarmoose Labs. Yet the real useful cable is the MK2. You see, Penon realized that I was right, that there is no way they would (mass) produce a ‘big-deal-cable’ which didn’t go well with their past Volt flagship, no-possible way. And............just as Penon tuning goes, you see, if the Volt wasn’t right with the first edition of the RENATA, then you could guess that the rest of the ‘mainstream’ tuning IEMs would be too dark in that specific area too, and I 100% agree, even if those particular IEMs were made by Penon or not. So now we are gifted with simply a more well rounded cable, that's all.
Rome wasn't built in a day: What this specifically means is that all great things take time and effort, that it is an ongoing Penon effort to create items to make your listening pleasure optimized. Making your IEM results close or near to being the very best they can be.
The RENATA Cable
2 strands hand woven, cable is soft
35 cores Liquid nitrogen single crystal silver + 196 cores Furukawa silver copper alloy plated silver.
High quality PVC Shield
Litz structure
Gold-plated copper + carbon fiber plug accessories
Plug: gold-plated 3-in-1 modular (3.5mm/2.5mm/4.4mm) Cable length is 1.2
So I can’t really list what metallurgy differences from the first edition as I was never privy to such facts, except now we are basking in the beauty of such in finding a rewarding clear and larger than life midrange explosion. Plus this new cable is 2 grams less weight than the prototype. Now any-of-you who have been around the block as far as cables go would first get the idea that tone would be a silver bright effect of sun-light? Sorry......no, that is the balance I will be speaking about, it is not direct sunlight, but a slightly passive set of rays that have passed through a diffuser of sorts, think of being (out) on your patio under a translucent shelter and getting a form of clarity without a sun-burn.
Yep.
Now there is more.
3D forward and touchable bass!
No wait, I want to talk about vocals first.
The Penon RENATA next to ISN CS02 Rhodium Plug, note size difference too.
Vocals:
I don’t know how this is done, except trying the ISN CS02 in comparison to a regular included cable, where now everything is simply more clear but also positioned in a different place. The energy is stronger, so everything, all the guitars, all the vocals and all the drums are pushed into cleaner and more vibrant focus into the headstage. They (the musical elements) are closer and because they are closer you instantly feel the emotion of the music more, you can pick-out details better, and it actually seems louder. So you can imagine if that is the CS02 then what about the RENATA?
The RENATA is 2X (twice) the CS02: The bass enhancement, the clarity, it is profoundly the same tone as the CS02 only growing in size. Yep, the imaging is actually bigger and the separation is greater allowing for even more close-up actuality to occur. What this leaves us at the end of the day is both vividness and maturity, this means if you own the CS02 it is truly in your best interest (if the cost or size doesn't bother you) to simply upgrade to the RENATA, as the tone will be pretty much the same. Although different IEMs will showcase these values slightly different, still the sound will be 98% the same as the CS02, only bigger and clearer.
Bass:
OK let's say you had an IEM that you always wanted to have (ever so slightly) more noticeable bass........yet to also add a more refined and sculptured bass? A good example (for me personally) would be the Penon Volt. Where the midrange of the Volt is one of the best I have ever heard. That said, it may even be due to the bass balance of the Volt? There is a Psychoacoustic result of tonal balance where the dominant tone frequency overrides the lesser tone in the additive overall heard effect. As such there is nothing wrong with the Volt’s bass, it is just not really a total focus, where now the bass is still not a total focus, except everything is bigger yet also smoother. So imagine with me, the tonal character of EST drivers and the sonic artifacts of in use BA drivers, finding their way around being washed with a golden light. Yep, the RENATA is still smooth and slightly dark, yet better to say warm here. While there is still all the detail, only this style totally works, and I can’t imagine anyone wanting more brightness because the stage is bigger. The bass, is now (ever so) slightly warmer and more clear/profound, just a smidge.
Soundstage:
If you look up at the description, there is a lot of material here. The difference (you may ask) from past offered cables is alloys. Yep, new ideas of combining 196 cores of Furukawa silver copper alloy plated silver with 35 cores of single crystal silver. Also combined with Litz construction theory, thus resulting from these winding patterns to equalize the proportion of the overall length over which each strand is at the outside of the conductor. This has the effect of distributing the current equally among the wire strands, reducing the impedance.
You see the constituents and the construction methods go hand-in-hand to proclaim results here. And amazingly we can alter the RENATA a step further by adding a Rhodium Plug. I mean I probably like the included 3-in-1 modular plug better as it is slightly smoother, but depending on your hearing and sound goals the Rhodium does alter the tone/stage. It adds stage, but at the expense of a slightly grainy tone add and hard to exactly describe small itemization to the treble and upper midrange stage?
The regular included RENATA Plugs you are supplied with.
The Purple Plug:
I want to end this section talking about a slight mishap here at Redcarmoose Labs. It turns out that I keep all these plugs in a special case, but being confused I went and grabbed what I thought was the Purple Plug, when in reality it was simply another regular plug that Penon supplies with the 3-in-1 modular cable. I went to test it and sure enough it was exactly the same as the included plug, because it was like the same style as included plug. So then I looked and behind a small band of cloth was the actual Purple Plug, they are always identifiable with a small lotus flower printed on the base of the plug. Anyways the Purple was not near as dark or warm to change the sound as expected, yet what was marvelous was the expanded stage and increased itemization found, as in the future this would probably be my set-up, and not really that much different, but a small 5% change maybe, or less? Obviously there are small changes into which the tone and stage is commandeered, yet it may be up to individual perception which is the more thoughtful result. As such the gifts are awarded as an inseparable package, yet the actual character of the 3D sonic creations transcends description, like looking at different ornaments of display desktop clutter at a craft store. We can attempt to describe each level of difference, yet words only go so far into detailing the perceived effects, just rest assured they are uniquely different with the Rhodium showing us unwanted almost fizzy energy in small places.
The Plugs:
Each plug results in a slightly different cable effect for the user, finding (your own) individual preference upon switching-out and changing to a different plug. Though one's thoughts of perplexity come from finding what is thought to be the Rhodium Plug permanently attached to the ISN CS02, as the (modular) combo was not in any way preferred in the RENATA use?
Laughably the CS02 has the Rhodium Plug fixed on!
So from that test we can see that the RENATA is not exactly the CS02. Sure both can be tested with plugs, yet we don’t have a 3-in-1 modular CS02 to use to compare and put on a regular plug into service.
Generalizations into the RENATA stage with music:
Drifting back to the original included plug, stock is fully appreciated here, yet the Purple Plug addition is my favorite, I will receive a all together different Copper Plug from Penon any day, so that’s another plug to try in this exact same setup.
Timestamps are only for the digital file, not the video playback.
Hans Zimmer and Junkie XL
Batman V Superman OST
Day of the Dead
96 kHz - 24 bit
You know there is no better way to go ahead and talk about soundstage than to use music here. And no better music than to find a favorite to play with. Here the somber and woody tones seem to match up perfectly, totally, better than perfect, if that is possible.........with this OST, yep…….the whole thing here.
Using the WM1Z with MrWalkman’s firmware we are dialing in the Penon Volt into world-class and lifetime event experiences here. Simply the best I know how here at Redcarmoose Labs.
As it starts out there are mild percussion elements right at 00:36 after the piano. Here we are shown a form of balance yet even with the Volt being midrangy we are on the darker.........no warmer side of town. Yet this warmth kind-of solidifies the timbre into being way more natural that it really is. While the Piano is smooth and not bright, the percussion shows itself to be presented in its very own territory in the stage, off to the right first then the left part of the stage, as if reflecting off a wall in a big room. Though when the teardrops start to fall is when I hear the strings at 00:14…..simply amazing. Why? Well we are adding up everything, the Volt’s midrange, the RENATA cable, the WM1Z performance and it is all coming together in a warm but totally detailed event that makes me realize, I could never ask for more. As these strings progress we realize they are in perfect accompaniment of the piano, yet the strings are (well you know) off into sting land……..that hard to describe farther out an ethereal layer of playback, only reserved for the IEM and rest of equipment to auto-generate here.
Treble: Smooth yet totally there, like a pillow atop a freshly made bed, while sure, you don’t use that exact pillow for sleeping, it somehow finds a home in perfect ornamentation. Setting off the whole room with its presence, because it is small but powerful, that’s the treble here. Glossy no, yet detailed, a warmer glowing amber light lifted to become the perfect closeness to the midrange, a warm gush of wind that is only that much more in contrast when the bass adds its vigor. And in fact that inquisitive creation of 3D existence, never found too far back, or too forward, in the zone as friendly and spiced just right.
Bass:
But you already talked about bass?
I did but I want to talk about it again. Why? ISN EST50 that’s why. Wait what? What’s with the midrange here? I’ll get back to that. Anyways the bass is profoundly enhanced and what shows up to play is a vigor, a vigor that’s attached at the hip? Like a warm yet vivid encounter when you open a door to a room with the furnace on. The stage is huge now and part of making the effort to proclaim the stature is the bass tones, seemingly riding the crest of the violins and drums, and to a great new found area of existence.
Even the ESTs are partially smoother as well as the BA, yet they are thrown together into this package where there is never that too dark or too dull of tone, and at times you don’t know why it works, but it just does, and that is what this review is about. The finding of a unique tone that is unique, yet totally normal and accessible, even if just a hair darker than you normally delve into on a regular basis. And that is what makes the RENATA a must, especially if you don’t already own anything like the RENATA. I mean I have a few cables, but nothing that proclaims this authority and separation and stage like the RENATA does?
OK, the EST50 mids:
Walking into this midrange room of the IEM in question, you may think you have preconceived notions as to what to expect? And for that you could be forgiven for such ideas. We all have preconceived ideas as to an IEMs character from experience.
The EST50 (with included factory cable) has always been slightly deficient in midrange, at least for me it has, the bass was always grabbing the gusto from any midrange attempt. Now I actually have to move on to other music to totally make my point. Why? I could have used the Batman OST but there is more to fully understand what is happening here. And coincidentally we can learn about the treble here too.
Timestamps are only for the digital file, not the video playback.
Theater of Tragedy
Assembly (Remastered)
Episode
44.1 kHz - 24 bit
This song Episode is the singular brightest song here at Redcarmoose Labs. And I use it to try and understand the coercion and acceptance of brightness. Yep, as many of us know brightness can be used against us in the playback court of law. It can be found as too bright of note-weight, enough or just too thin. Even being held at diminishing reverberations due to this possible glair. And as we found earlier this playback is still susceptible to the effects of grain as with us with the Rhodium Plug, where there was the start of chalkiness. Where here we are home free via a walk through the park, the park of freedom. Freedom to choose any style of song we want. Here yes, while the treble playback is toned down, it is in such a careful and particular way that all is shown, only just brought down a notch. Now normally that notch would reduce stage, but that is the magic here, that the stage is actually bigger than average, and separation is a little like pure silver (because it is silver Einstein) in distances, yet when those way-high-up crash cymbals hit, we become as charmed, charmed with the perfect results. That there is no stridence or too much of anything here. And best of all, the timbre seems better than ever, as things are toned down a bit, which shines a good looking (amber) light (that's not beer kids) on BA timbre.
But what about the midrange?
Well that’s really the thing here. As in the past we have used various cables to try and dislocate the EST50 mids into a better vocal performance............by accentuating the midrange energies. As such many IEMs have fallen victim to the mild aphrodisiac effects of the Penon Vocal cable, and there is nothing wrong with visiting that part of town for a night out. Call it cheap and cheerful, the Penon Vocal Cable is a lot of fun for a relatively cheap price. Yet as known the Vocal Cable is a distortion, a dilution of reality, and as such smears its IEM victims with a strange yet vivid reality. With the RENATA we encounter none of that nonsense, nope. Here we are given a firm grasp on reality and as such find the RENATA still warm but thoroughly grounded in accepted reality, and still somehow giving a vocal add to a suborn IEM like the ISN EST50? It’s maybe the distinct separation to the vocals in the inner stage performance? The beautiful part is finally now the EST50 vocals are totally vibrant in a long-time.............love you, long time listening way?
The Neo3?
I'm glad you asked. What about the Neo 3?
Well the very last IEM baby to be born to the Penon/ISN family is the ISN Neo 3. As such the Neo 3 has come out at almost the same exact time as the RENATA. Is that coincidence or not, you decide? Proof here is that they go together like cream and coffee, they really do. Where with the regular Neo 3 included cable you are gifted with regular playback, meaning they (Penon/ISN) can only include so much cable with a $199.00 IEM. Their job is to make sure the included cable gets the overall personality transferred over at the point of sale. Everyone and their Mom should experience the Neo 3 this way, holding middle of the road technicalities and pretty much acting of character well behaved and cordial, yet not reaching its full potential yet.
Unknown potentials:
That potential is the same that has been listed through-out this whole review here. Simply expanded soundstage and separation due to RENATA's influence. As I contemplate the meaning of the RENATA's name it means for your old or new IEMs to be reborn, and that is how this works. A slightly more vivid treble, and more forward midrange along with a boosted and separated bass..........while often many cables go to add authority to the Neo 3, there is a definite reason these two came out at exactly the same time, as I'm sorry to say.......nothing is exactly like the Neo 3 and RENATA combination. The Penon RENATA simply puts the pants on the Neo 3, in-turn making it sound like a more mature and expensive IEM in the end. $$$
From top left to right the ISN Neo 3 and Penon Volt
Bottom row the ISN EST50 and Noble Audio K-10 Encore
Build:
Coming in at 58 grams the RENATA is large but the ergonomic ear-hooks and PCV jacket provide a welcome relief from what you would guess to be confinements?
Conclusion:
So there are many days in life, and yet we only have so much time to listen to IEMs. Maybe make the IEM in your ears the best it can be? Make those events being connected to your music special? The only way to do that is maximizing the chain. Yep, everything is important and creates results, at times lackluster and at times thrilling, both while using the same DAP and IEM. Thus it really is the cable to blame for success, and the RENATA will end up a pretty penny…..probably anywhere from $250 to $300? Yet somehow at the end of my 12 days of testing I can say it really is a well balanced cable with the slant on warm. Yet you have to understand somehow the warm is also joined at the hip with separation so that the outcome is clarity? In fact even joining the RENATA to my problem child IEMs, ones I don’t even want to list, the dull treble was lifted and the separation occurred just like with correctly tuned IEMs, resulting in a response that was really really good, so good I don’t want to say as it would undermine my validity here. And that takes me back many years to a post I once read that said the Head-Fi member would choose his music genres first then his DAP/cable, then the IEM to go along? I always thought about that…….no I’m not there yet. But one of the most amazing things was trying the CS02 cable with the Neo 5 then switching to the RENATA cable, all the while using the HiBy R3 II DAP and ISN Neo 5. As such the effect of the bass and vocals, really everything came up so much more vivid, and I don’t want to say any other word but vivid, well maybe I will use the words large and 3D? All the playback was with the R3 II and Neo 5 was completely closer, and more lifelike, not to mention more entertaining because it was more emotional? It was that test in the middle of this review which drove the concepts home for myself, and the same story will take place for you too, I guarantee it. The ironic part of this story is the HiBy R3 II DAP is an entry level DAP coming in at $179.00, less than this cable? Yet that is the style of absurdity in the air tonight, one of those nights when anything is possible, won’t you join in the party?
Penon Audio IEM Products
63) Penon IEM
64) Impact IEM
65) Legend IEM
66) Globe IEM
67) Serial IEM
68) Sphere IEM
69) Volt IEM
70) Vortex IEM
71) Turbo IEM
72) DOME IEM
73) Quattro IEM Possible new TOTL Voltage
75) Penon Tail Dongle
Almost 75 individual personal audio products
Disclaimer:
This list is correct to the best of my ability, if they make one or two more releases (that I have missed) sue me.
Bonus round:
The SIMGOT AE1000 IEM:
My GOD, one of the most rewarding IEMs on test here today, really showing as the best cable ever for the EA1000? Why? Simply doing again what the RENATA does best, making the lesser money SIMGOT AUDIO LC7 seems pale in comparison. now many of you who are treble sensitive may like the EA1000 better with The LC7, except I really feel sorry for you. The difference here is like watching the EA1000 and LC7 provide a black and white TV picture. That with the EA1000 the stage in compressed, the colors are less real, ect,etc. The EA1000/RENATA is profoundly pushed-up into imaging and clarity here. Seemingly still projecting a hardy midrange energy the EA1000 is known for, along with that forms constructed imaging, and realistic relief creations. But best of all...... truly it's not hot, really not at all. It is that careful tone we find the best cables providing in that it is just clear and natural, except providing the vibrancy to lift this whole party off the ground, into a whole new living place. Yep, the LC7 is looking out from the very 1st floor, and the RENATA experience is a view from the 40th floor of a high-rise condo, looking out and finding infinite detail and entertainment. All the spacial imaging of pure silver, without the brightness added. Cheers!
I don't usually buy expensive cables (I did buy one on the expensive side for speakers).
I'd rather keep that money for new IEMs, but I might try this one in the future.
I like the look a lot; it's not standard, and, as I already mentioned,
it reminds me of the stock cable that the D8000 have, which I really like.
Pros: Really good timbre across the board as no BA drivers used
1 x 5.8mm planar driver for high frequency
1 x 6mm dynamic driver for middle frequency
1 x 6mm dynamic driver for low frequency
Warm and coherent holding provocative pace with careful note/vocal positioning
Nice note-weight
A truly warm and inviting tone with nothing out-of-place
Careful, complete, correct, even and consistent tune far above what you would guess for $199.00
Goes with many styles of cables, yet at times music genre and source matching is a road to success
Medium-small at only 4 grams each
Half a hollow resonant chamber and half a solid see-through 3D construction
Comes with a nice (incredibly ergonomic) cable that gets you 90% there as far as cables go
Comes with branded ISN magnetic latched, faux leather case
Cons: Not holding all the reverberations at times, note fall-off too quick
Can get confused with busy tracks, does slightly better with simpler music
Penon/ISN
If you don’t know who Penon/ISN is they are the neighborhood audio retailer who specializes in personal audio gear. They got their start retailers of other makers gear first, and made cables. Then they started to make IEMs, and Dongles etc, etc. Really they are probably most known now for their IEMs and cables, as well as superior service from their retail site.
Every year Penon/ISN gets bigger and bigger, yet they seem to never forget where they came from, always being humble and never pulling-off the shenanigans other retailers do. No long pre orders which are canceled, no confusion about what you are actually buying. They offer a great warranty on their IEMs and offer the best customer support in the business. Of course hopefully you will never need customer support after a purchase, but if you ever do they will back you up, and not let you down. Always remembering their roots and beginnings as the common working man, and it shows.
This review is too long and I’m too lazy to list everything Penon/ISN makes. But since May of 2022 I have reviewed 64 Penon Store retail products, and many (of them) full-fledged Penon/ISN creations. If you're still curious about all they make, just look at my list of reviews, as I have reviewed almost everything they make.
With that said I have never come across anything exactly like the Neo 3. Why?
First off just look at the Neo 3? It actually looks a little like a child’s toy. Because there has never been a 3D printed design like it, it takes a minute to figure out what it is. You can see half of a hollow resonant chamber, and the other half solid build of sound tubes created by 3D printing. This right off should clue-you-in on the fact that what we are investigating is rudimentary different in design. Next are the drivers.
The Neo 3 driver set-up: 1 x 5.8mm planar driver for high frequency
1 x 6mm dynamic driver for middle frequency 1 x 6mm dynamic driver for low frequency
So we are doing something that will have the timbre of a full-range DD yet more open due to simply more DDs offering a bigger stage and there are more drivers here, so more articulation and specialization of all three bands. Next is the 5.8mm Planar. And the 6mm for mids and 6mm for low end. Surprisingly the entire playback seems totally together, I mean you really can’t tell where one diver frequency stops and another starts. The other fascinating thing here (different from a full-range DDs) you definitely hear that the Neo 3 is using multiple drivers, simply by the size of stage. This is readily understood due to the charming separation at hand. Meaning in your music you totally understand how treble elements are floating outside the stage in their own zone. This zone still seems natural and even more natural because the Planar does not have the metallic timbre of a BA driver. Yet we are getting Hybrid separation here, why?
Because it is a Hybrid silly.
Later I will talk more about the treble, but real quick before we get started I probably need to talk about bass. Reason being that ISN is known for adding more bass as a side project for the manufacture of Penon. Yep, the ISN brand is the exploratory reach of Penon spreading their wings and getting down-low…….in frequency that is. Now staying up-to-date with the ISN line there have been Neo 1, Neo 3 and Neo 5. Probably the Neo 4 doesn’t sound right due to pronunciation (of the number 4) in Cantonese dialect sounding almost exactly identical to the word death? Also 4 is generally avoided as bad luck in Chinese culture.
ISN has a reputation for the lows:
The Neo 3 has a decent low-end, yet it’s not exactly what you think it is. Meaning it’s fast and taut. It really is. Such complex maneuvers may occur because ISN is not messing around here. Such fastness in bass communication is in many ways a departure from the ISN EST50……….hence the Neo name, except the Neo 5 does contain an L signature? So? Whatever bass statement ISN is making it is different than you may guess. Different and magical cuz the Bass is in no-way messing with the pace here, and that single thing is one of the first things you notice? The 6mm bass and 6mm midrange is inseparable joined at the hip. But wait? 6mm! Yep, only a single 6mm responsible for the kHzs here? Yet due to the blend into the 6mm midrange it is very cohesive, with a warm and spacious midrange expansion.
The Planar:
The best part here is the organic treble, that and it is smooth and not exactly like any Planar I have heard. Not that I have heard many Planars situated in the treble department anyways? But truly any idea (other than) smooth and not peaky, yet delivering the goods would be driving down the right street. You see even when they detune BAs to try and reduce the metallic timbre, there is not 100% (of it) that they can take out, as it is a nature of the sound creation. Sure they can diminish it, except any tone has that BA quality, even if the stature in the mix is diminished. Now I don’t want to minimize the effort put forth in the last 2 years to introduce dynamite budget BA offerings, because there have been numerous examples of BA’s midrange and treble personalities addresses……….and the outcome has totally improved. Maybe the sophistication of the BA build, or the tuning, or both are fair reasons for this tonal renaissance? Yet still there is an added package here. The extra ingredient of smooth and timbre-correct treble. Also somehow the three drivers go together well, meaning there is a balance in that nothing here seems out-of-whack? Almost like the drivers here were made to be together, like they were created to be in place here……..only 3.
Slightly diminished reverberations:
Now with all this talk of greatness, still there are a few issues that I just wanted to point out. I mean nothing is perfect, and with a retail of less than $200.00 we are further questioning happenstance, the happening of you finding the perfect IEM for $199.00? Where the Neo 3 makes points is in size of stage, that and it’s a Hybrid so yes, it has the Hybrid imaging and separation into that stage. Except maybe it is the character of the drivers that the pace is super tight, that and there can be less note reverberations than found at times, almost like a full BA set, but different. I mean, I figure ISN knew this phenomena and put a giant resonant chamber off the rear to try and deal with it, and yes we are getting reverberations, just not a bunch of them. So that is a double-edged sword, it is maybe the exact reason the bass is big and authoritative but not covering any of the response to add any overwhelming bass amounts, meaning everything is heard across the whole frequency spectrum, and in no way are we in a deep hall or anything.
Dealing with it:
What if I told you there was a simple way to make the most out of the Neo 3? As it turns out finding a denser and more thicker DAP will in many ways get you there. What I mean is typically I use the WM1A for testing, yet where I found more synergy with the Neo 3 was the bass heavy and less midrange WM1Z, in fact testing with the Sony TA-ZH1ES desktop was also a total way into nirvana. Where in place into being powered by a dark desktop the imaging was vivid and pure. Truly just quite possibly the biggest differences to showcase an upgrade moving from a DAP to a desktop for a $199.00 IEM. Which kind-a makes sense here, being we know DDs like juice, and we previously knew Planar drivers like juice. To kind of describe the TA-ZH1ES effect, each instrument becomes more real and is defined separately within the stage, holding even better timbre and 3D sculpting. Simply more real. Now that is not to say the Sony WM1Z wasn’t great cuz it was. Funny as these two devices were also the best (in my collection) with the Penon Quattro IEM. Imagine that, a 4 DD IEM coming in at $399.00? But the way my mind works is I have to then try the other extreme. Meaning I had to find out what the Neo 3 was like hooked simply to a phone. This is just part of the testing process, only at times results have me shift gears once-in-a-while. From a regular phone output there was noticeably less separation and imaging, yet tonally it wasn’t really that bad, still nice bass, treble and mids, only there was a noticeable loss of detail and involvement, so? It is what it is. Meaning this IEM is incredibly transparent and will show you the quality of your sources to the max. Also what went with the slight loss on phone involvement was the fact that it also seemed to have better reverberations? Now I don’t have an answer as to why, except with phone use images were generated closer together, so they didn’t have the separation which gave the window into decay perception as much?
And to end here on a positive:
Really the TA-ZH1ES was nothing short of startling! Meaning I’m not so sure I have ever noted a leap in quality from going to a desk-top before? So if you have a desk-top definitely try the Neo 3 as you most likely will encounter the same magic as I did. As such there is a clarity of stance, which is opposite of what you would guess and even though this is a dark amp, there was an increase in overall clarity and even bass notes were better defined inside the stage. That stage was enormous and added to this thought of the Neo 3 arriving at a new level of performance from an under $200.00 realm IEM? It’s just I never have had a 3 way DDX2 and Planar IEM before, and this is one IEM where driver count means nothing.
3 Drivers:
You would be mistaken for thinking you know what these 3 drivers sound like together, because you don’t know. How could you know? They are simply bigger in size than three drivers normally sound, because normally we don’t have 2 DDs and a Planar. And that single feature is what separates this from single full-range DDs……….that the single full-range DD will not offer this dislocation of treble out into the stage. The other thing is mainly from what we have encountered from the treble. Treble uses treble energy to project the image far out into the stage, Yet it becomes thin due to (if we use) BA tone.......here the image is still Planar thick. Here there is a much more natural response going on in that the Planar driver showcases a separation into the stage, but that is more relying on wholesome timbre and a smoother creation into existence.
Top row: The Neo 3 and Penon Volt
Second row:The ISN EST50 and Nobel Audio K-10 Encore
Side-by-sides:
Every side-by-side is using the RENATA cable and Sony WM1Z with my regular wide-bore tips.
The Penon Volt v the ISN Neo 3: More Volt stage separation, yep!
The ridiculous part here is the Volt is $799.00 and the Neo 3 is $199.00 and for that difference there is amazingly less than you would guess sound differences. While the Volt is primarily about midrange, here both IEMs surprisingly share some of the same ideas in tuning to a point, while the differences are very much from the character of the drivers being one is BA/EST/DD and the other is Planar/DD. While maybe not surprisingly of course the bass of the Neo 3 is more upfront than the Volt, and in trade the Volt projects a substantially more forward midrange which makes the Neo 3 almost sound pale in comparison. Sure we may have known this going in, but even though the mids are reserved with the Neo 3, they very much contain that natural tone, where the Volt is airier and has a hint of BA timbre, which is acceptable here. Switching to treble centric music the Volt goes ahead and EST itemizes the cymbals and small artifacts (which are) better separated into the stage, where the Neo 3 takes the same song and for the first time I may have realized the slight Planar timbre. Meaning I heard it on first impressions 9 days ago, but now going back to against the Volt the upper treble is softer and holding obviously a more congealed playback, but is also showing inside of that playback a Planar timbre I think? Is it that, or simply the opposite from EST style? A darker idea while still holding golden treble tones (where Volts are bright yellow or white) and still reaching for extensions, in the Neo 3’s own way.
The ISN EST50 v the ISN Neo 3:
Way, way more bass engagements with the ISN EST50, it also had a wild projection of those EST projectiles into treble itemizations into the stage, the stage was bigger with the ISN EST50 and the midrange vocals were noticeably more forward and clear in comparison to the Neo 3. Yes, the EST50 is more than 2X the money, if you didn’t like this bass, you would prefer the Neo 3, maybe? Sure this WM1Z and RENATA are pushing the EST50 bass forward into amazing and excessive worlds here.
The Noble Audio K-10 Encore v the ISN Neo 3:
First off this is a ridiculous competition. Now the RENATA and WM1Z push the bass and warmth forward to reach an exquisite formation of all kinds of warm yet bright details with the Encore. And in ending here, I can say the two are total opposites. Where the Encore are undocumented BAs, and the Neo 3 has none. And in many ways still this Encore idea of playback is subjective if it is even correct or not? It is so bright that many are repelled as if looking into the sun. Yet it is strangely good to have, as it shows us that the Neo 3 soundstage is not the widest nor is the bass the cleanest, though we may have already known that. The next grouping of challengers will be way closer in price and abilities than this crazy group. Though if we can get anything out of this we see how the Volt and Neo 3 are related, yet only to a point, but strangely they were the closest together in this group.
IEM Comparisons phase two
The Neo 5 v the Neo 3:
Here is the very first time I used the RENATA with the Neo 5, and while the Neo 5 has a history of demanding a certain style of cable, Now while surprisingly I would choose this cable to spend a long time enjoying the Neo 5. Big super big drums, and a focus of vocals that has me spellbound. Where this combo actually reminds me of the EST50 almost, as everything is very vibrant and powerful. So Neo 5 just as guessed has a more forward vocal stance, and more bass. Actually what is happening here is they are complementary where somehow the Neo 5 is super intense almost at any volume and the Neo 3 is offering a more relaxed late night endeavor.
Top row: The Penon DOME and Neo 3
Second row: The Penon 10th Anniversary and Neo 5
The Penon DOME v the Neo 3:
A beautiful midrange here with the DOME. I mean now for me anyway we are entering the classic hybrid construction of an IEM tuning. The soundstage is way bigger than the Neo 3’s mids, but it is filled with this multi BA wash of energy. More BA energy than I remember than when I wrote my DOME review? A lot of fireworks with the DOME? A lot of pushed clarity to take the midrange apart and itemize every little section, and propel those sonic artifacts out into life. Way brighter than the Neo 3, and not near the bass emphasis going on with the Neo 3, well that was obvious, but in case you never heard the DOME, I need to include such notes. Where really these two are opposites too, probably more different in tuning than the Volt, because the midrange here is so electric. Where the Neo 3 comes off as the more relaxing IEM listen, deeper tones on all levels, where the Neo 3 is burnt orange, the DOME is shocking pink!
The 10th Anniversary v the Neo 3:
Really my favorite Penon IEM next to the Volt. Here we are gifted again with a slightly bigger stage than the Neo 3, and possibly less cluttered, but of course the 10th is $499.00…so? But also in existence the 10th can help us understand what direction we are driving with the Neo 3. Where there is actually an element where the Neo 3 is more natural and together, where the 10th is holding this dislocation and a tad of synthetic production, yet with that is EST separation.............a big stage scattered with junk-food wrappers, bigger and more intense than the Neo 3 ever thought about. The vocals somehow are even more forward too than the Neo 3, yet the 10th bass is tighter and not creeping-up into the midrange, hence controlled really. With the 10th there is also a naturalness about it, a feeling that we are not missing a thing here, and more than not missing anything, we forget about everything else, everything else holds less importance, because we are in the zone here.
The 10th vocals have a reverberation to them and that echo is actually placed into a new section of the stage upon the vocals sung. Switching back to the Neo 3 there is an effortless approach to everything, and where there is not that itemized reverberation to the vocals. Yet there is also something better than the 10th, a reality that is true to life. A more wholesome something more complete and less separated. Replay is exactly like you would envision the sound by looking at the IEM, the sounds are bigger but coming from fewer places. Where the Neo 3 is a broad tipped pen marker, and the 10th was more finer strokes of a smaller pen nib. Thus the 10th is more busy at drawing the picture and the Neo 3 has the magic of broad brush strokes making a slightly more real drawing with less effort and less confusion.
Summary of comparisons:
Probably the vocals are where there is the most confusion here among the different IEMs. The Neo 3 vocals are often sitting slightly farther back in comparison to an IEM like the Neo 5 but that doesn’t mean that there is anything wrong with the vocals. The Neo 3’s vocals are smoother and hold a different tone than BAs produce. And while not perfect either, it is a new and different sound, and cool for the money spent, IMO.
The vocal sound is simply more analogue, and of closer distance from the other aspects of the stage. This contrast occurs due the crazy stage of the Neo 5, the stage of the 10th, and the stage of the EST50………..thus they are more expensive and more elaborate endeavors. Yet at the same time hearing the Penon older brothers is a great way to understand this (lower cost) IEM. Sure I could have picked down-line products, but that too has its own issues in understanding comparisons. Probably if I was to do one more comparison (next time) I would pick the ISN H40 to round off the examples?
Cable Changes:
1) Penon Space Cable: $99.90
2) HiSenior White Whale Cable: $96.00
3) Penon Vocal Cable: $69.00
4) ISN G4 Cable: $99.50
5) Penon RENATA Cable (Price yet to be published) ($250.00-$300.00)
6) Included Cable
All tests today with the SONY WM1Z and my favorite wide-bore ear-tips.
Truly I have done this test before, and I will again try and understand how each wire affects playback here. Often there can be very subtle differences, to even none at all, or as with this grouping of cables on my last IEM, which was a single full-range driver and darker, the Vocal was thrilling, and fun, so to have the Vocal Cable be one of the lower cost IEM cables in our test, that turns out exciting. So let’s see where we end-up here.
Space Cable:
In so many ways it may have been slightly better to use the Space cable for all those IEM tests just previously done. Why? Well the Space doesn’t in any way color the sound. Simply pure and natural, like drinking spring water. But at times I simply do what I do, regardless, it’s my review so? Anyway we find exactly that with the Neo 3 coming off a little thinner and possibly true to its exact nature. A big stage, yet an even-steven stage, pure as fresh snow, nothing to ever get in the way of your sound here….yet it’s just not quite as thick. It is the stage fallout that has the Neo 3 showing an even better space, once you remove the slight darkness of the RENADA, we are left with clean and tidy, yet missing a little of that wonderful drama the RENATA brought.
Here is a faster street in town where cars change lanes a little faster, yet the bass is more middle of the road and the Neo 3 looses a little of that drama and effortlessness the RENADA brought to the table. Still this is marvelous to say the least, one of my top choices due to clean and correct playback, and totally fresh, but it would also depend on how dark your source was, as a thinner source could obviously sound even thinner.
White Whale Cable:
The White Whale is a favorite for some of the same reasons as the Space, leaving the tone alone and moving forward as an improvement for one allowing 4.4mm access on our DAP. The interesting part is the Neo 3 is totally showing the differences between the Space and White Whale. As such that is a clue we are dealing with a form of transparency, most of the time a good thing. In this test today the White Whale is showing not quite the stage or even brightness of the Space cable. Yep, that means it's a hair smoother and gaining ground by simply still being even and correct, and possibly even a better match-up if you wanted your playback ever so slightly darker than the Space. You know I go back and forth calling the Space being a tad brighter than neutral, but then go back to calling it neutral? It really doesn’t matter as everyone has their own idea of what neutral is in the end. But to summarize this cable, very very good and while a little less thin than the Space, and owning a little lower midrange presence warmth, still a total classic cable and going with the Neo 3 100%. The texture and ergonomics are an added plus too being the Whale comes with ear-guides, but is not modular like the Space is, as you only get a 4.4mm plug.
Vocal Cable:
This Vocal Cable is wild, as in my last test it was both strange and colored and did things no other cable in this grouping (the photograph) could do. Here it is up to its old tricks once more. This is a stage movement, a bass reduction and a forwardness in the Pinna Gain area of IEM playback. The Vocal has its own personality and there is nothing wrong with that at times. Here we find the playback as going 100% with what the Neo 3 is doing anyway. Yet we know this is not the pure drinking water of the last two cables, no we are now altering playback, yet the pushing up of vocals goes with the Neo 3, as maybe the Neo 3 was asking for this treatment all along, you know like the girl who is dying to be kissed. They want it, and it is up to you to follow through, even if it may mean getting slapped! Here the pace is brought about into even more clarity once you discombobulate the tune. Fun is all I’m going to say, and if you want only one aftermarket cable to go with your Neo 3, you could settle on the Vocal as it is in its element here, due to all the features that has made the Vocal a legend from last year. WOW, it almost sounds like a better IEM, and that’s the goal here. It is also the cheapest cable of our group today, go figure? A total recommendation!
ISN G4 Cable:
The ISN G4 has been and will continue on as one cable I often go to try IEMs. Where the G4 brings Graphene to the table, what that does on a regular basis is expand the stage, but also adding a Graphene quality. That quality is a subdued bass and expanded stage, but a stage of holding specific warmth, and not the brightness of silver. And that is what we have. Making the Vocal Cable look like an almost wild person at a party, you know, lovable and fun, but not 100% normal. Let's face it the Vocal is not totally normal, with exaggerated elements and synthetic bending of the signal. Here this is not 100% normal either, except more natural sounding and simple more together in how the DAP and IEM sound anyway. With just a warm but expanded midrange and a subtle repositioning of all, yet again in a polite and almost normal way. This is again another perfect purchase, if anything the Vocal and G4 are a good team, like the grounded cable and the wild effect that is still super good, but not really normal cable.
The Penon RENADA Cable:
Here was the cable I used the most with the Neo 3. while not exactly uncolored, the RENATA boosted critical areas making the Neo 3 simply better, like more of an expensive IEM.
PENON RENATA CABLE
2 strands hand woven, cable is soft
35 cores Liquid nitrogen single crystal silver + 196 cores Furukawa silver copper alloy plated silver.
High quality PVC Shield
Litz structure
Gold-plated copper + carbon fiber plug accessories
Plug: gold-plated 3-in-1 modular (3.5mm/2.5mm/4.4mm)
Cable length is 1.2
So here I will go forth and try to explain how and why I chose to use this cable for the side-by-side IEM tests. Remember too you can choose any cable on my list or even other cables to reach success, this is only a few cable suggestions, and a little fun through rolling cables. To try and place them in order of quality………….
Remember this is subjective as well as being dependent on all the other gear you have in union with the Neo 3. From good to great here.
Good-Included Cable: Free
Good-HiSenior White Whale Cable: $96.00
Great-Penon Space Cable: $99.90
Great-Penon Vocal Cable: $69.00
Great-ISN G4 Cable: $99.50
Great-Penon RENATA Cable (Price yet to be published) ($250.00-$300.00)
Still though you may not want the drama the RENATA does? Meaning the changes are real and effective, where the bass travels outward into a new stage, the enhancements are that more reverbs are noted, then there is a separation which forms clarity just by the contrasts, the new contrasts at hand. The whole signature is darker and both brighter than the included cable. So we find added push into how the treble is positioned, yet that push is both warm and slightly golden colored which works in this case. With the ISN EST50 the bass was dramatic and I will typically use cables that reduce bass texture, and same as the Neo 5, as it was dramatic and real and would have to take a while to get to grips with how changed the signature was. But here with the Neo 3 IEM the RENATA brings about stage size and instrument texture and clarity, making everything larger and while smoother, still clear and showing an upper midrange expansion and push.
Included Cable:
Here we are met with exactly the tone of the Neo 3, the size of the stage and the clarity of the intended instruments and vocals hold a purely natural and well-rounded stance. The only reason you may want to try the Space, G4 the White Whale or the RENATA is if you want to take the Neo 3 to a new sound area. The Vocal is a smear, but totally enjoyable and maybe my first recommendation, due to it offering different imaging and an ever so slightly more forward vocals, bass is a tad reduced too. Let me repeat, there is nothing cheap or boring about the included cable, I could have used it in the side-by-sides, it is just that manufactures can only include so much cable with a $199.00 IEM, and if you want a slightly different sound, you need to pay for an upgrade. Cables can be an area of confusion in the world of IEMs as some note a difference and some don’t, that is also why I recommend the Vocal for starters as it is so different, yet probably going into the direction of correct, that I feel most people would hear a difference, and even though not 100% normal, it has pizzaz. Mostly these cable rolls will take the stage and reposition the elements, or add bass definition like the RENATA, or add midrange thickness like the G4, and move the middle stage. Though all this is is like changing the settings on your TV, where at times the contrast can increase, or the overall tone will be altered, but the way color temperature is, you slowly adapt to the new tone, that is until you change the setting back, then you realize what you had going was a difference.
Music tests:
It doesn’t matter how new-fangled the equipment is, if it doesn’t play music right then it is not worth anything. And maybe the best outcome of today's listening is the fact that the Neo 3 comes in incredibly well rounded.
So if you want to go on a trip and don’t know what music you are going to find, take the Neo 3, as long as you have pre-qualified your source. Then any whim you travel down will result in satisfaction. In my nearly 9 days of testing the Neo 3 I went from EDM to Classical to Rock to OSTs, World Music and New Age. Really that is maybe the greatest compliment I can bestow upon the Neo 3 that it is super well-rounded. Remember less bass presence than the Neo 5, and in a way less midrange expansion, and thinking about it, the Neo 5 also probably does vocals better? But this style of bass presence is maybe one of the keys to the well roundedness, I mean as you know often a bass heavy IEM will end up pigeon-holed due to too much bass in a certain playback, with certain genres, and we have none of that action going on here.
This is by far the most exciting phase of the review process. There is a truth to documenting the sonic outcomes of an IEM. Often I experience closer ideas than just listening, as the review process encourages deeper understanding of the IEMs listened to. This would parallel to taking a break while hiking..........to stop and look at flowers or small bugs, as opposed to just pushing through the turf.
Stopping to smell the roses:
If you are requested to document a place, be it outside, or between your ears, the process of documenting ideas puts an extra level of analysis required so that things can be possibly more deeply explained and new tidbits possibly found? I am using the Sony WM1A, the Sony WM1Z and the Sony TA-ZH1ES, along with the RENATA cable in 4.4mm and my regular wide-bore ear-tips. Each song will explain what source I use of the three.
Madder Mortem
Old Eyes, New Heart
On Guard 44.1 kHz - 16 bit
Time markers only accurate to the digital file, not the video.
This was a fascinating new song with the Neo 3. And so much fun that I had to switch between the WM1A and the TA. Reason being is it has truly exceptional spacial clues as to TA imaging. And as such it was truly fun to understand how the TA would offer a more detailed low end, and sculpturing of imaging into more realistic items of interest. Here we are met with a Blues derivative beat, and truly if you listen to the lyrics here, they are totally the Blues. I myself never listen to the Blues, but love when the genre inspires new music, seemingly holding the exact mood that was always what we paid admission for? Even at 00:03 there is a woody wholesomeness to the opening drums. At just 00:12 we are at once flabbergasted to learn of our songs true stage, the focus of how the Neo 3 does music here. It is in fact the transients found in the extra guitar effects panning out to the extreme left and right. Right at the start there is the bright focus high pitched finger snapping sound that is used sparingly throughout the song to great effect. Here we can’t help but learn the song is guitar based with a female sung voice over the top. As such there are multiple guitar overdubs.......which wash our listening experience with tiny details of slide guitar and guitar effects action. The reverbs here are just about adequate with the Sony WM1A. A quick switch over to the TA proves this IEM has a soul to itself, a serious determination to get the job done. There is an insane opening of stage and image placement, reverbs are bigger only because we are now in the center of everything, closer and upfront. The TA is making the imaging huge and still smooth. We just went into a larger TA room in the house, yet all the same sonic constituents are there, only now they are fortified with realism. And this was in a way the same as the Quattro IEM, in that this is the darkest amplifier I have, yet clarity is revealed, saying something about the sonic demeanor about both the 4 DD Quattro and Neo 3 being related, at least in functional response anyway.
Here her voice is not as shimmery and metallic glossed over like a BA would do. Yet the pure naturalness and togetherness of cohesiveness go along to make this experience not a $199.00 IEM......simply more. Sure I have an expensive amplifier and a different aftermarket cable, but that is what Head-Fi is about, finding a way to maximize the experience. Yet we can hear literally every detail of her voice, and the instrumentation is flowing around her, just like in life. The guitar almost asks questions here and she is responding.
There is a black hole at the window
Howling at any change in the air
If you forget to lock your smile in
Don′t you worry. The sorrow will be there
So I remain on guard
Old habits dig their roots in
Dark slivers of past everywhere
I remember I've been hiding something
But seems I forgot how to share
So I remain on guard
And I hope you will not hurt me
That what you don′t say is also true
You know, I want so much to trust you
To hand over my heart like it's new
But I remain on guard
Probably the smooth introduction of the (slide) lead guitar at 01:53 is a reminder that this Blues template may never go away, that while the song is in no way a technical instrumental masterpiece, it is real, and satisfies why we came. Also you have to remember this is Madder Mortem going out on a limb, showing us they can showcase new and different styles of music and are not pinned-down to a Metal genre template only, and for that I am spellbound and grateful.
DCD Anastasis
Kiko 44.1 - 24 bit
Using the more bass pronounced WM1Z we are gifted with a more real (than normal) style of replay. Here also there is an upper treble and upper midrange push that is the cat’s meow as far as showcasing the vocals of this song. I know I can’t stop describing the 1Z’s sonic elements, but after a few days of listening to the Neo 3 in every possible way, this song, and this DAP are bringing me one step closer to truth. The truth you ask? Simply realness and emotion. The emotion that comes from simply being closer to your music and feeling it. The 3D textures in the treble help to create this halo of dispersion across the inside of a fish bowl inside your head. At this point I’m questioning my decision to not use the 1Z in all the music tests, but still that would not show how the Neo 3 does respond to different source personalities. But right here, and right now at this very moment I’m in the zone, totally there. Maybe it’s the recording, maybe it’s the IEM, maybe it is the DAP……………maybe it is all three…….I think it is?
Lorne Balfe and Andrew Kawczynski
Grand Turismo OST
Academy Race
44.1 kHz - 24 bit
The lead in with the powerful synth effects onto of a bass introduction remind us of speed and of tournament. Now obviously this could be a suggestion as I know it is a movie OST. And even though I don’t know what the move is totally about, I did see the previews so I have a good idea. Some movies you can get the whole plot from the trailer. Now I’m not saying this is one (of those movies) but it may be? If any song showed us the reality, I mean the extent of sophistication today, it would be Academy Race. Why? Well there is wonderful deepness to the Neo 3 yet at the same time we learned from prior IEM testing there is a limit to the deepness of bass activity, maybe due to the fact that the DD for bass is only 6mm? Still while not the deepest or the most detailed I have heard, this song still gets all the timbre down, and there is no off timbre, though I really wonder if the reverberations of the physical recording from the actual studio placement into the Orchestra Stage is fully relayed here?
I probably recommend the Neo 3 for dissecting guitars, vocals and the grooving downbeat with Madder Mortem’s “On Guard” song. And the reason (I guess) is that these DDs X Planar do less complicated music somehow more authentic and totally real……….yet a quick move from the TA over to the Sony WM1A showed way more details now? So? I know this is not an amplifier review, but Academy Race was way better on the simple WM1A, truly the opposite of the “On Guard” song?
This shows us how with the Neo 3 being so clear that the character of the amplifier makes a huge difference, where the TA at times can hold deep textural emphasis, at times………………….with faster music, and more complex music, you need a more midrange powered DAP to truly learn what is inside the song.
Build: Really we find a very different idea of what is possible here. I hope to see ISN continue with this build theme and make/introduce more drivers yet there is a completeness here in that I'm not so sure how many sound tubes can be created with 3D printing in this very small area without compromising the structural integrity, as remember the area holding the sound tubes is also the IEM. Where the angle of approach of the nozzles and nozzle length is just right. The nozzle ends hold my ear-tips on great. There is a regular 2Pin and you can actually see the spaces for the wires to travel into the IEM. Great small-medium size with average noise occlusion.
Packaging:
Conclusion:
As I sit here with the Neo 3 in my ears I came about a few more ideas. I have burned the Neo 3 for 7 days straight, I have rolled cables and rolled amps....and yes, I have my favorites here. But more than that, I learned the Neo 3 while not perfect, is incredibly transparent. It is this transparency that allows you to drive to a different part of town with a different cable or source. And when you arrive at the part of town you feel a good vibe in that you have earned it, you have proclaimed your vacation only because you did the footwork to get there. Now that doesn’t mean that the Neo 3 is bad with some sources, in fact (not at all) the Neo 3 was never too bright, or too bass laden or too anything. Really it finds itself while very transparent, really well rounded. That still means the Neo 3 can be better and possibly (subjectively) the best once you feed it right. There was a long get to know period with the Neo 3, as frankly there (at this point in time) is nothing even remotely like it in construction, or sound replay. Sure I can find fault in the output, nothing is 100% perfect, yet I have the Neo 3 in my ears as we speak and I’m in total nirvana? And really I can choose any song and multiple volume levels and be sedated, I mean satisfied. And that is what Head-Fi is about…….it is about comfort, comfort is sound. It simply means you’re at a certain point and never ask for more, you forget what IEM you have, forget the source and focus on the entertainment at hand. When that happens we are involved, truly in the zone...........We are at one with the artists efforts……the producers, the guitar player, the drummer, the vocalists. You see, everyone is trying their best! Why? Because this is their love, they love to make music, so it is not work but a pleasure. Same as ISN……….ISN is doing their very best to provide you the listener with the most for their money. Won’t you go spend some today, I recommend it!
Pros: Stellar stage holding constituents of imaging far outclassing the asking price
Beautiful build coming in your choice of one of three colors, gold/purple, gold/black or silver/blue
Perfect weight and size coming in at only 5 grams each
While in no way perfect, the DB2 excels at great stage imaging, transients and 3D emotion
10mm X 1 BA
Comes with elaborate packaging, 8 pairs of ear-tips and a spring-loaded pouch, plus cartoon girls
Goes with every device to authorize soundstage treats a plenty including your phone or even an entry level DAP
Pace up-the-wazoo
A huge difference from a phone to an entry level DAP?
Cons: Can be choosy of genres being at times better at OSTs and airy classical, not always the greatest with rock asking for more authority
Can sound ever so slightly thin at times, thus positioning itself genre specific
NiceHCK
You know NiceHCK has been around the block a few times. Sure many of us have their cables, and really NiceHCK is best known as a cable maker. Yet last month NiceHCK did something crazy. Yep, they gave out a whole bunch of free samples of their $106.99 new NiceHCK F1 Pro 14.2 Planar Magnetic IEM. And in consequence flooded the inter-webs with video and written reviews. Now to have the confidence to pull all this off you have to 1) Believe in your product 2) Know others will after hearing it, believe in it too.
So imagine with me downtown New York. There is a busy side street with three pizza parlors all making pizza. Yep, from the outside all three look identical, and even their pizza seems to all look the same. They are all priced the same and all come in almost the same packaging. How does a business get noticed, and how do you let the public know you have great pizza? First of all this never would work if you had run-of-the-mill pizza. No, the only way this works is if you have great, darn great pizza, and you know it. So you place a friendly gal on the street corner and hand-out free slices of pizza. Everyday around lunch time she comes out and hands out slices, then around dinner time she does it again. Because the pizza is great this style of advertising works, and after a while that single pizza shop is over-run with business. They got their name out there and not only showed they were a maker of great pizza, they proved they made great pizza. And that’s all IEM samples are.
The F1 Pro is my most favorite Planar IEM, and if you would have asked me beforehand what I think of the possibility of NiceHCK making a great Planar, I would have been skeptical, as they don’t have that style of reputation. So something is happening in the NiceHCK Pizza Shop! In fact there are two more cool IEMs coming out this week, and one is a top-of-the-line TOTL Flagship. Notice how I have a slight sparkle to my words here, yep. NiceHCK has earned my respect and doing so I view their new releases with anticipation. So that is the news on current events. The next in line is to talk about the very reason you’re here, to try and explain what the NiceHCK DB2 is.
The DB2:
I never heard the DB1, but looking on-line I see it for sale. It came in another variation of child bride packaging, and sported a 10mm PU Biology Fiber Composite DD, and even came in two colors. For the DB2 NiceCHK has upped their game creating a choice of 3 different color schemes, and added a BA driver. Today we will try and grasp the reality of what you get if you buy this USD $27.99 Amazon package. And while it is not at all perfect, NiceHCK has done wonders in what can be accomplished is this price sector.
Value/IEM Summary:
Providing an exceptional stage size/width/character and immersive drama for the price, we are at once gifted with full-on vividness of vocals and big bass. The micro details and general resolution are maybe price leading partially due to the separation and imaging at hand. There always is just a hint, yet only a hint of nasal/thin sounding tone permeating the midrange?
Nasal/thinness:
This character, I was actually wondering how to introduce this character trait to the review? As it is a reality though, an accepted consequence of the (style of) BA driver? Yet this tone is not always readily noticeable, and will rear its head on specific tracks that hold more treble laden guitar parts, as an example. Except here for the money asked, there is totally a vividness/spaciousness and correctly executed tune that far outweighs this single down-side. Meaning when you check most everything (else) the DB2 actually has correct timbre and only in certain parts does this area of drawback surface?
One thing I found fascinating was hearing many (never before heard music) tracks that I had no timbre reference for, seemingly sounding prefect and holding sonic values of a totally more expensive IEM. I mean if you actually sequestered these tracks out of your collection and only listened to them on the NiceHCK DB2 you would be in a style of under $30.00 paradise, as there is truth in the phrase “nativity is bliss”! That is how ultimately good the DB2 is in the end. Truly it is that pizza slice on the New York street corner, handed out to you by a friendly stranger. And you then realize that the pizza (DB2) is remarkable and you want to take it home!
Comparisons:
Here I did something wacky, yep! I went and put the DB2 in the fighting ring with way more accomplished fighters. At first I wasn’t going to actually go through with this, then it hit me. “How am I to truly explain how good the DB2 is unless I challenge it against more expensive opponents.” You see we as viewers ring-side have nothing to lose, except possibly some blood splatter? We are only viewing the consequence of such an event, yet in comparison will find out the actual reality held in the evenness, completeness and correctness of today's DB2 trial.
Competitor two:
The Tangzu X Divinus FuDu verse 1: $89.00
Driver Configuration : 1 Dynamic Driver + 2 Balanced Armature
Driver Specifications : 10 mm DD + 2 Balanced Armature
Distortion Rate : ≤1% at 1kHz
Sensitivity : 106dB ±≤1dB at 1kHz
Channel Difference : <1%
Impedance : 16 ohms
Frequency Response Range : 20Hz - 20kHz
Cable Type : 25*0.05 Silver plated
Cable Length : 1.25m Interface : 0.78 2-PIN
Before we get started I simply want to offer an historic overview here. You see, really the top dog is the 7Hz Sonus. When the FuDu and Sonus arrived (at the same time) I actually liked the FuDu better as it had a smoother sound and exciting display of imaging, but when I really buckled-down into testing the two previously against each other, the Sonus pulled ahead due to being simply more friendly with more devices. So if you cater to the FuDu, yes it is all that, except if you try to run the FuDu off a phone and you may run into troubles. Here in the overall test of the 3 IEMs I am concentrating on realism in both evenness of tone and timbre. How ultimately complete I feel the signature is and also how correct the signature can be perceived. Remember in the end these reviews are always 100% subjective, yet the objective truths (so to speak) can result in values which across the board are held as being correct. So my guess is still that with the correct source the FuDu will come out at least even or better than the Sonus, except the Sonus is no slouch, being an incredible contender due to the choice of BA driver 7Hz used, and the fact that they matched it really well with the giant 11.3mm single DD bass driver. I also have to be kind-a careful here because I have just spent weeks and weeks with the DB2, which can lend itself to familiarity in the end. As such my mind being on the same wavelength as the DB2 may encounter even better playback than it actually is, and not find the middle ground in fairness to judge the FuDu or Sonus which I haven’t heard in at least 60 days, I think?
The set-up:
All units today were tested by using the Sony WM1A with MrWalkmans firmware. I had a spell of confusion trying to pick a cable. You see the DB2 comes with a super nice cable as NiceHCK is maybe first and foremost a cable maker, so they know what they are doing. Yet, in the end the regular DB2 cable is only 3.5mm, and yes I have two other NiceHCK cables in 4.4mm that came with the F1 Pro, but I wanted a different brand and a relatively transparent yet balanced cable that never placed in any tone color to skew the results here. So in the end I settled with the SIMGOT AUDIO LC7 in 4.4mm. I chose this also partially due again resulting from familiarity, as it is used all the time here at Redcarmoose Labs and holds a high level of respect due to performance. That performance is even and correct, but never necessarily the very best for an IEM. I’m the style of insane or foolish listener which has no issues blending a USD 27.99 IEM with a $399.00 cable. It is true that everything in the signal chain will add a character to playback. But to be more reasonable here, and more down to earth, there are actually cables in this case which can at times blend with the DB2’s overall signature at a more regular price, and in the end bring about success. Why? Because there is more here than previously thought. Meaning there is a tremendous level of both detail and correctness here with the DB2, as such it is the perfect candidate for finding out where we can find synergy. Because cost only means so much, it is more about correctness of tune, and technicalities. I mean sure there is a limit to just how far we can take the DB2, only that place is way better than simply price would have you guess.
Here first I want to explain the results of the Penon ASOS cable: Now to be fair NiceHCK may actually offer a few cables in this level, only I don’t own them. I may get these cables in the future, but so far nothing as far as cables go equals the Penon ASOS. The ASOS is a relatively natural cable with a slight boost in midrange heft and clarity. The cables also moves forward to kind-of clarify the bass. Maybe it is just transparency here, but the bass is off on its very own separated stage. There was an authority and size here with the ASOS that gave me a whole level of respect for the DB2. An effortlessness that was never found before, and a clarity that was un-arguable? Remember that slight nasal quality I was talking about earlier, it is still there, only everything else has been enhanced around it, making this show 5 stars………do you think mixing a $169.90 aftermarket cable with a $27.99 IEM is foolish? I promise you that if you heard this combo you would not think so? As such this may in-fact be the very best I ever heard $27.99 sound……..ever? And you can take that statement to the bank!
Why?
Just getting quality music pumped through obtained a level of imaging that was extraordinary with the ASOS and DB2……..really it was hard to believe? The evenness and correctness, the way the bass was both detailed to a point and relatively deep, especially in the sub-bass. Now to be real here there was always a level of thinness which must have been the complete ultimate extreme ability of the driver here to do all it can, yet there was always slightly that character of tone. Though the beautiful thing was the blending and the actual concept of why I dig Hybrids the very most. Spatial separation and imaging which became more and more natural and blended the more I listened. And it is funny as my ideas as to the overall quality of the DB2 finally rewound to my very first impressions……..that there is a slight lack of authority in comparison to way more expensive IEMs, a density of notes is missing, where the positive flip-side of that is fast and detailed imaging which just comes about due to nothing holding the notes back.
Comparisons:
Remember the cable used the SIMGOT AUDIO LC7 in 4.4mm, the DAP used the Sony WM1A and my regular wide-bore ear-tips I use 90% of the time and are found in all my pictures 90% of the time.
FuDu:
So the bass is deeper and of a denser quality. And when I say a lot, this goes back to my first impressions with the FuDu that if you get it all it asks for to eat, on a full stomach the FuDu is incredible. The bass is simply more clear and holds imaging inside the stage, more textured even. What the difference in tuning becomes in that there is slightly more Fudu smoother replay in that the opposite DB2 has clarity more-so into the Pinna Gain vocal rendition, where overall the DB2 is slightly less grounded, and more airy, flighty? Where sure the FuDu does have better overall darkness of tone, more of them, and in many ways the two IEM could almost be looked at as opposites, in that what the DB2 does in the midrange as a zig, the FuDu zags? But sure the extra money spent on the FuDu goes to good use if you bring the FuDu a good signal. With that said though, get the DB2 over to a regular 3.5mm output from a phone and prepare to be floored. Yep, even, wide, imaged and amazing replay from simply a phone. I mean this is also NiceCHK’s DB2 marketing too, that the DB2 is good from a phone only, and they were not exaggerating!
Sonus:
Ok, so the FuDu showed itself to offer a more blended and together replay, holding notes having a denser and note-weighty style of reality. The FuDu not owning up to carrying as forward of vocals, but way better bass definition and thickness……..more beefy. The Sonus is in many ways the most even of the 3, holding a balance in both bass and vocals, and I can’t get over just how good these two Sonus drivers are. Yet again the Sonus is kind of the most conservative here, and you know how when careful replays get going, they become more well rounded, and play with more friends easily. And while the bass is more tucked-in than the FuDu, it’s also not quite the stage traveling as the DB2, which makes it a hair less. Again that conservative stance that isn’t going to ruffle feathers with the Sonus, and even the vocals sit closer to home than the DB2, offering no more note weight than the DB2. Except this sophistication in Sonus vocals is both more tamed and reserved, and that ultimately comes with being less wild than the DB2.
Contest summary:
How do I sum-up my contest here? Probably that while the Fudu offers the most emotional bass replay, the vocals are really careful and still correct, the Sonus is less on bass but more well rounded of all three, seeking better balance and goes with the most sources and genres of music. Whereas parallel to my very first listening impressions, the DB2 is a lot of IEM for the money, yet not as good as the Sonus or FuDu from my Sony Walkman 1A, with SIMGOT AUDIO’s LC7 cable. Yet the Sonus is $59.99 and the FuDu is $89.00, way way more than the DB2, and with the diminishing returns per dollar spent offer still 90% of the FuDu playback or Sonus playback, and better than the FuDu from a regular phone. Probably my most learning from this experience comes from further understanding the DB2’s personality. That while my initial understanding out-of-the-box was correct, it was interfacing the DB2 with other Hybrids that went forward to show bass tone and vocal tone, and finally the stage, where the stage of the DB2 was more active with transients providing ample amusement, and even further down the line (with those transients) if you went crazy with the ASOS cable match-up. The reason we always balance a cable price to an IEM, is that price does often mean something as far as sound quality. And surely matching an expensive cable with a total value IEM in the end makes a question of “Why don’t you just upgrade your IEM, and downgrade your cable?” And sure you can, but you’re not going to get exactly the DB2 sound. In fact somehow with the ocean of IEMs I’ve heard the DB2 is both technically correct and still offers a vibrant departure from many boring IEMs that populate the under $30.00 realm. Sure it’s not perfect, except I can localize any drawbacks down to a slight thinness over-all, and only in the midrange, and that is pretty good.
Build:
An elaborate affair, I can only see a single vent off the back, yet nozzle angle and size are truly perfect. Weighing in at only 5 grams each, the DB2 excels at comfort though I would call them medium as far as noise occlusion goes. Being they came in your choice of three colors you can choose gold/purple, gold/black or silver/blue. This resin drip faceplate shows-up rather nice looking and not as gaudy or garish as it looks in photos. Even so far as NiceHCK have gone one step further, to print R or L and DB2 on the metal perimeter. Probably my favorite feature of build is how tight this sucker is put together, offering an almost one piece feel to how all the build pieces come together. On trying, you almost can not feel a seam where in construction the faceplate fits the back part of the body? That and the fact that the DB2 nozzles holds my favorite ear-tips on in a non-sliding way in the perfect place.
Cable:
What I found interesting is how each right and left signal is represented with a thin red or blue code inside the cable. While the QDC style of 2Pin does really work with any cable with the IEM, the reverse does not. Meaning you are best staying with QDC style of IEM sockets on any other IEMs you chose to use your DB2 cable on. With that said, the included cable is nice and offers great ergonomics, also it is totally responsible for getting you the overall tone of the DB2. It moves around well, but somehow wouldn’t coil-up for a photograph, despite being traumatized by direct sunlight for 1/2 an hour.
Packaging:
I seemed to be shorted only a single small dark color ear-tip? I could have lost it, except I’m pretty careful and haven’t ever come-up one-tip-short in all my past 198 reviews, most reviews are IEMs. Still with 7 additional sets of ear-tips I’m sure it would not have rained on the parade today, or even if I was stranded on a deserted island, somehow the other set of small ear-tips would have worked just fine?
Alternative Drivers: Yep, you may be wondering a little how much more fidelity can take place it we ditch our phone, wouldn't you just love to throw your phone in a ditch at times? Huh? Anyways if you were curious as to what you have to feed the DB2 to create a magical experience, it is really your choice to a point? Meaning I got killer results from the HiBy R3 II, as a budget DAP, there was really no issues I could hear with how it presented a lush open and fun stage. In fact if you already have a R3 II and were wondering what to combine it with to join the ranks af great replay..........here you go. Try it and thank-me later.....I'm dead serious! If you are looking for a basic set-up and wondering how this would work out on a daily basis, this is exactly what this review is about......100%.
I still don't know why this exact playback is so good, it is not supposed to be this good?
Music tests: Here we move to try and figure out if we can live with the DB2 on a regular basis, going on an adventure of previously unheard with the DB2 test songs. This is probably the very best and most complete way to gain understanding as to the down-to-earth usability found in your purchase. We will try and trip the little DB2 up by throwing difficult and easy music for it to chew-on.
Hans Zimmer
Inception OST
Old Souls
44.1 kHz - 16 bit
Really if I was asked to showcase what this IEM is about I may very well choose this song and it doesn’t have vocals? So why is that? Well, first off it is an insanely good recording, just world class. But more than that as an instrumental it holds a pureness of tone that makes the best out of every IEM you interface it with. But possibly one step farther here the song is very much made-up of contrasts, contrasts that were made for Hybrid IEMs. Yep, the deepness of the bass, the high pitched piano introduction, it is all here………so much so that if you were at a Head-Fi meet this song with The LC7 cable and Sony 1A would be a total surprise trick to play on someone. Primarily here because somehow none of the DB2 drawbacks surface…..none at all? In fact I don’t want to say how costly of a playback this gets us into, as it would reduce my credibility here. But timbre on the piano is a huge plus, absolutely perfect, it may also be that the song is made up of simpler ideas and additives? But when the bass drop hits at 00:53 you’re taken away. There is no possible way this under $30.00 IEM is even close to performing this, but it is. And that is where the fun comes in. Ask a friend who doesn’t know the price, in-fact don’t show him the IEM, just place it in his ears and push play at a reasonable volume and take note of his expression at the 00:53 mark. One of surprise and curiosity……as there is a profound completeness of playback here. There really is. I know this is not the package section but look at the case, the selection of ear-tips, the look of the IEM itself……really NiceHCK is covering all bases here, and show they care, but more than that, that they are stepping up their game and truly advancing the hobby here.
Anyways, the song's midrange of piano is positioned way out to the front and sides. At 01:29 there are explosions here, and yep, you guessed it is thoroughly brought out to the sides in replay. Remember early in the review I kept talking about stage size, well here it gloriously is…….all of it, and more than the price would have you figure. I mean what gets me going here is all the imaging and deep layers of bass, the fact that this was mixed just so every layer would separate itself in playback, to bring about kind of its own world unto itself. While sure there is not the note-weight of some playbacks, except the notes hold wonderful transient speed as there is nothing to hold them down. Playback is just darn big, and I have a soft spot in my listening heart for it, if it gets big, then subsequently I get emotionally involved. Truly I don’t know why this song is so good here. But once you get your DB2 in your ears, you may want to take a walk down this street to envision this part of town, as it is a vacation that you will not forget. Truly this is unexpected and just beautiful in the end? I could go on and on………but I have rambled enough to make my point.
DCD
Anastasis
Kiko 44.1 - 24 bit
Here we are brought back to a style of reality. I mean with songs like the last one, that has been seemingly made for the DB2, I am so off the ground that I probably undermine my own validity here? Yet, I don’t care, it’s the truth and very well could be your truth once you get the DB2. The biggest mistake you could make would be judging it by price while yes, it’s not perfect, there are places (environments) you will find yourself swept into that there is no going back. Oh, unless you decide to hit play again, then there is a return of the magic. This sounds dumb, but I promise you I will be trying out Hans Zimmer’s “Old Souls” on family members later today, just to capture the look on their faces. So back to reality with this number, and there is a specific reason I chose this song, for the vocals it contains, I mean we do need a vocal song here, right?
Kiko:
Probably the greatest start is the strange clarity of the drum beat? That it is both somehow complete and holding an awesome speed of creation. Yep these drums or positioned in the correct place, both tonally and positionally. The other part of the adventure is somehow how you can hear into the whole sound, the quality of the bass driver maybe, as there is absolutely no distortion found in the drum playback, despite it being loud? There is also a ride cymbal at the start, this airy and fast replay even captures the small nuances that come about as extra additives of expression. Yet because of spatial separation into the stage, we find they are somehow itemized and clear, holding more clarity simply due to the separation a hand. At 00:18 the bass drum and bass instrument hits, now this is probably the place where I have heard it deeper and more complete except I’m reaching to find any small issue at all to ground this review, as really it is all fine! 00:38 hits and we find the guitar seemly finally something which showcases that tad of thinness I was describing, yet it has been one whole song with none, and the into of this song with none, and that is how the DB2 is, it can be choosy as to when it want to perform. Finally when the female vocals hit, they are ever so slightly thin, but very clear and holding a wonderful position inside the stage.
Kaveh Cohen, Michael Nielsen
Forza Motorsport OST
Brotherhood
44.1 kHz - 24 bit
Ok, I’ll be honest, I did listen to this song prior, oh and the next song too. At least the first two songs were the first time I heard them with the DB2! In fact I couldn’t help myself, trying out the ASOS cable, this song is a regular test vehicle here at Redcarmoose Laboratories. Why? It is well recorded and holds great imaging, as far as instrumental music goes, yet it is not really the most dramatic, except it serves a purpose in being a game soundtrack. So being that it is a little supportive of game replay, not holding any distractions, like no bright guitar solos, or anything like that. What we get is both a consistent beat, and a variation of different bass volumes, somehow adding extra dimension, along with an additive progression of synth instruments and orchestra. Though I’m not exactly sure how much real orchestra is used, unlike the next song in Grand Turismo which gives us a full-on movie OST, along with the soundstage positioning of an actual real-life orchestra in action. And that’s the thing, the DB2 is clear enough to help us access the differences here, where we can appreciate “Brotherhood” for what it contains, yet we all know the next truly movie OST will bring more sonic thrills and deeper detailed realities provided by real recordings of real instruments on a live studio sound stage.
Brotherhood:
First, the piano is totally front and center and holds more thickness than expected. The stage is huge, offering a playful world for us to visit. The rhythmic bass is not as defined as I’ve ever heard it, and something like the FuDu could offer us a deeper, more textures rendition. Once into this thing there is a big stage as just like before we are gifted with a wide separation between elements. At 00:32 there is an additional (heavy) bass drop and we can somehow follow the event continuously from start to finish, all in its own section of the stage, remarkable really? And if you listen really closely, the bass actually never stops, as it becomes a drone continuing till the song starts to fade at 02:06 till the songs end.
Lorne Balfe and Andrew Kawczynski
Grand Turismo OST
Academy Race
44.1 kHz - 24 bit
The final session of our tests. And did I ever line-up a doozy here. We just went from direct line into the sound board pretty much, to a real orchestra sound recording stage. And sure most IEMs relay the differences……except not all of them are this fun! I hear violins rustling at the outskirts of the stage. Still I can’t get over this bass, as while it is not the most defined, there is something that it contains, yet I’m not sure what that would be, except good timbre and its own ideas of clarity that seems to work here? I mean this is a review and I’m supposed to be able to identify why stuff works or why it does not? It’s probably the completeness in holding a drop……….even right away at 00:11 in that quality is there. Now remember I have heard this song a 100 times, and of course there is nowhere near the level of detail as some more expensive IEMs contain, no way. Yet at the same time there is a correct purity where you think you are somehow hearing more than you are, that much like a live setting where the bass details are left out, only to be bunched together, you still are emotionally moved and brought into the musical story and play-out? While yes, there are details.....especially how this 10mm Titanium Plated Graphene Driver shows a separation into sub-bass extension? That combined with the largeness of stage, and the fact that the midrange and treble displays go further to enhance the feeling of size, that is where the stage is actually bigger than both the Sonus and FuDu to somehow take the cake. And kinda like fast food here we are rewarded with cheap thrills, and a full stomach seemingly without want in comparison to the FuDu holding better bass, and the Sonus holding a more composed and evenly detailed demeanor. Yet this phenomena of stage size, well it’s enveloping and somehow never ceases to satisfy?
Conclusion:
Well there you have it! NiceHCK has basically provided a new IEM which slightly disrupts the market, as it owns both correct timbre and technicalities as far as stage. There are details to be found, yet I can’t help but think these 10mm and single BA units do their best with simpler music, and it is not like they ever are missing the displayed pace? It may have to do with dissecting individual images into digestible elements, to hear every little detail, because that’s not what is going on. Though what you do hear is every detail provided in a holistic and complete way, when a little less is going on, it is like the tonal ideas are fully represented here, far above the humble asking price. But beyond the talk of cost, the DB2 still offers a grand individuality to make it stand out in your collection. It could still be your only IEM, even if you didn’t have another IEM……..just as long as you understand both its positive and negative points. While NiceHCK is really trying to include it all at this price point, the ear-tips are totally nice, the included cable is also incredibly nice, and you have a choice of one of three colors to choose from. I didn’t think purple would thrill me, yet once I got it in hand I thought it was the cat’s meow? Also if you're considering simple phone use, the DB2 goes forward providing exceptional sonics just from a phone, and you can get a cable with a microphone on any of the three colors offered. Two colors offer a gold accent ring and the blue offers an aluminum colored accent ring.
All and all the design and fitment were truly special with the nozzle length and angle seemingly fitting just right. If you need a lesser cost, yet totally relatively complete out and about IEM, I can’t fathom a better choice. And my favorite part is that provocative stage still takes place even from a phone. But for the serious listener who may choose to play with cable rolls, there is also tremendous value here to be found, if your game to take a chance?
Disclaimer:
I want to thank Vivian at NiceHCK for the love and exquisite DB2 review sample.
Disclaimer:
These are one person's ideas and concepts, your results may vary.
Equipment Used:
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
HiBy R3 II DAP in 4.4mm balanced
Samsung Phone (not found in a ditch) 3.5mm output
Pros: Finding a super quick pace and rhythm due to well executed upper imaging and lower bass
Strangely the LM goes and finds musicality with any and all sources, regardless of tone demeanor
New 2nd generation Lithium-Magnesium Driver, what would the EA1000 be with such a driver?
At 11 grams each the LM is heavy, though fits perfectly due to medium small size
Cons: Not the resolution and imaging of the up-line EA1000
Some folks may want the tighter (and stage smaller) EA1000 bass response
To be real here, the LM is probably slightly better for modern low-brow styles of music, and not so much Classical?
Still technicalities are so good the LM does classical too far above its humble price-point
SIMGOT EA500 LM Edition Who knows just how useful this review will be for folks? As typically reviews function to enlighten about a new or unknown IEM, enlightenment through a description of IEM character. So as readers we interface off the reviewer's opinion and come about a purchasing decision, based on how well we trust the reviewer's thoughts and how well we feel the IEM may blend with our listening. That buying decision can be at our own time or right away. Most people fall into a few categories of how they make buying decisions, and you fall under a purchasing category even if you don’t know it.
So it’s a blend of how we relate to the IEM review or reviews, how the IEM’s character is, and a value of sound per dollar spent quota, that we perceive though reading or demoing. Of course much of the time elements here depends what kind of IEM buyer you are. To list a few of the IEM buyers' personalities, there are the quick emotional kind, the (try-to-be) scientific and information collecting types, the kind that go with the pack, and the literally the time based ones. Those ones will buy if the IEM seems to fit their personal chronologic time-frame. Much of the time we don’t even recognize the exact style of our buying trends, but it is safe to say everyone is slightly different.
SIMGOT AUDIO has in a way circumvented the past buying styles of Head-fi buying personalities, seemingly catering to the masses. Though I will at least mention a single group here, the fancy-pants…………..yep, those types only purchase if the price is right. You guessed it, they will only purchase expensive products because price equals quality…….right? Though now, even those (expensive) types are starting to notice who SIMGOT AUDIO is, and basic curiosity is pushing them forward!
SIMGOT AUDIO has been around for a while, but they recently totally reworked their sound. They have used technology in the driver design, but also explored various tuning and IEM housing methods to bend the commonly thought of paradigm for success. 2nd fold once they knew with-out-a-doubt that they were in the zone, they gave out lots of free samples to reviewers. What the fall-out here is massive market disruption……it’s huge. Still the difference here (that I see) is somehow SIMGOT AUDIO looked in and thought about how to make success happen, and somehow created a sound that people gravitated to?
SIMGOT often uses tuning nozzles as a way to gain extra acceptance into understanding a specific model tune. So if the tone is too treble peaky often you can find a different nozzle attachment to arrive at a slightly different tone. And to further this concept often SIMGOT offers extra filters included with an aftermarket tuning kit that you can buy separately to make the tone of a specific IEM all your own.
As of recent SIMGOT AUDIO now makes their own aftermarket cable, the LC7, they have also made and continue to introduce Dongles to market. The most recent to grace our shores has been the super small DEW4X. In this review I will compare the LM model to the past regular EA500, and the runner-up flagship, the EA1000. There has been lots of talk of how the LM is the reintroduction of the EW200 tune. And personally I don’t have an issue where everyone is simply trying to get to terms with how these two (LM/EW200) models sound, especially before a purchase takes place. In a perfect world we would have IEM stores with every model on every corner. Because there is no substitute for a demo. Still there is also no substitute for a month long demo, finding possible characteristics we may have missed on a short demo. But one reason I feel there is a small EW200 relationship is due to bass tuning. Still this is a whole different new style of LM driver.
Lithium-Magnesium Driver with Gold Nozzles: Searching through my collection of IEMs there is nothing like the LM. Could this in-fact be due to driver methodology? What is happening here is we are witnessing some of the drawback characters of single full-range drivers become overcome. You see this LM almost sounds like more than one driver. This single feature takes and separates it from all the SIMGOT IEMs that have come before. There is also a lot of bass, and even more sub-bass. Where sure the EW200 and LM model have the low-end in common, yet at times I thought that the regular EA500 and the EA1000 could use an ounce more of bass, so here we are?
Do you see the red line for between 2.8kHz to 5kHz? That is our brightness with the LM, in comparison to the dark blue EA1000, the green EA500 and the light blue EW200. Now if you are wondering why the LM still is only so bright, that is due to bass balance. Yep, the more bass you add in the more midrange and upper-midrange you can get away with. You simply are given bass frequencies which counteract the perception of brightness.
Included graph measurement disclaimer:
All the nozzles approach the brightness graphed near basically close to the same. So there is no confusion, the graph was with the red nozzle, and I used primarily the gold nozzle. All the following concepts explained in regards to how the LM performs brightness are still relatively close to the same.
Nozzles:
123dB/Vrms (@1kHz Gold Copper nozzle & Red Silicone Ring)
123dB/Vrms (@1kHz Silver Steel nozzle & Red Silicone Ring)
124dB/Vrms (@1kHz Silver Steel nozzle & Black Silicone Ring)
I use the included gold nozzle, as I like the results. Some have taken steps to remove the gold nozzle foam to access a slightly different tuning/stage stance. Since everyone has a different style of hearing and different tone qualities from their source..........I am not saying my way is the very best. Really if you use aftermarket ear-tips that too will alter the tone and stage to some degree. Best is to simply try different nozzles and learn each individual style of replay. Though it may be best to stick with the included gold nozzles with the foam in place........as always the way the IEM is included in the package is where SIMGOT feels is a good place to start.
Top row: EA500 LM Edition then older EA500
Second row: EA1000 and EW200
Note the very bottom SIMGOT $19.99 EW100P Universal IEM is placed here only for size comparison and received a glowing 3 star out of 5 star review from me a while back.
Comparisons:
EA1000 (included red rubber rings 2019 Harman Target)
EA500 (included red ring nozzle) EW200 (no nozzle option)
All tests today were done with my regular wide-bore silicone ear-tips, the Sony WM1A with MrWalkman’s firmware, and the SIMGOT AUDIO LC7 cable in 4.4mm. While there was nothing wrong with the provided cable, it is just that it was 3.5mm and didn’t allow access to balanced amplification.
EA1000 $219.99 https://www.head-fi.org/showcase/si...ear-monitor.26790/reviews?page=2#review-32122
So starting out here, it’s obviously a factor of price, right? Well the bass is different, while not quite as clear as the EA1000 that extra roughly 4kHz you are getting with the LM is actually held not only in extra frequency, it is taking hold of a larger bass soundstage. Also let me just inject this here, while spending 10 days listening to the LM, I perceived what I would describe as the most bass in the SIMGOT line, and interestingly there was ample sub-bass too? Doing very small 3 second sound loop comparisons (to enhance sonic memory) I found, yes the EA1000 is actually just slightly louder and holding more involved midrange harmonics lending to an advanced response in realness, there was simply more reality of instruments between the two held by the EA1000. So in the long run, yes the EA1000 is slightly more vivid and technically better, but I have to ask myself why do I like the LM so very much?
Switching now to full songs, the LM is simply holding a smoother take on the SIMGOT sound, having to try an volume match the two by adding a click or two onto LM input, I simply found that while yes it was less detailed, what it did was offer a warmer and even more even playback. Such finding went and had me question the importance of detail, as the EA1000 technically was the better driver. Yet the midrange peak was not there with the LM, even though it shows up graphically, there is a different bass balance going on which smooths out the whole affair. Also midrange imaging was of slightly thicker note weight with the LM, making the same song playback with the EA1000 seem to come-off faster but thinner in the end. The EA1000 can get you closer to the inner details held in your song files, but the LM has more kick. I mean it’s more fun in the end. Still remember I’m a sucker for deep bass realizations, so those happen, and I’m all done. This hopefully doesn’t detract from the EA1000 views and ideas, it is just SIMGOT got creative and less stuffy with the LM. It could be viewed that SIMGOT was going for less analytical, and hopefully gaining that younger crowd that could care less about clarity, that are looking for a deeper sound holding more bass ambiance?
EA500 $79.00 https://www.head-fi.org/showcase/simgot-ea500.26361/reviews#review-30453
We all know that for many the EA500 was more intense. Little too bright, and here in comparison the LM is once again showing us more bass. Yet the big deal here is the EA500 peaks 2.5kHz to 5.2kHz…………those LM peeks would have you believe it is generated to be more. What I’m trying to say here is it sounds the complete opposite from how the graph looks. The graph makes it look like the LM would have energy in the exact area, and it may, except the low end completely makes it sound smoother and not dull, but arriving at the duller area of town. This is a perfect example of showing graphs only tell a fraction of the story, and at this point with the LM/EA500 the total opposite of upper midrange/midrange would be encountered on a daily basis. So for those who have the EA500 and think it is too bright, I can assure you the LM is a more forgiving part of town, all the time! Forgiving, yet still detailed, well imaged and totally fun!
So the LM sounds like the EA500 graphs out to be, noticeably lower in energy and smoother.
EW200 $39.99 https://www.head-fi.org/showcase/simgot-ew200.26518/reviews?page=2#review-31446
So here we find EW200 has many of the same tuning features that go to the LM. Yes, going back to the EW200 once again showed me how it may be the very most IEM you can get for $39.99? And sure it is close to what the LM does except the LM stage is bigger, more open and holding greater authority of realism. Sorry this stage thing really gets me. As it totally affects everything where sure the EW200 has close to the same tuning, except it has a different driver, thus the LM responds with clearer imaging and holding more emotion due to such things. Obviously the newer LM has the honeymoon charm. And still I can’t get it out of my head that even though they are close, the LM has these transients done next level, so in a way it is just more technical and that small difference stirs my heart………it is what it is. If you have the EW200 and are wondering if it is a big change to spend the extra money, I would say there has never been an easier way to gain a better sound, especially if you already love the EW200! As far as tuning goes there will be limited surprises, except that note definition and clarity………well the differences are real here. Simply give the EW200 to someone, as there will be nothing to miss once the LM arrives in your ears.
Cable Changes:
1) Penon Space Cable: $99.90
2) HiSenior White Whale Cable: $96.00
3) Penon Vocal Cable: $69.00
4) ISN G4 Cable: $99.50
5) Penon RENATA Cable (Price yet to be published) ($250.00-$300.00) 6) Included Cable
1) Penon Space Cable:
Just so you know there is very little if not no differences at all between the LC7 and the Space Cable. Really both cables are highly transparent making the stage about as big as it can be, as well as not adding any their own personality to the playback.
2) HiSenior White Whale Cable:
Laughingly either the LM is generally not showing the differences between these three cables, or their make-up is close to the same. Maybe a tad of extra smoothness here, but really you would be hard pressed to find much difference. They are all priced about the same too?
3) Penon Vocal Cable:
Just so you know the White Whale, the Space and the LC7 are truly looked at as being uncolored and fairly balanced, offering 4.4mm with the While Whale and LC7 and an improvement over the regular brand included cables. So what’s up here? Hmm, so yes the midrange is slightly more forward, but remember if you have been following along with this review so far you may realize that the midrange has that room for a slight push. Actually I didn’t think this cable would be as good as it is. Marvelous increase in stage size, and a special separation here, where images are way out to the sides, the bass is maybe slightly diminished, just a tad? But it is the warmth and synergy that make this cable special today. Just WOW! My word for this cable is the can opener………it opens up the stage and allows for great interaction, bigger-denser imaging. Laughably if you studied the graph on the LM, a cable which promoted Pinna Gain would be a no-go, but due to bass balance we actually have room to explore a different style of cable push. Only it is true that the White Whale, The LC7 and the Space go ahead and offer maybe a slightly more true to life rendition, I should have remembered the Vocal Cable adds a style of separation and pizzaz that makes you forget about normal responses, especially with darker IEMs.
4) ISN (Graphene) G4 Cable:
Graphene has a character, and yes, there is some of that here. As later in this review we will find out how the LM is also very easy going to sources too. Meaning many, many......pretty much all sources go with the LM. There is an easy gong nature going on here. The Graphene will add some stage and diminish the bass adding clarity in places, and yes all that is going on, yet very minimally? Probably the greatest gift would be the warmer big authority midrange stage, yet it didn’t offer that separation and itemization of the Vocal cable…….I was surprised by the Vocal, as I normally place this G4 above it?
5) Penon RENATA Cable:
If you read my RENATA review this version of the RENATA is different. What I mean is that the first review was the Beta Version RENATA, as I have a new review for this cable in the works. Slightly formulated differently to be slightly brighter in the midrange and treble. Here once more it is an additive of smoothness but what takes the cake here is the separation and lifelike growth of stage imaging. This is the more expensive cable of the grouping, yet goes forward with a spread out low-end as well as spatial imaging and separation. Where there was a rhythmic bass throb in one song I could only half hear it with the previous cable tests, only (the bass) to become very delineated and separated now with the RENATA? As such it is not going to be peaky in any fashion, but in many ways like the ISN CS02, holding a style of imaging texture, yet still smooth.
6) Included Cable
Remember this test will now be performed with my 3.5mm output of the WM1A. Once again really not all that much difference? I mean sure there is a difference, yet the magic of this tune still shines through. There is a subtle way the LM sways with the music that is always there and never messed with no matter what source you use, which amplifier you use, or which cable you choose!
Equipment:
Yep, the DAPs and Dongles were a super easy section to review here. Especially the Dongles as you simply unplug the IEMs from the HiBy R3 II after sonically judging that, then plug in a Shanling UA3 Dongle or the SIMGOT AUDIO DEW4X into action with the USB Type-C. It takes all of about 1/2 a second so the music keeps rolling and it makes judging extremely easy to do. All tests performed with my regular wide-bore tips and LC7 cable in 4.4mm balanced.
HiBy R3 II:
While the wild M response of the R3 II doesn’t always lend itself to every IEM, here we meet forgiveness, yet better than being forgiven because it’s a party! Where a big part of this may be in the way the two commingle to provide bass, except there is also a stage size and smoothness in replay that both provide separate, and that gets added up when together here? I guess what I can say is surprise……being if you were wondering which DAP to get that would be on a budget (with the LM) and still have fun and enjoyment, with no questions asked……..this would be it.......the HiBy. Hence I took a lot of pictures of the combination.
The HiBy will not always be best with certain IEMs, but in this use case it is another added plus to the honeymoon already in process. I could go on and on except let’s save time. The WM1A is what I usually use for the music section, and I will still use that now for this review, except I could have easily used the R3 II in this application here. This was so surprising that I had to keep checking and over the course of days and days, this is the truth I’ve come up with. In fact I don’t think I have found an IEM that makes the R3 II this good, ever?
The Shanling UA3:
Totally great, I mean there are IEMs out there that go forward to delineate the response here. Typically the UA3 is a slimply bit softer in texture and holding a softer smoother bass, with less digital harshness up on top. And yes it is that way, only this totally works as there is maybe a quality held with-in the IEM that goes forward just to make every combination listenable. As no rain on this parade, either?
The SIMGOT AUDIO DEW4X:
So this is unusual in that I have a SIMGOT Cable, SIMGOT Dongle and SIMGOT IEM! Oh, the pressure of it all. The way these different devices work is the HiBy R3 II has a slightly smoother edges out into the stage, the DEW4X is more forward and offers a boost in clarity in the upper midrange, now with more resolving IEMs this boost can become stark or grainy, but not in this playback. This area is even more forward than the Shangling UA3 and it holds a cleaner more forward, not as soft of bass. Less reverberations than the first two DAC and Dongle, but no stridence or heat here, just clarity at hand. Where the R3 II is set slightly back and the UA3 too is not as forward in details, where the UA3 has a more analogue style of style. This DEW4X is more vivid and clear, big in stage and the notes holding a nice weight, but fast, clear and fast.
The Sony WM1A:
Here, this becomes my favorite way to go. Now the interesting part is the EA1000 goes ahead to proclaim such extra digital quality held in this more expensive device. I mean sure I can hear changes, yet once again the importance of these differences between devices means less. The LM has a wonderful way of smoothing out the rough spots and making everything digestible. The stage is the biggest and there is a tighter bass, and an old fashioned display that somehow reminds me of the Shanling UA3 a little, in that nothing is as forward in positioning as the DEW4X. And truly none of the playbacks here are right or wrong, I mean that’s the best part, in that all are just another variation of great.
Music Tests:
This is by far the easiest section of the review and the most fun, don’t tell me about the labor pains……..just show me the baby. The results here, I mean really all this talk of comparisons and different usage situations are good to get an idea as to what we are working with. Yet none of that matters if the IEM doesn’t playback music well. I have even placed this music section right at the very start of a review to show the importance. Except with the LM there is really a history and there are important concepts like if you have the EW200 should you upgrade? Or if you didn’t like the EA500 is there any worth in getting the next installment as maybe it would be too close to the same? And my answers to those questions are, a smoother AE500, without the peaks, even though you would think there would be seeing a graph. And the EW200 is simply (a less perfect of) an example of what is possible with almost the same tuning but you get better technicalities for the upgrade to the LM.
And so quite simply which would I rather have in my ears to do these music tests, the EW200, the EA500 or the LM?
You know the answer.
KMFDM
Paradise
Megalo 44.1 kHz - 24 bit
Here is the thing, really there is a special pace that somehow includes all the LM does well with a song like this. We can boil the concepts down into basic sound (value concepts) and really that would work. The click-clack of a dialed in low end, thrusting this number into hyperdrive…….the actual movement here. The LM Driver, in fact it’s like a fast powerful motor and you’re shifting gears gaining torque…..there is no letting-up with how this driver performs. To ditch the Redcarmoose Labs signature hyperbole, the basic ideas (musically) are allowed to flourish due to tonal separation. At 00:42 when the kick drum makes its entrance we are reassured that the bass is not too overwhelming. In fact I can spot the drum and bass action set-up in place. It’s the fact that the transients are adding clarity to the movement and showing lesser built IEMs just how it’s done. While the basic lead-in of synth sequencing at 00:29 shows not really out front like with more pricey ideas of playback, there is though a correct timbre held, which is harder to spot as synthesizers are not real instruments, but exist virtually. Even the air blast that is a lead-in to our down-beat at 00:42 doesn’t get awards for being airy or totally out-front, simply reminding us of DD character and the intrinsic drawbacks of such. What makes this song though is somehow by contrast once the beat gets going the previously mentioned synthesizer sequence at 00:29 is then continuing on and locked rhythmically to the bass drum beat and the bass beat. And the guitar in this piece……..the single strangest thing about guitars in music is they are both rhythm instruments and hold musical power to change the tone chords of a song. So in general this ability results in guitars holding a beat and a melody, both at the same time. In fact the guitar in this song does exactly that, side-stepping a dual function to be both. In fact due to such ideas in playback we can either focus in on the guitar tone or choose for the sound rhythm to take on almost subliminal effects of pace held. Where here today the sound of the guitar is on the closer to home positioning and slightly subdued as far as tonal brightness goes. At 01:45 we are presented with a heavy (almost) vocoder effect layered into how vocals are presented. And here the producers chose to allocate such tricks farther out into the outskirts of the stage. Still what makes this song continue to move forward is the handclaps which are interlocked to the beat, the fact that at our menial performance guessed price of LM, somehow ends up just that much more? While not all the details, the LM is moving forward getting a grip on exactly the pace and groove of this number. That while the treble elements are not showcased or even all that much forward into position, they are in-fact accounted for and shown in perfect timbre. It is that magic trick that somehow lets us say to ourselves, that everything is included here in playback?
Hans Zimmer
Inception OST
Old Souls 44.1 kHz - 16 bit
My first attempt at description would have to be piano timbre. The timbre and the reverberations that accompany it. Where this piano is not buried in the slightest but still carries note-weight and a style of smooth demeanor that would be valuable at any price. Of course I have heard this in more detail, but the LM has a way that it makes you forget any other IEMs. At 00:53 the bass drop hits, now as always it is a little different with every IEM I hear. Surprisingly this style of playback is slightly more relaxed than I imagined it to be beforehand. And that is listening to songs for the very first time on an IEM. We always bring with us expectations in how we imagine the song to be fulfilled. Yet there can be a variation which is not wrong in any way, it just is the song being played back. The song will always have this demeanor (of replay) when we choose the same equipment. Much of this probably stems from the style of song being of the slower and romantic side. But beyond that even the first bass drop was slightly subdued in fashion to how I have heard this song on other IEMs. Where sure they (SIMGOT) are focusing on a style of replay that comes off way more expensive than it is with this number, only it may be from the strings and the piano? While sure this song doesn’t get intense until the end. And sure the EA1000 could show us a lift into how the instruments are separated, yet there is nothing wrong with this style of playback, though it isn’t as separated as you might have guessed? I’m thinking in this one case we have an IEM on the darker side, and a song going down that same street? Yet there are at 03:18 super high pitched pianos inside of reverberations that are fully separated and wonderful. All the instruments hold exact timbres. And even though this is a bass number, we are not drowned in bass frequencies, as there really is balance to it all. There are exquisite bass transients which are a welcome gift inside much of this song, and so well done, I’m looking for low-end (sub-bass) distortions and not finding any?
Build:
The difference here is the EA500 had only one set of extra nozzles, yet with the LM we get two. Yep three nozzles all together. The solid metal construction seems like it may in fact add to the way we perceive distortions and vibrations, as the LM is heavy for its size at 11 grams. Using the back-side for a vent and another under the nozzle we are guaranteed a smooth in and out of airflow. I would say it is slightly better than average with noise occlusion. Though maybe it’s the weight of the LM, where even the thick and big 4.4mm aftermarket cable which is relatively quiet with the sound turned off. Though while still fingerprint magnets, it is the nozzle length that pulls on my heart strings here. Yep, perfect size and angle, allowing for me to use my favorite ear-tips, and the lock into the correct back spacer ring at the other end of the nozzle. While heavy in comparison to many IEMs, it is smaller than medium size, but way more important, it is the fact that the LM sits almost 100% on the inside of your ear. The (almost) flush 2Pins are just barely set back, but don’t suffer from QDC plugs like the SIMGOT EM6L. In 10 days I can’t count how many times I changed cables, yet totally smooth sailing with the LM?
Packaging:
Cable:
The included cable is nice, and to reiterate the cable sound testing, the included cable gets us the basic overall sound here, with the smooth and still fairly detailed style of replay. Ergonomics are great, being it stays where you put it and doesn’t fight when asked to coil-up.
Below the SIMGOT AUDIO LC7 4.4mm Cable Experience
Conclusion/Summary:
Funny that the darker chrome on the LM goes one step farther to differentiate itself from the old EA500. The other unique thing is I have never seen this style of chrome plating before, it must be new? While the LM does share tuning style with the EW200 and shows identical bass graphically, there is a psychoacoustic phenomena which occurs to the listener where better defined bass will sound like more bass. I am about 99% sure that is what is going on here. And sure for me that extra bass is sealing the deal making the LM my most favorite SIMGOT yet. So even though graphically it looks to be the same, the results heard are different. That same misunderstanding of the graphs would make you guess the LM’s 2.5kHz to 5.2kHz peaks would surface to make this IEM in particular brighter than the old EA500? When in truth that area is actually heard (opposite) to be smoother thus creating an easier more accessible listen……..for me anyway. Whatever the outcome SIMGOT knows what people want, continuously improving and dialing in these tunes closer to perfection. Myself, I would probably be game for an EA1000 LM edition? Call me a fanatic but I really do seem to hear how this second generation Lithium-Magnesium driver is improving basic replay across multiple levels. If it was possible to add such secret sauce to the EA1000, I’m in. In so many ways this hobby never changes…….meaning in my teens I visited older accomplished audiophiles and heard their systems play. Talk about fanatics……..they were passionate about the replay, yet what was put out by their then $1000.00 system was fast, but anemic, and almost all midrange and treble. You see earlier in audiophile history such musical tone was the only concept of clean pure electronics. And we can still purchase that kind of IEM today, but the LM is not one of them. Now we are rewarded with a big emotional bass, one that reaches slightly farther out into the soundstage than even the EA1000. An emotional experience that seems too good to be true, like it should be costing us more money. I’m at the point now where I can make my reviews as short or as long as I want, no one says a thing. I choose to make this review long because I’m on a mission. A mission to explain the hows and whys of just how good the LM is. Sure it’s not everything, except there is a way about the LM that brings about a tangible musicality to everything it touches? Every DAP/Amp, every cable. With that being said there is a good chance the support equipment you currently own will suffice to bring about the magic that I found, I just don’t see how it couldn’t happen, unless you are one of those old fashioned audiophiles, that had the bass tones turned down, then you wouldn’t be reading this far down in the first place. The singular trick here that SIMGOT AUDIO has accomplished has been to introduce an LM DD that somehow bypasses the old idea of what DD can do as far as separation and stage. While still acquiring the correct timbre DDs are known for, SIMGOT has upped the size of playback and in-turn created one of the most exciting IEMs of the year, won’t you join in the fun?
I prefer 4.4 too, I have Artti wave A8 cable with replaceable plugs ( I buy them for ea500 lm). I have EW200 too, for me on 3.5 plays poor.
I wonder if this cable
Trn t2 pro 16 https://a.aliexpress.com/_EjHhiLN
Pros: Super smooth removing the 5kHz peak and putting in extra bass from the original 5T
Built 100% from aluminum and 5-axis CNC routed into a universal-custom fit IEM
Fully accessorized unboxing experience, tweezers, brush, storage case, 6 extra filters etc, etc
Fully balanced tone
Incredible cable, being ergonomic and beautiful, made of 28 strands of 0.06mm enameled copper and 54 strands of 0.05mm silver plated copper
Goes with every Dongle and DAP to perform a balanced, even, complete and correct playback
Cons: More musical than analytical
Could be perceived as lacking treble detail for some
The TINHIFI T5S
Now this review will be arranged slightly backwards. Common we all know who TINHIFI is, at least most of us do. And sure just like all the reviews I’m going to talk about the original T5 released in early May of 2021. And you know when Linsoul contacted me about reviewing this new edition of the T5, the T5S….I was not really sure I wanted to review it. Yep, I gave the TINHIFI T5 flagship IEM a horrible score of 3 stars when I reviewed it! And if you do know anything about TINHIFI they kinda just keep putting out IEM after IEM, when at times there are not a whole lot of changes. But this review will actually start at the very end……first. Why? Well that’s what we are all here for end results. And sure I have already written a big portion of this review……………as normal reviewers do……..they listen then write a little, make some judgments and make a few discoveries, then write about it some more. But early on I knew the T5S was my favorite TIN so far. I have heard 12 TINHIFI IEMs and reviewed 10 of them up to this point. And that is still not covering the TinAudeo T2, the most famous TIN of them all. But here is a different focus, Yep. This is TIN’s TOTL Flagship IEM and priced at a whopping $129.99. Not exactly spare change or pocket lint! And that is what was so sad about the original T5, it had a wicked 5kHz peak as well as no bass, which didn’t balanced out the 5kHz peak at all. So that’s what I’m so surprised with this new direction now. Also normally I don’t spend time researching other on-line reviews, but I did this time. The reason being is that this T5S is a big deal to me, that and I really wanted to know (I was curious) as to how it was perceived. Now sure everyone has their own pet signatures and values to judge IEMs, and I read that some reviewers have compared this to the TINHIFI C3. But I have to disagree as the T3 is only a $63.99 IEM………maybe it graphs a little close to the T5S, but we are living in a whole new town now…….I feel. In fact I don’t even want to revisit my T3 review…….it simply doesn’t matter……as if the T3 was close to what we have here I would know about it and remember such qualities.
What new qualities?
Well that’s what the very beginning of this review is about. It’s about a love affair and a usability that simply makes the T5S incredibly special. What I did was used a few cables including the included cable, but since the included cable is only 3.5mm I had to try out the 4.4mm SIMGOT AUDIO LC7 modular cable, then I had to try out the NiceHCK Cyan cable. I also in the end of the review process tried the T5S with a number of different sources and music. You still may be wondering when I am going to start this darn review? I will give you a clue as to Redcarmoose’s reviews; when I like something I talk about it a lot. When I don’t like something I try and keep it relatively short………and this review is long, longer than normal. You see while the T5S is not perfect……..they did so many things right, and the more use time I had with the T5S the more I perceive the deficits reduced?
I used the SIMGOT Dongle, the DEW4X and it was OK, I used the Shanling UA3 Dongle and again it was OK. I used the HiBy R3 II and again it was fine………….showing just how well rounded of a performer the TINHIFI T5S was…….but then it dawned on me. I want to make the vocals stand out just a tad more…….also I want to increase the soundstage to slightly bigger………so the Sony WM1A was the obvious choice. Such temperament would be from a maximized midrange and the soundstage size to back it up. I went to usual wide-bore ear-tips and they fit perfect. I will later get into the form and size, fit and feel as it is fully above normal here.
Left to right: WM1A, HiBy R3 II, Shangling UA3 and SIMGOT AUDIO DEW4X
So we can keep track of equipment, here is one example of playback...as follows.
I know it doesn’t look like much, but this was the best I ever heard the T5S. At least one way to interpret them?
What I’m trying to say is the T5S is very well rounded. Yep, so well rounded that really changing playback combinations of different DAPs or Dongles and cables were all a simple slightly different version of the same T5S sound in the end. Some my think this may mean the T5S is not as transparent as some IEMs, and I would agree. Yet that is not all a bad thing in the end? I went looking for trouble………..with that said a had a few cables, a few Dongles and a few DAPs and the T5S is what I would call simply friendly, yep it got along with everything. I really tried to trip-it-up but got nowhere in the end………..basically the T5S has a sound and a character that is unmovable. And actually at times that can be a good thing.
The TINHIFI T5S history: The original T5 was the very first TINHIFI I ever heard. It came out in May 0f 2021, and while I reviewed it….I wasn’t very nice. Nope, I gave it a solid 3 out of 5 stars. Many had an issue with the 5kHz peak, my main thing was that it didn’t have much bass? While I was just being honest, Linsoul didn’t send me any more IEMs for awhile? But then they did……and so far I have reviewed……..
The TINHIFI T5 May 7th, 2021
The TINHIFI T1S April 26th, 2022
The TINHIFI Giant Panda Planar April 28th, 2022
The TINHIFI Tin Buds TWS June 24th, 2022
The TINHIFI T2 DLC October 20th, 2022
The TINHIFI C2 January 10th, 2023
The TINHIFI T4 PLUS January 11th, 2023
The TINHIFI C3 January 20th, 2023
The TINHIFI C5 April 20th, 2023 The TINHIFI C0 ELF October 17th, 2023
In the works The TINHIFI T2MKII, but still there are a lot of TinAudio and TINHIFI creations not listed, that’s just how many they have made!
And this TINHIFI T5S “Mars” you are reading about today. I know for a fact that the original T2 was the most successful IEM for TINHIFI, then called TinAudio. This was way back in 2017, and I know it was a big deal because I have read the reviews, and people still talk about it. The original T2 was $49.90 USD and in part was revolutionary in how it fit, up till then nothing was ever made that seemed to have the form of the T2. Now I was into IEMs in 2017, but somehow missed-out getting a pair. Though even to this day they do spike my curiosity, so much so that I would still like to hear them.
The T5S “Mars” is a welcome change. The MARS is the very best TINHI I have ever heard? The best!
It is not at all like the original T5?
The TINHIFI T5S:
Music Tests:
Here I go and make the run of albums I am already familiar with to try and understand where the good points and bad points are. This music is simply contains an understanding of replay that I have become close with. Now no one truly knows (the character of replay)……….what is factual or distorted, real or not real. As the moment in the recording studio has been lost forever in time, so it’s anyones guess what is the true tone of playback here. Still there are considered even, correct and complete styles of replay which go both to entertain and hold a value which many agree upon. Often of course there are many different ideas as to how the bass is presented, with some listeners arguing that the bass is too much, or too little. The same could be said about the midrange, as some like their vocals forward, and some like a more recessed playback. Same goes for treble as some like piercing highs that hold much more (than average) detail. But beyond that there is also the actual character inside the instruments or voice that at times will hold a metallic slant, or be of a slower transient response. TINHIFI has given us a very easy to understand character, and as such it flows readily accessible as to exactly how it is.
How is it?
With-in that though there can be small places where we are surprised, yet this tune is very even and correct……..but it walks a line. As such the line could very well be on the boarder of boring or soupy? As such there is still a very prominent vocal forwardness that normally helps push this style of signature into a more even and understood stature. As such in so many ways I look at TINHIFI for providing gifts here, in that they went ahead and added extra bass from the old original T5, also the fine-tuned the T5’s 5kHz peak into a way more (to me) user friendly IEM. I can only speak for myself, but really this is a concept of balance, where I gave the original TOTL TINHIFI T5 a score of 3 due to lacking bass. Yet what occurred there too was an excessive 5kHz peak that was even more noticeable due to the bass balance left out. Sorry but we could actually make a joke that the original T5 was named after the exuberant 5kHz peak!
So here we go and use different tracks to find-out just what they have now come-up with.
Hans Zimmer
Inception OST
Old Souls 44.1 kHz - 16 bit
Probably the greatest gift here is simple and pure full-range DD timbre. Right off the piano at 00:23 show this stance of well done timbre. There is a first piano note starting off at the 00:08 mark, but it’s too far back in the mix to show us much. The next feature to grab our attention is the fact that the stage actually holds entertaining separation at hand. This is actually a really big deal for this reviewer and will make me think “WOW” in thoughts while hearing the music. Honestly when the 00:54 mark is reached the bass drop is on the best side of wonderful. I’m using the WM1A with MrWalkman’s firmware and the SIMGOT AUDIO LC7 cable and my regular wide-bore ear-tips. As such the stage is maximized, but also there is a beautiful smooth separation and deep frequency detail held at our outskirts of hearing. In fact with-in the genius of Hans Zimmer he toped off the bass with a piano note which arrives simultaneously. I mean sure this has been a song to test home theater since it came out, but somehow it is also one of the best songs to use to understand IEMs? There are three main elements at this point, right before the vocal snippet at 00:25. Two different pianos, the bass and what sounds to me like a synth-horn, or the sample of a horn, as it holds attributes of a horn at times. While technically this number owns a style of middle-ground in playback. Where the piano and synth elements were probably just surfacing enough for entertainment and while is bass drops were not the most detailed I have heard, they got the correct bass-tone down. Still I challenge anyone to here this exact set-up on this song and not be thrilled at the over-all results. Really the T5S (it seems) was right in its element here, providing a well done example of a modern movie OST.
Gdanian
Induction
Shild Emitter (feat. Tineidae) 44.1 kHz - 24 bit
Here while not as separated as I’ve heard, the playback is still (somewhat) well layered and big. Probably the best feature here is the deep lows which we really can feel, and not just emotionally but somehow physically? Still this is one song that I remember being bigger than it is now? Where really this particular song is maybe not the very best to showcase what the T5S is about, as it is missing both stage and layering giving a hint as to possibly its inadequacies? I don’t know after a couple attempts this music here is not holding the involvement usually found, and I don’t know why?
DCD
Anastasis
Kiko 44.1 kHz - 24 bit
At the 05:15 mark we can take note of well done vocals, while not vocal specialist IEMs, the vocals are front and center and not hiding by any means. This song also puts forth a magic coming from the pace contained with the T5S, a pace that is nether fast or slow but waits for each and every instrument to gain it’s detail inside of the rhythm. Though funny as when vocals take place, somehow the instruments go to sit back a smidge making me wonder if it is the recording or the IEMs doing this?
DCD
Anastasis
All In Good Time 44.1 kHz - 24 bit
This is a song about male vocals really. But it is also a song about bass notes and the clarity and performance of them. Then the relation to each other as we experience playback at the same time. Where in this case the male vocal playback reaches the outskirts of the stage, and maybe never heard better is the stage we are so endlessly bragging about. The fact that there are strings and drums.............and many subtle and romantic ways this particular song comes to life. But none of that would matter if the striking vocals were buried or at loss for effect. Sure I’ve heard this with more separation and slightly more forwardness, yet that was with Hybrids, and with Hybrids come other unwanted issues. Especially the Hybrid issues with timbre, as that is one thing that is the last of our worries here. At 04:35 there is a break in the vocals and an instrumental ornamentation and in-fact the song continues till 06:37 with not a sound in sight of vocals, yet that is where the stage comes in and again no where better to show the increased stage size in width as well as in being high enough and deep front to back, where this particular feature can be rare in single full-range DD playback. Going back to the start again there is a recheck and a confirmation of male vocals being both front and center and vivid enough to make these vocal IEMs if you really needed them to be. While not being the very best at everything, the T5S seems to go about its day simply doing it all very well for the money spent.
Build:
Such a pleasure here. Really I can hold these in my hands and become spellbound in just at what extent they are fabricated. I see a bunch of IEMs per year, yet nothing exactly like this here. To start with they are all 5-axis CNC routed aluminum and hold the most exquisite custom universal form factor, simply blending with your ear anatomy. At 7 grams a piece they are not heavy or too low-weight, but show as perfect. The gold nozzle holds even my preferred ear-tips on just right. Showing two vents, as one is near the nozzle and one off the side as seen in photos here. As such there are flush two-pins and offer simple yet complete ease of use.
In my experience this is also the best built and best fitting TINHIFI IEM……..a work of art, really?
Well-roundedness:
This is the crazy part, and so crazy I simply had to keep trying different combinations of stuff over and over again. With me trying the Sony WM1A, the HiBy R3 II, the Shanling UA3 and the SIMGOT AUDIO DEW4X…….after my full burn-in cycle of 100 hours all pieces of equipment did have slight their own individual sound, but all of it was great and held special musicality. This pretty much guarantees if you're down for this style of signature, that you will like the results. And the other crazy part was I kept thinking in order for the T5S to do this it has to reduce detail or something, like make everything boring or lackluster, but no, the details are still what I would consider mid-quality, which goes directly with the price.
Burn-in:
I know this is a controversial subject. Yet in my early pre-burn-in attempts, the T5S came off slightly boring in playback. I don’t know why but the burn-in of 100 hrs seemed to loosen-up the agility and move the vocals into a slightly more forward position. Obviously our health affects hearing, our mood etc, etc. Yet truly after the process the T5S seemed slightly more mature in playback and offered a tad of better smoothness. The only reason I’m reporting this here, is if you buy a pair, simply wait till burn-in takes place to fully judge what the TINHIFI T5S is truly about. It worked for me?
Phone use:
Here from the standard 3.5mm output the T5S becomes very middle of the road tonally. Less vivid than audiophile DAP playback, but still smooth and not showcasing any unwanted peaks. As such there is an easygoing way about it, and in many ways this is probably the basic personality of the IEM, with less stage separation and a more compact tonal response? As sure it will gain ground in fidelity upon offering a more sophisticated signal, yet there is nothing to fault in this utilitarian capacity.
The Cable:
The included cable is the nicest I have ever come across from TINHIFI, they aren’t messing around here. And you can guess the 3.5mm included cable was also very close to the 4.4mm playback from a balanced source…..you just can’t hurt the T5S playback. I mean sure the 4.4mm balanced playback was slightly more vivid and separated, except the tone was the same, pretty much the same as 3.5mm. This cable is 28 strands of 0.06mm enameled copper and 54 strands of 0.05mm silver plated copper……..and you can see the proof in the photos. What you can’t see in the photographs is how ergonomic and flexible in daily use the cable becomes. The simple way it bends and adapts to any position in use and the total non-microphonic properties it holds, truly one of my most favorite cables so far this year!
^Are you kidding me?^
Box opening experience:
You get a pair of tweezers for changing screens, as if you do a visual, the screens themselves do have unusually small holes, so you have 6 replacements filters. It also comes with a deluxe carrying case, a brush and 6 pairs of silicone ear-tips, and 1 pair of foam ear-tips on the IEM.
Conclusion:
This is my favorite TIN so far. I mean this is what many of us hoped for. We wondered if TIN would ever get the message, that they would work on tuning to arrive at a warmer and not so peaky experience. And that is what they have gifted us. What came along for the ride is an open and generous soundstage, a beautiful construction, and a well-rounded demeanor. Let’s be grounded here, sure it sounds like a $129.99 IEM. If you totally get with what the signature is doing, it could be your daily driver. I mean it is built like a daily driver, with being so well-rounded you can skip from Rock, to Classical to Vocal music and somehow find correct playback…….this to me is quite unusual? And with-in this correct playback the music is interesting and fun…….the music has just the right amount of soul. Just the right amount of pizzaz to make everything work.
Synergy: The T5S plays well off every source used and really better than well, as the T5S seems to wildly find synergy everywhere it goes. You will note different stage positioning and tonal character differences from each player, yet nothing is ever wrong, or off sounding?
Value:
There could be some folks who would want more resolution, and what doubles-up to send this concept home is the TINHIFI T5S has a great driver, but it falls short on a sparkly treble. In turn those treble details and treble stage are probably average (or below average) for the price. Yet for those in need of more detail up-top this could be an issue and decrease the intrinsic sound value? Still to me I’m more about midrange separation and hold the way the T5S does vocals as way more important to the overall value judgment. You see if those vocals are forward enough and bright enough, I can live with the style of treble and actually learn to enjoy the total character stance, finding very little issues at all? Really that’s where I am at, and have no problem recommending the T5S to the public at large. TINHIFI has moved to finally tune these IEMs fun and user friendly, won’t you join in the party?
TINHIFI T5S HIGH-DEFINITION BALANCED HI-FI IEMS
Exquisite Design with Innovative Features
Unparalleled Comfort and Audio Experience
Precision-Crafted Lightweight Aluminum Build
Next-Gen Ultra-linear Diaphragm
Excellent HiFi Audio Adjustment for a Broad Soundstage
Pros: 2 HD microphones with ENC noise canceling
Game mode utilizing LLR (Lighting Gaming Latency) can be as low as 60 milliseconds
Up to 2 hours playback from a 10 minute quick-charge when in a bind
Up to 7 hours playback from a full-charge
Accessing case charges enables up to 28 hours playback
10mm DLC Diaphragm provides authoritative bass action, more than Apple AirPods Gen 2
3 EQ modes of Pop, HIFI and Rock
A second sturdy solid metal clamshell case with spring opening
Priced at $39.99
Comes in a choice of three colors
Excellent wide-bore tips in four sizes
Cons: Limited power which affects volume used
A smooth yet not exactly even tune, or completely correct
Charging case only accommodates included tips (inside) when mounted on IEM, no aftermarket tips
Rose Technics Ceramics
HIFI TWS Bluetooth Earbuds True Wireless Earphone
Are they for you?
Rose Technics Ceramics
2 HD microphones with ENC noise canceling
Game mode utilizing LLR (Lighting Gaming Latency) can be as low as 60 milliseconds
Up to 2 hours playback from a 10 minute quick-charge when in a bind
Up to 7 hours playback from a full-charge
Accessing case charges enables up to 28 hours playback
10mm DLC Diaphragm
3 EQ modes of Pop, HIFI and Rock
Released on December 18th, 2023 the Rose Technics Ceramics offers the consumer a range of advantages and qualities. Truly I’m not into TWS IEMs all that much, and in fact don’t know why they sent me these, but I am into headphones so? I don’t want to come-off as any kind of expert here? A while back Linsoul sent me the incredible TINHIFI Tin Buds 3, and even though they are sold out on Linsoul’s main site, they probably are a good alternative to what the Ceramics are if you want to spend 2X the money. Meaning I’m guessing you can still find them around. Yep, just checked and they are still for sale at Linsoul’s Amazon Store. Also in comparison to Apple AirPods (2nd Generation) the Ceramics are way less money and while not being exactly tuned the same way, the Ceramics are more of a regular IEM fit experience. More on the difference between the two in the comparison section.
Comparisons:
Here we delve into a few TWS IEMs, while not brand-new devices, they are simply what I have to compare. All of these features and sound quality have to be somehow quantified. Why, well one reason different from regular IEMs is they all have internal batteries. As such these batteries have only a limited amount of charges, before the playback time starts to be compromised, until theoretically they cease working. Now to be honest I have used a TWS at the gym now 4 days a week for 2 hours a day and still don't have an issue, even starting to use the pair in October of 2022? And I don’t even know the age of the Apple AirPods I have, they seem to still work fine, yet I don’t ask that much of them? It could be feasible that super expensive TWS IEMs have replaceable batteries, because if you could replace the batteries they could last as long as regular IEMs. Typically though TWS is an attractive option due to convenience of use. No wires and really no source if your phone or DAP is put away and you don’t need to touch it. With that said it may be that a person doesn’t find value in spending more than $80.00 as in reality these things are disposable IEMs in the end. Yet the Noble Audio FoKus Prestige is $599.00……so expensive TWS is out there.
Apple AirPods (2nd Generation)
Probably the biggest thing for me is the Ceramics ear-tips. They come with 4 sets of wide-bore ear-tips. Now these are not any old ear-tips…nope…they are my favorite ear-tip style of all time and I use them in 90% of my reviews. The only difference here is they have purple centers……but to me I would buy the Ceramics alone just to get these ear-tips.
AirPods:
Yet to many they may find this midrange centric playback of the Air-pods more clear and even more (tonally) balanced. Where the AirPods once lodged in place create an airtight fit to utilize bass frequencies, yet this forward stance also can come-off slightly too much for some listeners, having better luck with the AirPods at a more moderate volume. And yes the Ceramics are laid back and warmer offering a style of relaxation yet many may have an issue with the possible maximum potential volume levels from the Ceramics. Yep, they only get so loud. I mean sure Apple AirPods are not everything, except they get way louder than the Ceramics. And that’s the sad part, as the Ceramics have this tone stance that begs for volume? It is like you're eating at this restaurant where the portions are way too small………more, we don’t care about politeness, we want grub!
TINHIFI Tin Buds 3:
Coming in at $89.52 there is a noticeable clarity put forth as a difference to the Rose Ceramics. And sure they are 2X the money, except what do you get? You simply get a bigger stage and even a form of better tonal balanced sound. Yes they are more money but if they are within your budget, they may be the better choice? This starts with just how they fit inside your ear, the outside sound occlusion, the deeper fit with more IEM structure farther inside your ear. Such fit results from a semi-custom design which simply stays in place better. Better separation and itemization in the sound field, more defined bass, better imaging of both midrange and treble elements….etc, etc.
Yes, it came out at the end of July 2022, but the TINHIFI Tin Buds 3 still hold a very special quality. Read my review if you want to know more.
Construction:
The Ceramics hold what looks like a three piece construction and a unique clear plastic nozzle. Though one surprising thing about the choice of ear-tips is they are on the shallowest size, almost you can get. Now they fit me OK, and this exact tip I use all the time. Yet due to the wideness of the bore, and shallow donut shape they only go in (the ear) so far. What this means in the end is that you are almost forced to use this style of ear-tip, the reason being is that aftermarket narrow bore (longer) ear-tips don’t fit in the charge case. Literally the case has been designed with these tips, or very close to the shape of these ear-tips only. As such the IEM sits slightly farther back due to the circumference of the wide-bore ear-tip. Sure you can change ear-tips once you take the IEMs out of the case, but that would probably only be convenient at home? Note the picture when the Ceramics were first taken out of their change-case, the blue plastic tape which keeps the Ceramics from taking a charge, you obviously need to remove it before using.
In use:
The good news is general use with the BlueTooth is fairly straightforward and fluid. In fact if by chance you go out of range the IEM will drop out then reconnect upon reaching the range of your device. Though I did find the signal acceptance was limited to the room I was in, meaning it’s Bluetooth wouldn't work traveling behind walls, like other more powerful BlueTooth IEMs would.
Different is the complete 12 page guide (all in English Language) that is fully explanatory of use.
Weighting in at just 4 grams each the Ceramics are easy to stay in place. Watching a news cast on YouTube then switching to another new reporter and then another, lip-synch was surprisingly good with the latency being maybe the best I have ever seen, showing about an 1/8th to a 1/4 second delay at most. Probably more towards the 1/8th of a second. The words they spoke were in-synch while still spoken from their mouth, which was something that you could start to not notice at all.
The EQ settings:
As you can see each EQ found the majority of changes behind the Pinna gain area. Maybe due to the volume issue or maybe something else, really the differences were less perceived than the graph shows.
Sound:
As such we are gifted with a V shaped signature allowing a peak at 3.5kHz and then another at 5kHz. As such the bass additive goes to both increase the overall girth of the stage and ends up a very complementary opposite signature to the Apple AirPods 2. Remember though due to the fit of the Apple AirPods 2 most people will perceive a wildly different bass response. So here we kind of welcome the smoothness and added warmth generated. I spent about 6 hours basically listening to various YouTube videos and came out of the experience thinking this tuning (while strange) kinda worked. Still in comparison to Apple EarPods, way more laidback and forgiving. Still after a few hours my mind somehow started to adjust to this tuning, which while made music sound relatively OK, was a much better tune for talking and sound effects.
Packaging:
As special, note the box once opened can never be closed to look un-opened. Basically you are guaranteed a fresh new product that could never be put back to look like new.
Conclusion:
The sound was simply utilitarian in nature, not bright, not really foggy (OK, maybe a little) just slighly subdued. As such really these get points for background music and listening to news casts primarily. I mean sure they are more forgiving than Apple AirPods, and own a style of relax-ability, but you pay for that with a style of non-involvement where the music in places becomes almost missing dynamics, yet does it offer some dynamics in areas? Due to the laid-back treble even lead guitar takes on a smoother than normal tone, more acceptable maybe late at night when you want a pair of IEMs to simply get the job done and not offer any sonic thrills? As such, yes they do all genres, yet blend the same signature into every song, like making every song sound almost the same, with no introduction of pizzaz? Simply going through with the motions here. Really for the money you’re paying for the BlueTooth, as there are more wired IEMs in the audiophile realm that offer way better sound. Yet, if you have to have BlueTooth, then these are OK, I have never reviewed a BlueTooth set in this specific price category? With that said they are built well and offer solid dependable sound for what you get.
Pros: Silky smooth with the ability to differentiate between sources and cables still
One of the singularly best IEMs I've ever laid hands on
Milky smooth cohesiveness across all three frequency bands
1 x 6mm custom dynamic driver for High frequency
1 x 8mm graphene diaphragm for Medium frequency
2 x 10mm composite diaphragm for Low frequency
Super blended smooth correct timbre playback all day long with every style of music
Literally perfect timbre across all 4 drivers
Epic reverberations
Epic cohesiveness
A one-of-a-kind IEM
Supreme note-weight
Cons: Can be finicky as to tone style of source or power of source, yet when overcome........happy sailing
Can at times showcase mid-bass excesses resulting in a lack of detail/pace, though once mentally acclimated this goes away
Minus 1/2 star due to being difficult to source match at times
Stage with wrong source can seem two-dimensional
Bass can become sloppy with low a power source or wrong style of source tone (either-or)
Treble and midrange positioning and tone can be both affected by source power or style of source tone (either-or)
The Quattro gets better playback at a certain volume level
Penon Quattro Review Redcarmoose Labs January 28th, 2024
Penon
If you don’t know who Penon is they are the neighborhood audio retailer who specializes in personal audio gear. They got their start retailers of other makers gear first, and made cables. Then they started to make IEMs, and Dongles etc, etc. Really they are probably most known now for their IEMs and cables, as well as superior service from their retail site.
Every year Penon gets bigger and bigger, yet they seem to never forget where they came from, always being humble and never pulling-off the shenanigans other retailers do. No long pre orders which are canceled, no confusion about what you are actually buying. They offer a great warranty on their IEMs and offer the best customer support in the business. Of course hopefully you will never need customer support after a purchase, but if you ever do they will back you up, and not let you down. Always remembering their roots and beginnings as the common working man, and it shows.
This review is too long and I’m too lazy to list everything Penon (or their sister company) ISN makes. But since May of 2022 I have reviewed 63 Penon Store retail products, and many (of them) full-fledged Penon/ISN creations. If you're still curious about all they make, just look at my list of reviews, as I have reviewed almost everything they make.
With the above stated I have never come upon an IEM exactly like the Quattro.
The Penon Quattro:
Such an IEM goes to further promote the Penon House sound. A House Sound is like a rock band's sound. Yep, you go ahead and purchase the albums/CDs and you can hear a similarity to past purchases. Only once in a while they experiment with new styles of replay to almost reinvent who the band is. As such you hear a little of the old band’s sound mixed with whatever new experiment the have come-up with to keep things fresh and innovative. Is the Quattro IEM like that, a variation of the Penon sound?
Yes and no!
What I’m trying to say is that the good old Penon House Sound is inside the Quattro, but I have never come upon an IEM that was so sensitive to amplification and cables. Yep, at first after burn-in I thought really only amplification was important? Yet as always it is synergy as to how you find the tone from everything in the signal chain. Now most of us reading this review already know how this signal chain set-up works, and what to expect. But no………..not here you don’t. There is a character of the Quattro that can be altered to either find romance or be left out in the cold.
I wish I could review the Penon Quattro to be completely well rounded, and if set up right it is, being it plays all genres as such. But getting there to where the Quattro sounds vibrant can be a little of a challenge.
Design and build ideas:
I can guess the Serial the 3 DD driver IEM was the inspiration for the Quattro? Penon makes only two pure multi DD IEMs. At just $299.00 the Serial could be considered Penon’s greatest achievement.
The 3 driver Serial’s greatest accomplishment is correct timbre. IMO
6mm pu diaphragm for high frequency
8mm titanium-plated for middle frequency 10mm biological diaphragm for low frequency
So imagine with me just how different the Serial is from most IEMs. Most IEMs use either a Hybrid configuration to use a DD for bass and balanced armatures for the rest. Then there are Hybrids that also go and mix a number of methodologies to arrive at an overall tone, showing the midrange and treble to offer separation from a differently chosen driver set-up. In the case of Penon we are using smaller dynamic diaphragms X2 to generate a higher pitched sound, in addition to the bass diaphragms. Then of course there are Planar IEMs and single full-range dynamic driver IEMs. But the reason to use multi-dynamics is to create a separation of sound constituents apart from the single full-range DD sound........to create a more wide-open stage. To accentuate a bigger and more technically advanced over-all sound by allowing multiple DDs to do the same work as maybe BAs. Yep to have a midrange DD instead of a BA, and another treble DD instead of a BA. All this is attempting to overcome the slight BA timbre that is often put in place by BA tuning or BA driver construction, but never ever fully eliminated. Though here it is, yep gone is the Planar timbre, gone is any BA timbre because no BAs have been utilized.
Quattro:
Driver：4 Dynamic driver
1 x 6mm custom dynamic driver for High frequency
1 x 8mm graphene diaphragm for Medium frequency 2 x 10mm composite diaphragm for Low frequency
So now the addition is totally new driver make-ups and a dual 10mm composite DD for bass. The difference from regular DDs is the placement being horizontally opposed. While like the Serial we still have a passive 3 way crossover and 3 sound tubes. The Serial and Quattro both have similar build values and even though they are still constructed close to the same, there are very different outcomes.
Amplifiers:
The Sony TA-ZH1ES and Sony WM1Z DAP: My joy was finding a place to call home. Some of the very the best IEM replay I have ever heard in my life regardless of cost. Why…………timbre and imaging.
Timbre: Audio replay is very dependent on driver character to relay the sounds in the recording. We are never fully guaranteed to have correct timbre even in the recording, but the documentation of correct timbre is often in the recording only to be skewed by the IEM into a form of unnatural playback. Here we are almost guaranteed correct timbre through the use of advanced DD design.
Imaging: This is also a critical subject inside the Quattro review. Why? Because every amplifier I used produced different styles of imaging, even every cable I tried produced different styles of imaging. Now there is a place where timbre and imaging come together. This is simply how we hear instruments or vocals separated inside the stage. This imaging is often mainly from transients. So imagine for a moment this imaging which can (especially with vocals) find itself both tone wise being too far back in the mix due to placement inside the stage, and physically put inside the correct playback position due to imaging. Yes, they are related, even though as reviewers we often try to separate the concepts.
That said the Penon Totem cable positioned the Quattro vocals and upper-end separation into an elaborate spacial clued carnival into which everything was totally big and full-size into the stage with the desktop Sony TA-ZH1ES. Now here is the mind-bender………….
If the Quattro needed midrange or treble tone brightness to wake-up the Sony TA-ZH1ES would not be my first choice. In fact it is the darkest amplifier I own. Darker than the Sony WM1A, darker than the Sony WM1Z, darker than the Penon Tail Dongle etc….etc.
So what do we learn from this?
The TA-ZH1ES has the best dampening factor, because it's a desktop and fairly powerful. Now the confusing thing is that there is also better spacial realization from combining the Totem Flagship cable with the TA-ZH1ES and Quattro. Normally something like the Totem Cable goes better with BAs, yet once more we are going to a place of surreal results? Now this is not to say that you have to use the Quattro with a desktop, no in fact I used the Penon Tail Dongle to get great results, it is just that they were not quite as good as with the TA-ZH1ES or the WM1Z Sony DAP. What this all means is you just have to play around with gear. And don’t go by any preconceived notions as to what the results will be. Meaning never have I had the Penon Solar be so very different from the Totem cable? Where the midrange with the Totem Cable and Quattro was bright and separated, the Solar was noticeably warmer right at the vocal placement with the TA-ZH1ES amp. Again all this means is you need to play around with cables to reach a level of replay. You will need to rotate in different amplifiers to find a level of replay and finally you will need to try different combinations of amplifiers and cables to reach synergy here.
These results in consequence mean there are many levels of satisfaction which will take place. And this satisfaction is not readily noticed to be always correct. Meaning it takes an hour of listening to know if you're out of the woods yet. It takes playing through multiple genres to know if you are out of the dark.
Left to right:
The Sony WM1A, the HiBy R3 II, the Shanling UA3 and the SIMGOT AUDIO DEW4X
The Dark:
This is simply a term where in listening there can be a number of realizations which go to spoil the party. It could be that the wrong combination of Amp/Cable/Ear-tips or volume level gets a smoothness which starts to become boring due to lack of separation or lack of timbre realization inside the stage. This is not exactly the Quattro’s fault, it is just delineating the fact that there are two sides to the Quattro. And I will repeat it is not just power, though power did do much of the change. So it is the power quality of amperage and the tone. Mixed with the style of ear-tips you use and the cable tone. Plus there are multiple levels of success. Meaning I didn’t realize for multiple days just how good the Quattro was. There was the 200 hours of burn-in and finally discovering the TA-ZH1ES desktop, then finally folding in the Totem cable which really showed me the light. While at other times multiple combinations were adequate, sometimes more adequate, sometimes less, and the worst………………
The Sony WM1A:
Yep, this was how I first got a clue that it wasn’t amplifier tone which was the issue. Because the WM1A has the brightest midrange and widest stage of anything I own. Trying the WM1A with the Quattro out of the box showed very much this flat-field phenomena of soundstage. Yet also after burn-in with the Sony WM1A 200 hours did nothing much but add smoothness. And strangely the enhanced physicality of the Sony WM1Z DAP was the cat’s meow! So it was the mid centric stance of the WM1A and not just the lack of power that made the Quattro lackadaisical. What I can surmise is it is a combination of many things, including the listeners hearing and physical attributes of their ear-canal.
The Shanling UA3 Dongle
The Simgot DEW4X Dongle
The HiBy R3II DAP The Penon Dongle
The Penon Tail Dongle above
With trying the different Dongles it has to be said that often they provided way more power than the Sony DAPs yet the confusing thing was the Sony WM1Z has the same power output as the 1A, yet the more robust playback was in-fact what the Quattro craved. Get it more stark contrasts in playback and you will be greeted with a style of reality. I mean somehow the HiBy with its M signature was less involvement than the DEW4, Penon Tail or Shanling UA3. Now my next adventure was trying different cables to use with the Quattro and the different Dongles. Yet those results were of even smaller consequence so no need to list them, except to say these differences at times seem small but it is just that, small changes in which there can be found greater separation and vocal tone being projected out to form a better and more involving playback experience. Most of this had to do with long listening sessions where at first all seemed well, but after a half hour there were elements of boredom arriving, even taking a drink or two didn’t seem to add any emotional involvement or boost the perception of clarity or dynamics. It was truly finding the right source and staying with that source that added success in the end.
The Sony WM1Z, one of the very best sources used today.
Cable changes:
All results with the Sony TA desktop amplifier.
Penon Totem: $699.00
Here was the best of the best. Fully itemized and flowing inside of the stage of a 3D generation. The contrasts sonically as well as positionally were a total thrill. Such instrumentation and vocal separation were some of the very best timbres and decay I have ever heard in my life…….truly what the Quattro was about. I could go on, but just realize this would have to be heard to be totally understood. There are parts of this playback that can’t be put into words. Simply totally natural and getting emotional involvement due to the stage and fireworks inside that stage. The reverberations and tonality were the stuff of dreams. The stage was not only wide, but big front to back and top to bottom, way bigger than I have ever heard the Quattro become. Heaven! There was a spicy timbre to the cymbals which were found generated way farther out as well as an aquarium effect to the whole playback, that made me never want anything else………….ever in my life.
Penon ASOS: $169.00
While noticeable in doing what its character is. Meaning there is a reality to the Quattro that somehow lets cable characters totally come though? Now while not as great on the forward stage and outer stage as the Totem, we still have a personality that totally works here. Probably the transparency of the ASOS, as there was a fluid and open soundstage as well as a defined bass area apart from the involved midrange. The ASOS was exactly as I describe it in my review, maybe more so, if that makes any sense? Lol
It's maybe the added nice stage girth and authority that is so special with the ASOS?
ISN GC4: $179.00
Well another cable that somehow ultimately becomes itself here. A giant lower stage with increased girth of drum elements, plus a gold reinforcement of physicality and density to things. While there was a slight repositioning of elements inside the stage as not as wide-open as the ASOS, it was the thicker and closer to home physicality which still made this totally work. I still can’t get over the below the belt action here. The size of playback and girth of performance? The sheer manliness of the ISN GC4?
All joking aside, there was a finite personality to the GC4 in that it was 100% itself with stage positioning and the cable proved it’s worth, when this was one cable that sounds way bigger than it’s size would have you guess, also strangely it wasn’t dark at all? I mean there were elements of a dark character except also a detailed edge that just let you know where your money went.
ISN CS02: $69.90
This was the only cable that didn’t work today, fortifying the fact that I’m not totally crazy, just slightly deranged. Where once again the Penon Quattro full-filled its role-in-life to show us the reality at hand. A smoother take on constituents of playback sending the Quattro off onto the area of too smooth. Yet below that playback……meaning below the midrange was the tell-tail wide-stage the CS02 was known for……..just another example of just how transparent the Quattro is. Just not enough silver energy work to make this combo enjoyable for an afternoon. Now I don’t want to ruin the party here. As if the only other high performance cable you had was the ISN CS02 and you were dead-set on the Quattro, maybe a brighter amplifier would work? Still if you had the CS02 in your stable, there is a chance you have more cables, as the included cable does much better at play here.
The Penon Mix: $149.00
Here there is a lot of bang-for-the-buck. I mean really in a lot of ways the Quattro is getting what it is asking for here. Probably primarily for the pure silver attribute which is kicking the midrange and treble into gear? Yep, brighter than many cables and holding a mid-range spatial energy that just makes this combo work. The contrasts, the fact that it is a pure copper cable and pure silver cable which in turn generated a vivid tone displacement into which we get the full range of elements, one of the best at a lower cost than some cables listed here.
The Quattro included Graphene cable: Free!
Really with this amp set-up you could only imagine that this may be the level they use at the factory to choose this cable. Once again Penon have proven that they know what they are doing. Graphene! (More on the Graphene introduced cable build later in the review) Call me a fanboy, maybe I am? Except demoing this specific cable showed that Penon are trying for the best they can include with the Quattro including a cable that doesn’t have the firework energy of the more expensive cables tested today, but at the same time does nothing wrong letting the Quattro become totally itself, just not as bright in places as the other cables, nor as deep and clear as some example of playback today. Meaning we get a fully functioning and exquisite ergonomic example of Penon just doing what they do……….they make cables and about 99.99% of the time find that happy medium to where they included a cable value with their new IEM. With just how sensitive the Quattro is, if there was any complaints about the included cable, they would stand out like a sore thumb if they were there, but all is well. The chances are though you could enhance the sound of the Quattro in a few directions if you were game to experiment with additional aftermarket cables. In fact, if you were wondering which cable I used to find out how the the different amplifiers worked with the Quattro this past ten days, it has always been the included cable, as I felt at the end-of-the-day the included cable showed itself to offer a standard baseline of both performance and middle-of-the-road tonal response.
ISN Solar: $399.00
Laughably the Solar was not sounding as it normally should. I mean this if anything shows how the Quattro can be left-field all of a sudden. There is nothing wrong with this cable, in fact it is one of my very favorites with so many IEMs, and it is not about being warm, except being called the Solar by Penon it probably has that feature. Despite the warmth the Solar was/is great with the ISN $449.00 EST50 IEM. I mean to use the EST50 as an example, I will compare the two in the IEM comparison section of this very review. Yet I am beside myself as to why the Solar is not near what the Totem cable was today? Something about how maybe with this darker amplifier and Solar it pushed the vocals to a too smooth of a place with the Quattro? Whatever it was, it was a no-go. Of course if you had a bright amplifier it may work?
Top left to right Penon Volt and Penon Serial
Bottom left to right the Penon Quattro and ISN EST50
IEM comparisons: Here we will take the past TOTL Volt, the Serial and the EST50 and try and make sense of the relationship between the Quattro and it’s brothers.
The Penon Volt: $799.00
This is a really good comparison as the Volt is one of my all time favorites. Providing world-class midrange and textures for the taking. In every one of my tests today I’m using the Sony WM1A DAP (in the cradle) via the AudioQuest Carbon USB as a file feeder to the Sony TA amplifier to the Totem cable to all (except for one) of the IEMs examined. First off right away you find the Quattro to be way less efficient than the Volt. Yet nowhere in my days of trying these IEM things have I noted an IEM which went to show how the Volt really does have a little BA timbre. Where the issue still is the Quattro doing simpler music simply better. Yep, where the Volt is more well rounded in having faster transients, the Quattro falls into that zone of where slower music is romantic, fully more transporting than the Volt, but get the Volt busy music and watch as it takes it apart. Where with the Quattro we are witnessing simply more real timbre but due to the speed of the drivers ability to transcend transients…………we are held back at times. So the Quattro is slower moving and lumbering under its own weight at times. Yet at that same time is also a world of better technicalities, just sonic switch-ups are not one of them. So pick your music and prepare to be swept away by the sonic abilities of the Quattro, but be assured it’s not everything. And not everything to every song out there. Where here we will make compromises as to whether you want perfect timbre or a style of better pace displayed. As when that pace was displayed by the faster Volt, the timbre wasn’t spot on. Also remember at less than 2X the price of the Volt, the Quattro is not showing as elaborate or as technically superior soundstage, where the Volt with the EST drivers and BAs is going ahead to generate some added space-air.
The Penon Serial: $299.00
The Serial is not as drastic in presentation, meaning not so much highs and lows, and the overall representation of this effect is less vibrancy, less life. Contrary to my planned testing methods I needed to change cables here, as the Totem was not in any way right for the Serial. Going through the Mix Cable then landing on the known stand-by for the Serial…..the Penon Space. There is a pureness here and validation of why when you Google search Penon Audio the Serial all-of-a-sudden comes up in your browser. I hate to say it but the Penon Serial has more pace action than the Quattro. Except everything else is lesser, lesser stage, lesser volume to the notes, even a slightly off timbre that normally you would never notice, but the Quattro makes it heard by comparison. Still the stage here is different, while not as grandiose in stature there are small extra placements of imaging that the Penon Serial does so very well. The Serial becomes the slightly less accomplished smaller older-little brother to the Quattro, with the Quattro showing a more rigid character in playback requirements. Still if you cater to what the Quattro is asking for, then you will gain returns.
The ISN EST50: $449.00
Back to the Totem cable, while the stage is more coming from different areas and different devices showcasing an extra agility in faster music, except showing a slight metallic timbre depending on cable and tunes chosen. So there are ways to make the ISN EST50 sound more mature and close to perfect for me. Yet never will the EST50 go ahead to offer theses big walls of sound, never even though it’s more money there are areas in playback were the EST50 is simply lesser in stage size, that and the vivid extras that come with more information closer to you, that is what the Quattro does, it serves up a big platter of sound, yet with faster music there is a small section of that sound that becomes slightly blurry.
Music tests and included cable ramblings:
Before I get started I want to disclose that I have done a few more cable test choices. Where I really wanted the Quattro to be near the best it could be for these music tests. Also I typically do the music tests near the end of my reviews. With that said there is always more to do and realities to learn. And keeping this review chronologically correct I did a few extra cable rolls. You see, Dsnuts noted that the included cable is using Graphene, and that is had similarities to the Penon OSG….so I went and compared the OSG and the included cable, and guess what? Yep, there is absolute truth in that the included cable has properties like the $299.00 OSG cable. As side-by-sides with another IEM and the Quattro has the personalities much the same. What does this really mean? It means that while Penon is both a cable builder and an IEM manufacturer, they utilize their cable skills to not place any old cable with the Quattro. It would be like you were cooking and had a whole pantry of spices, you would then utilize them to make the meal you were preparing have the best taste. Now of course just like food, IEM taste is a singularly individual thing…….yet there are qualities that groups of people can agree on…….meaning this Graphene has a place and a definite purpose.
Graphene:
What it does is kind-a subdues the bass (just a little) while at the same time adding blackness which separates and gives distance in the stage to the bass tone. Graphene then itemizes the soundstage and treble in a more weighty fashion than silver, yet we do perceive an increase in midrange stage and a fluid yet enhanced treble energy. Often people will perceive this fluidness as a treble smoothness, and there is nothing wrong with that, as opposed to the energy of silver. This Graphene results in wideness of stage as well as a very identifiable character. I like to call this the Graphene character. While the ISN G4 has a taste of this character, the Penon OSG really at three times the cost, brings a lot more to the table. I was on a roll, and the reason being is I didn’t want to do the music tests with the $699.00 Penon Totem. It is a little ridiculous to combine a $399.00 IEM with a $699.00 cable. Primarily because there are many in that the Totem has priced itself out of a regular choice. So in many ways the Penon OSG was the next step up from the included cable, in fact it may be the OSG that was the inspiration for the development of the included cable? They mostly don’t fill me in on such progress, yet at times I get to see the baby in the end, minus the labor pains. So what if……..what if there was another genuinely great cable in the under $300.00 price point? Well in comes the Penon Leo Plus. Gold alloy mixed with Silver alloy mixed with Palladium alloy. The Leo Plus was the cable I settled with for these music tests. A truth to be told, it wasn’t that far from the included cable, only the Leo Plus added separation and most of all somehow added 3D forwardness to the stage, holding elements inside these sonic displays. So the reverberations were better through spatial distance noted as was the regular character the Quattro had anyway. The elephant in the room with the Quattro is the mid-bass excessiveness. Where sure there is tight sub bass, yet there is a slight issue that I always hear with a jumbling together of information inside the mid-bass zone. In my use there seems to be no amplifier or cable or ear-tip solution for this mid-bass, though we can guess Penon knows about it too, hence choosing the style of Graphene cable they went with. Yet this Leo Plus is the cat’s meow here, for a few of the very same exact reasons the OSG works well.
The included Graphene cable:
The Leo Plus and Quattro (not photographed)
I mean we know already the Leo Plus is going to trim the bass a little, with that comes slightly improved pace. A sculpturing of bass notes...........the bass is while slightly diminished, has added definition……resulting from improved tone carving. Then the midrange and treble brought into forward position in the stage, while being of correct tonality, also have a smoothness and a nice note-weight about them, while still holding air and a style of fast transients. And not surprising, the Serial was one of my best combinations in the Leo Plus review. After spending a good part of a day listening to all different kinds of music…….it was obvious that the Leo Plus was going to be my music test choice, and just to double make sure I then carried the Quattro and Leo Plus combination over to my WM1Z DAP and found that the power was still enough to make (somehow) this whole party continue on? The only explanation I have for Sony WM1Z DAP success is that it truly is an immersive 3D sound. Where the bass is big and round, the treble is tilted-up and spicy, yet it is also incredibly airy forming a halo around your head of imaging. It is the fact that this stage (from the source) has forward positioning and back, also up and down……even great right and left wideness……which made the Sony WM1Z DAP a joy to combine the Quattro with, confusingly because it was not the most powerful DAP in daily use. My only idea here is that the WM1Z is incredibly detailed and somehow those details are transferred down the line to the Quattro? I hope every purchaser of the Quattro finds their own synergy. I did find it with a number of sources and cables………..but if you look at this review it’s a diary, a diary of a madman.
And if you finally stumble upon perfect synergy, you will know it, there is no avoiding it as it is truth, truth in replay. I mean right now I have maybe too many choices, but just like Penon choosing their included cable material, options and more options are a recipe for success, how could they not be?
So this music section was a joy to write. It took a good part of a day to group the songs together, simply because it is a choice of so many well done numbers. Basically when you find synergy the musical world is your oyster to partake in any direction you choose, any genre and style of music and those sonic treats are as you remember them and better as you remember them to be, regardless of the IEM price.
DCD
Anastasis
Kiko 44.1 kHz - 24 bit
Here is the very last song I wrote about today, but this paragraph is better to be placed at the start, as this song is really what the Quattro is about. Meaning here we are fascinated by the wholesome playback of the start-off drums. Yes, they are slightly dark, only once you have gained mental acclimation here, we are in a fantasy land, a world all to itself, a world where maybe slightly too dark becomes correct, and everything is as it should be with nothing sounding off. I must reiterate about the reverberations here……..I mean there are 4 separate coincidences of that reverb? Yep, each driver holding a smooth yet careful relay of the treble reverbs, the midrange reverbs and the twin bass examples which take the cake. With all this talk of reverb you would think this sounds like a cave……but maybe it could be if your cave had perfect acoustics inside? The ride cymbal is showing its purity in form and playback by showing us micro-details of emphasis, a harder hit then a lighter one and so on at 00:15. At 00:18 the ominous bass and down beat take hold, and truly to state what the Quattro does…….it provides the mood. You know musical moods transcend technicalities and even tone, to bring the listener a form of escape. It is only when you make this musical connection that the themes and structures the musical artist intended show to make the transference over into your mind then into your emotion. It is in-fact a style of telepathy where you are ultimately inside the recording artist's mind, their imagination is in-fact your imagination now. A product of expression that can’t be put into words but only felt inside. Remember those reverberations, well we are now clothed in them………..then at 00:38 the guitar comes in. It’s a world instrument which challenges us as we have half heard this before yet something is different. There is a synth backing the instrument and going along for the ride. Lisa Gerrard makes her presence known and we knew this was coming from memory………yet this is outstanding and positioned perfectly, maybe even smoother than I have ever heard her sing, maybe I’m all done with reviewing as I’m satisfied and will never need to try another new IEM, I’m finished, maybe? These are the kind of remarks you make to yourself with the Quattro, though keep in mind it may take a little work and luck to find the zone, but once you have found it, it never leaves you.
Star Trek Picard OST
Jeff Russo
Main Title 48 kHz - 24 bit
Here we are greeted with all the joy and fanfare of a world class OST opener. And as a test I took the Quattro and Leo Plus Cable over from the Sony WM1Z DAP to the Sony TA-ZH1ES to find the differences. The way to do this is to use the exact same file that is inside the WM1Z and simply make the WM1Z DAP as the file server to the TA-ZH1ES. Now we can hear how the Quattro goes to show the differences from the handheld DAP to the desktop. Funny as these changes are ultimately both completely acceptable, and correct. With the TA-ZH1ES offering as always a more sophisticated and itemized low-end. Yet it is this synergy of both styles of playback that allow the listener with the Quattro to get that much closer to the music, and this style of music is made for the Quattro.
Here we have a synth bomb drum dropping as an opener. Yep, even at the start at 00:00 we have a deep introduction drop. Such events are actually both startling and rewarding, letting us know this OST is both a full-orchestra and synthetic. With-in the first three seconds shows us piano play and held within that is totally correct timbre. Where BAs offer a faster pace, they are never offering such real qualities as the Quattro brings. There is also a wind instrument shown, then the main theme at just 00:19 going and inviting us to join-in mentally. This welcome is much more accessible when we get mental assurance that everything is in place. A warm place which we find familiar and wholesome. At 00:27- 00:29 there becomes a wash of cymbals which find themselves at the edge of both right and left areas in the sound field. At 00:41 there is this very slight bump…..probably a stand-up bass note, a single accent to express our rhythm. And you know what…..I’m totally in the zone. A correct recording of a fabulous orchestra and it contains that energy of articulation, that charm that is the very reason we are here, to experience all the magic music can be. And I am going to repeat myself, it does not matter what you spend on IEMs, this single playback is both rewarding and unique in my experience. It’s the woody tone of the drums, the natural harmonics of the strings here, and the relationship of each and every instrument and how they blend together like a single DD driver……integrated.
Sorry, I could go on for a couple more paragraphs, but you get the message, I don’t need to make this review longer than it already is.
Theatre of Tragedy Assembly (Remastered)
Episode 44.1 kHz - 24 bit
You know I have used this song endlessly as it is one of the brightest mixes I own. Yet I love it? And here the Quattro smooths out all the rough edges and brings the imaging from the treble details to new life. I know I’m different but I can listen to this song over and over. Plus now we can totally hear Liv Kristine Espenæs’s sexy voice coming at us in technicolor. But there is more, there is a specific rhythm and groove that shows a bounce. This bounce may be the result of incredibly fast air-like sounds that are only showing as puffs of air almost. The more I study them they are simply (high-pitched) drum machine sounds, yet not consistent in pace, as they have been processed and wonderfully aligned and then misaligned to the beat. These specific tones were the ones that we had trouble with many IEMs and mentally ignored, yet here the sounds are a welcome facet to hold and adore. The beauty here is the washes of phase shifting and fun outside the mix…......a synth way off in the distance! The fact that there is separation and involvement, playful dances of tones taking us to a climax of sorts………..good clean fun. Probably the gold here is simply how each and every instrument along with the vocals seem to go together as found in life, like if you were to hear this live or with correct playback with the use of speakers, such qualities are the stuff of complete merit and pleasure. IMO
Umwelt
Days of Dissent Factory of Death
96 kHz - 24 bit
Ahh……..my favorite track on this album. Lets get real here, this album holds a lot of bass, only somehow everything is totally in place, where even the deep mid bass drama I was talking about seems to get along with everything heard. Now the really crazy part is the fact that I’m hearing this on a profoundly dramatic bass driven Sony WM1Z DAP…….excessive bass right from the source……so? Yet it is the changes I made with the Leo Plus Cable into which the 3D realization of midrange placement into the stage and the wonderful smooth yet bright enough filigrees of treble electronic elements are way off to the sides and totally holding transients. It is these treble effects which can make EDM too harsh or unlistenable for some, yet again we are in the zone.......heck, I can listen to anything and it will sound correct……..how valuable is that?
Priceless is what it is worth. Once again it is the cool rhythm and bounce that is the very center of musicality here. The sway and groove of how there is a sequenced style of variation with-in the beat which creates such a groove, and that element is in-fact transferred to the listener. Flowing and fun, remarkable and worth the money here as we are totally in the zone. Probably second to that quality is the total separation here, and you know that is the rewarding part, as there was a time when I was not sure of the style of review I was to write, because there was too much flat-field image positioning, so to now have this wonderful 3D space to encounter...........now that is what headphone life is about.
Build:
Such features as a resin build with air-vent come out as very comfortable. Much the same size as the Penon Serial though slightly bigger and of the same overall shape. Nozzles are just about perfect for me in length with a metal-end that holds tips on perfect. Probably the most important thing here is the form, that while having to hold a lot of gear inside, seems to really fit well and have a good nozzle angle. Each stabilized wood faceplate is unique to the individual owner with no two being exactly the same.
Packaging:
Conclusion:
Wow, what can I say? I have never witnessed an IEM like the Quattro. Now my review is only a singular listeners experience. Meaning I am only one person who hears the Quattro one way, this single way could be in-fact your way to hear it, maybe not. So to reiterate here, the Quattro is a watershed product, one the likes have never crossed my desk before. It is amp dependent like crazy, and the Quattro will show you your cable qualities, maybe more than any other IEM can. Normally this would simply mean the Quattro is transparent, and it is yet the Quattro is dependent on not only power but quality of source..................but once you find that synergy you're home carefree with a form of acceptance.
Still though there can be small areas of detail that the Quattro skims over reaching for the next tone, and still that next tone will be emotionally moving due to the purity at heart. Where Hybrids seem to not gain the authority of playback found with-in the Quattro’s walls, even more expensive IEMs showcase their drawbacks in regard to timbre and stage authority. Truth to be told the Quattro is ultimately unique, and it may take a little effort to learn to speak its language, except once communication is open, that door never shuts again, as you have found synergy. Once synergy is found there is no going back, pure entertainment, and even a taste of full-size headphones or floor standers starts to take place. If this sounds like a challenge, it is in a way, but the rewards are far outweigh the trouble.
@cottaudio,
Well I would probably suggest the Volt if I had to choose. The thing is that the Volt is more detailed and offers a slightly bigger stage, it takes Classical apart better....into the air. But a person could get used to the impressionistic Quattro replay, as the tone is slightly more real, but you pay dearly with a loss of pace, in contrast a pace the Volt simply does so well. So I still would lean to the Volt as in many ways it’s more standard technical, and I love it. It may be slightly hard to get your head around accepting both as correct for Classical? Where there is something absolutely real about the Quattro, yet I like the Quattro better for Rock and Electronic (at the moment) as it offers an experience with correct timbre and it is really different in my collection, where the Volt is probably the more safe and conservative purchase, even though 2X the money.
No that makes sense, thank you for checking it out for me! Sounds as though I'd probably prefer the Volt in this situation. I really appreciate your taking the time to respond to me, thanks again!
Pros: Gets very loud, louder than most use applications
Stays slightly above room temperature
Incredibly the DEW4X goes to power many full-size headphones that I have tried
Offers a balanced sound with acceptable resolution for the price
Great size and feel, especially how the buttons are designed and function
For use with CTIA TRRS 3.5mm plug headsets with a microphone
High gain and low gain by a push of the two buttons at the same time
Literally every button, every side wall, every side panel, everything is solid CNC aircraft aluminum, sandblasted and anodized
Cons: No bit-rate validation with lights or screen
Not the soundstage of the HiBy R3 II, nor the soundstage/resolution of the WM1Z, or WM1A with the IER-Z1R
SIMGOT AUDIO DEW4X Dongle: Redcarmoose Labs January 25th, 2024
Simgot, Simgot....such offerings get to the very core of why we are here. Besides a great audiophile modular plug cable............the Simgot LC7, they also make the IEMs everyone is talking about. The EA1000, the EA500, the EA500LM, the EW100DSP, the SIMGOT EM6L, the EW200.....the EW100P and the EN2R, to name just a few. I have to have all this IEM stuff written down as I can't remember just how they are all named. But one thing I do know is SIMGOT is on a roll.....they have made history in 2023..........heck they even sent me a coffee maker for Christmas and New Years........oh and it was red too! If there is a company that knows how to please the regular working-man audiophile, SIMGOT AUDIO knows how!
In doing research for this review I found a history leading up to our DEW4X. Yep……..a DEW3, DEW1 and a DEW0……….but no DEW2? But I did find a DEW4..............So right off the big improvements to the DEW4X would be the chipset and offering 4.4mm balanced output.
Above the DEW1
DEW1:
Decoding chip：ES9270C DAC chip
Input jack：TYPE-C
Output jack：3.5mm audio jack
Output load：10Ω ~ 300Ω (self-adaptive)
Signal-to-noise ratio：117dB @ 32Ω (A-Weighting)
THD+N：0.0007%@32Ω
Output power：61mW@32Ω
Frequency response range：20Hz-40KHz
Metal material：aluminum-alloy silver-color mirror-like electroplating technique
Input：(Standard version]) Built-in USB-C to USB-C cable.
Output：3.5mm audio interface
Output load：10Ω~300Ω（self-adaptive）
Signal to Noise Ratio：123dB@32Ω（A-Weighting）
THD+N：＜0.0006%@32Ω
Output power：64mW@32Ω
Frequency response range：20Hz-40KHz
Metal material：aluminum alloy, sandblasting oxidation and laser engraving process
Cable：4 strands of silver-plated OFC mixed wires
PCM：32bit 384KHz
DSD: DSD128
The DEW4X PRODUCT SPECIFICATIONS
DAC Chip Dual C43198 Decoding specifications PCM: 384 kHz/32 bit/DSDop 128/Native 256 Body material Aluminum alloy sandblasting oxidation black Interchangeable Line Design YES Cable material High quality OFC wrapped shielding layer Connector Type-c Output plug 3.5mm,4.4mm
As you can see the DEW4 (with-out the X) with a slightly different set of specifications?
DEW4
Product description
𝟏.𝐈𝐧𝐬𝐭𝐫𝐮𝐜𝐭𝐢𝐨𝐧𝐬 𝐟𝐨𝐫 𝐮𝐬𝐞
Use the included data cable to connect to a phone or other front-end device that supports OTG decoding. After successful connection, the DEW4 indicator light will stay on to indicate normal connection. It is recommended to first reduce the volume of the phone when connecting to the DEW4 for the first time, and then adjust it to a level suitable for oneself to avoid excessive sound. It is recommended to use high bit rate or lossless audio sources for a better listening experience.
𝟐. 𝐅𝐮𝐧𝐜𝐭𝐢𝐨𝐧 𝐊𝐞𝐲 𝐃𝐞𝐬𝐜𝐫𝐢𝐩𝐭𝐢𝐨𝐧
·The volume level has a power down memory function.
·The button volume adjustment function of DEW4 is independent of the phone volume adjustment function.
𝟑. 𝐒𝐰𝐢𝐭𝐜𝐡𝐢𝐧𝐠 𝐛𝐞𝐭𝐰𝐞𝐞𝐧 𝐔𝐀𝐂 𝐦𝐨𝐝𝐞 𝐚𝐧𝐝 𝐡𝐢𝐠𝐡 𝐚𝐧𝐝 𝐥𝐨𝐰 𝐥𝐞𝐯𝐞𝐥 𝐦𝐨𝐝𝐞
·After power on, DEW4 defaults to working in UAC2.0 mode.
During work, UAC mode cannot be switched.
·With DEW4 disconnected (power off), first press and hold the "Volume+" button, then connect DEW4 to the interface of the computer, phone, or game console (power on), wait for the indicator light to slowly flash, and then release the button.
DEW4 will work in UAC1.0 mode.During the operation of DEW4, pressing two buttons simultaneously can switch between high and low level modes.
𝟒.𝐌𝐚𝐭𝐭𝐞𝐫𝐬 𝐧𝐞𝐞𝐝𝐢𝐧𝐠 𝐚𝐭𝐭𝐞𝐧𝐭𝐢𝐨𝐧
It is prohibited to insert 3.5mm and 4.4mm headphone
sockets into headphones simultaneously for use.
𝐒𝐩𝐞𝐜𝐢𝐟𝐢𝐜𝐚𝐭𝐢𝐨𝐧𝐬:
DAC Chip: Dual CS43131
THD: ≤0.0002%
Decoding specifications:
PCM: 768 kHz/32 bit
DSDop 256/Native 256
Body material: Aluminum alloy sandblasting oxidation black
Interchangeable Line Design: YES
Connecting wire material: 4-strand oxygen-free copper and silver plated wire mixed weaving
The DEW4X
Where I found the DEW4X to be incredibly easy to use, as it is fully plug and play. You can even unplug it and turn the unit over to reconnect to the Type-C plug and have the music only stop for a 1/2 second. Why you would ever want to turn the Dongle belly-up from belly-down, I’m not sure, but you can. There does not seem to be a light that would confirm bit-rate, but there is a green or red LED which can be seen from inside the unit from the 3.5mm plug hole while in 4.4mm or the intended place, a small hole on the opposite side. From what I can figure this is showing high or low output. Red for low, and green for high output?
This product supports CTIA TRRS 3.5mm plug headsets with added microphone, hooked to a laptop!! Simgot makes it clear in the manual that the headphone/microphone needs to first be connected to the dongle then the computer. SIMGOT also supplies the regular USB adapter to plug the Type-C into to adapt to computer use. SIMGOT recommends never plug both 3.5mm and 4.4mm in simultaneously.
Packaging:
Build:
I have to say the build on the DEW4X is something else. First to note it is really small, smaller than the Shanling UA3, yet slightly thicker. The second thing to note would be the volume buttons. Using my teeth to feel, I found the two buttons to be made of aluminum. As is 100% of the DEW4X construction. Where the UA3 back-side panel is plastic, where you place the USB Type-C into. Here we are gifted with 100% aluminum, yet they have gone one step further to sandblast the entire shell and then anodized in black.
The two buttons are the largest maybe I have seen for Dongle control? 30 individual steps of control. And they are aluminum which along with the precise mode of travel really makes them a joy in daly use. Pushing both buttons at the same time goes from low gain to high gain. Green is high gain, red is low gain…….though there is almost no difference between the two levels of gain?
So smallest Dongle/biggest buttons…..in my limited experience.
SIMGOT QUALITY:
Then SIMGOT AUDIO wrapped copper wire around the chipset to help insulate the DEW4X from unwanted signals, just like the WM1Z is made entirely from a block of copper then gold platted to ward off unwanted signal interference.
The DEW4 Sound:
Way way louder than anything so far I’ve come across. Way louder than I can even test with any IEM or Headphone? A signal to noise ratio of 130dB, and 0.0002% distortion in 4.4mm balanced mode. Such blackness of background means that (with any use of power level) a style of resolution is noticeable.
The Shanling UA3:
While the UA3 is more money and offering a bit-rate confirmation light, the DEW4X get way louder. Not that you may ever need such power, but the DEW4X also has a different sound. Where the UA3 offers a softer smoother bass, the DEW4X comes-up cleaner and more reserved in contrast. Showing a tighter bass while still offering a level of smoothness to the top end. Make no mistake, the Shanling has and will continue to be my often pulled-into-use Dongle, yet here we are noticeably into a different league of power. When using the full-size Sony TOTL MDR-Z1R this power came into play adding damping juice which increased transients and hence better imaging. Also trying the DEW4X with the past TOTL Sony MDR-Z7, the overall tone was slightly cleaner.
The HiBy R3II:
Trying the MDR-Z1R from the HyBy R3II alone showed a slightly better soundstage. A more luxurious stage with even an added smidge of lower midrange compared to the DEW4X. I mean I have often found the M response of the R3 II to better the UA3, and really it also probably betters the DEW4X, but it is more money and a standalone DAP. Yet, if pure volume is what you are after, the DEW4X takes the cake.
Sony pricing guide for reference here:
Sony TOTL MDR-Z1R $1,999.99 USD
Past TOTL Sony MDR-Z7 $699.99 USD
Sony TOTL IER-Z1R $1,998.00 USD
Sony (past TOTL) NW-WM1Z $3200.00 USD
Sony NW-WM1A $1200.00 USD
So even on high-gain the R3 II didn’t get quite as loud as the DEW4X. Still at this point all is ridiculous as no-one would even listen to the MDR-Z1R from the R3 II or DEW4X that loud. I normally take a few days of testing to come upon these results as only one day is not always truthful to come-up with ideas. Still after days of testing the M response of the R3 II was in fact slightly different from our tad brighter up-top rendition of treble of the SIMGOT AUDIO DEW4X. What this means is in a way the M response of the R3 II is plush and toned-down, thus an M response where the DEW4X is probably more normal in the treble department? The slightly forward treble then goes to effect balance of bass and lower midrange noticeability to make the DEW4X sound both cleaner but slightly more grainy.
DEW4X:
This grain was most noticeable when using the Flagship TOTL SONY IER-Z1R, meaning there is a far more noticeable top-end to understand through tone placement than the MDR-Z1R. Neither are really right or wrong as one is an on-ear full-size head-phone and one is an inner-ear-monitor. Where finally I was to note that the SONY WM1A and SONY WM1Z full size DAPs offered more resolution in the top end, and it was noticeably inside a wider soundstage and slightly smoother. Though with the prices of this Sony stuff, the differences in sound quality between the WM1A and WM1Z could be overlooked. And that is an understatement! Remember we are now reviewing a $79.99 DAC/AMP/Dongle!
I mean sure if you want to lug around one of the Sony DAPs and then plug it in to your laptop while at a coffee shop………..I’m not sure if you would totally notice the sound up-grade from the Sony DAPs in public?
Bonus IEM test: The Penon Quattro
My gosh, this right at this moment is a highly controversial IEM. Some listeners say you love it on one day and find it lackadaisical on other days. I argue that fact. As I believe it all comes down to power. Meaning most IEMs don’t have 4X DD drivers…..nope the Quattro is unusual that way, and they need juice to come alive. My personal belief is that more juice adds dampening factor which results in better transients. It is the transients which create imaging, I believe. So get great transients and find the imaging resulting in clarity and the Quattro comes out of the fog……to become one of the best under $400.00 IEMs I have ever come across. Match the DEW4X with the Quattro and gain a glimpse of heaven!
The Penon Quattro and DEW4 is the best sounding under $500.00 rig I have ever put in my ears? Just hook it up to a regular phone..........and you're all done.
Conclusion: The DEW4X is a hit…….at least it is so far around here at Redcarmoose Labs. In fact after multiple days of testing the Sony MDR-Z1R, I was putting the ZIR in its case here.....then the DEW4X came up missing. Where was it? Really you have no idea how small yet powerful this little guy is. It is like the future I think? Anyway using logic, I determined that the last place I used it was with the Sony MDR-Z1R. Yet, as always I disconnected it? Well my friends, the little DEW4X and the USB Type-C were intertwined with the 4.4mm stock cable that comes with the Sony MDR-Z1R………imagine that? It was so small and lightweight it simply attached on holding on by a cable, actually two cables and became put away? There it was saying “Yep, I’m small yet powerful” HAHA. It is all too much at times!
Anyway, the DEW4X can power anything (I own), and while not as lush as even the HiBy R3 II, there is an added clarity which is in no way strident or sibilant. Nope, just clear and offering a surprising amount of detail and stage. Now the DEW4X is not as resolving as the WM1A or WM1Z, but at way under $100.00, who cares? Unfortunately I need a special 3.5mm to 1/4 inch (or 6.3mm) join my AKG k701 to find out how well the SIMGOT DEW4X will go to drive them………..but there is no way they would not be a success here? I mean this is the future here. Taking a thing smaller (way smaller) than a box of matches out and about to drive your k701s, in public no doubt? LOL
While even and balanced.................the DEW4X can be as quiet or as loud as you would want. It gets ever so slightly warm, but (even) at that place.......is almost indistinguishable from room temperature. It’s super easy to set-up and super easy to use in daily use. Only one time did it lock-up with using the HiBy R3 II and I simply turned the R3 II off and on to fix this singular hiccup. Really it could have been an issue with the HiBy, yet I have used the SIMGOT DEW4X for 5 solid days without issue, it worked flawlessly even with all the abuse due to the amount of times I plugged it in and unplugged it……while running. And it maybe isn’t always going to be about powering audiophile headphones, as the CTIA TRRS will allow you to use the DEW4 with a microphone headset. All and all I’m very surprised how well this worked as an audiophile Dongle…..and from all I understand I can recommend it to anyone. Cheers!
Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Shanling UA3 Dongle 4.4mm and 3.5mm
Samsung Phone USB Type-C output
HiBy R3 II 4.4mm output and USB Type-C output
These are the experiences and thoughts of a single individual, your results may vary.
Pros: Ultra smooth DD midrange
1 balanced armature for high frequency
2 piezoelectric ceramic for ultra-high frequency
7mm graphene diaphragm dynamic for middle frequency
8mm dome titanium diaphragm dynamic for bass
Amazing ability to scale with better source and cable
Perfect weight at only 3 grams each
Super small size, yet with correct nozzle length
Super-wide stage
Probably the best treble detail and itemizations for under $50.00
Only one BA, so less over-all off BA timbre
Well rounded, goes with pretty much all genres and sources
Cons: Heart shaped shell, may best for the female species?
GEEK WOLD GK10s
Redcarmoose Labs January 22nd, 2024
Dsnuts Way back in mid-july of 2021 Dsnuts introduced the original GEEK WOLD GK10 to the world. At the very end of his review, after praising the GK10 to the sky he made a simple suggestion. He suggested that GEEK WOLD put the new MK2 model in a different shell, a more expensive shell. He knew that folks would pay for this new shell. I know why he asked for this………..because he used them at work his co-workers might wonder why Dsnuts has heart shaped IEMs in his ears. He definitely loved the sound of the original GK10, so as audiophiles we will do pretty much anything for good sound……even wearing heart shaped IEMs around. And you know what? Yep, the shells have never been changed. They are still heart shaped , and a little funky as a result. Not having ever heard MK1 this new MK2 is priced close to the same, where the original was $45.00 and this MK2 is $49.90. But to back-track here there is a good reason why Dsnuts was so enthusiastic! You see we as listeners often find IEMs which are not price accessible for everyone. Those pricey IEMs may sound great, but not everyone can afford them. Then something like the GK10 comes along and bucks the system. Yep, GEEK WOLD makes their money on sales volume, simply because there are more households set-up to purchase an under $50.00 IEM. Now the questions are still, “Am I wasting my money because I already have a few $50.00 IEMs?” I can promise you this GK10s sound nothing like any $50 IEMs you have heard before. Why? Because in this little heart shaped IEM has a whole trunk full of stuff!
Inside the GK10s: 1) 7mm Graphene Plated DD for midrange
1) 8mm Titanium Coated Dome DD for bass 1) BA for treble 2) And finally two piezoelectric ceramic tweeters doing the ultra highs.
And guess what? What? It actually sounds like all these things (parts) are in there. In fact upon release Dsnuts said that there was nothing under $100.00 that could touch it. And if you blend with the exact tone the GK10s is putting out, it could even hold more personal value.
Old Model: GK10
Driver configuration:
1 balanced armature for high frequency
2 piezoelectric ceramic for ultra-high frequency
7mm graphene diaphragm dynamic for middle frequency
8mm dome titanium diaphragm dynamic for bass
Panel: stable wood
Shell material: ABS+PC Impedance: 8Ω
Sensitivity: 106dB Frequency response range: 20-30kHz
Cable material: 6-strand silver-plated
Connector: 2pin 0.78mm
Cable length: 1.2m
The GEEK WOLD GK10s:
So what I can see is this new GK10s model has 10kHz more in frequency range and a different impedance. I have never heard the original non-s model, except first impressions were very different than what I have found after a week of GK10s burn-in. I mean at times first impressions can be exactly right, then at other times first impressions can be slightly different. Though a while back in original GK10 days there was only a GK3 model released in late July of 2018 to compare the sound to. Now we have a few GEEK WOLD models to access their ideas of sonically correct. Now I have never heard the GK3, or this new $350.00 GK200 TOTL flagship, but I have reviewed the GK20 and GK100. What I’m suggesting is that the whole line of GEEK WOLD do actually have a sound........a sound signature, and the three I have heard do share similarities, so much that you would believe they came from the same manufacturer. Yet my first GK10s impression had the vocals not so forward, yet they are wonderfully in place now. So a suggestion that the GK10s may actually change after a week of continuous play?
And I hate to say this, but the GK10s vocals now are even better than the GK100. Where the GK100 is offering a bigger stage and more advanced technicalities, the recent GK20 simply showed a more harmonically enriched vocal presence, and we find the same magic going on now with the GK10s, only to a lesser extent.
The sound:
What we are introduced to now is a broad and separated stage. One that in-fact goes to itemize each and every instrument. That would sound like something every IEM does, except in this case there are 5 drivers and three individual hybrid methodology examples of the art. 2DDs, 1BA and 2 Piezoelectric drivers. Each driver has a job to do and bestows its own sonic characteristic into the song playback. What I’m saying is you can tell the 8mm DD is putting out bass as it is on its own, then the 7mm DD puts out a midrange yet because it is a DD there is none of that BA timbre. Yet part of the personality here is the Piezoelectric tone. Where what separates the GK10s from most IEMs at this price point is a thoroughly involved treble. I have always said that both the GK20 and GK100 are also to blame for bringing a sophisticated treble, way different than the price-point would have you guess. I don’t want to say the 2 Piezoelectric drivers have an off-timbre, but you can tell this is not a style of driver that you are normally using. Now what happens is after hours and hours (of use) you start to become climatized to the Piezo style and tone. It really is not buzzy at all, but fortifies the enhancement into how you hear the separation way off to the sides of this stage. Meaning there is a very individual tone the GK10 has that makes itself its own value, even if you already had the GK20 and GK100. So it is related to the others, but gloriously refreshing and new.
Refreshing because this is doing an almost $200.00 IEM style of technicalities. Correct tone and big reverberation fall-offs. The stage goes wide, but also includes a substantial forward and back, and up and down. Yet somehow this collection of drivers sound all-together, all as one? There is actual detail to be encountered which fully scales above and beyond what you would guess (would come out of) of a sub-$50 IEM?
Treble:
Ultra-treble:
Where this IEM excels is at treble details. I haven’t heard that many Piezo super-tweeters except I do know you can get a fizzy almost static like sound from them. Here we don’t get that at all……and I am guessing this is one example of how to do Piezo right? Still I can’t deny there is a sound to it, an airy and (not-thin) but going that direction. You know you are hearing a different technology here. Though as the hours pass you come to terms with the tone, and it becomes your friend. Same as when you meet a new person and find a few characteristics striking, but then find those same features charming in the end.
Treble:
Where there are no recessive/drawback traits here in the regular treble, it seems to blend and dovetail with the Piezo drivers? Round wholesome timbre! Where amazingly enough, I am hearing correct timbre where maybe it is because they are only using one BA? Such magic tricks allow tuners to blend and mask to arrive at a closer to perfection overall tone.
Midrange:
Vocals! Yet I have no clue as to why upon first listen the vocals were not this good………………because they are great, and could very well be the single reason you’re looking at the GK10s in the first place? Probably the midrange DD had to burn-in? It is that they have generation into their own stage. So the vocals are both tonally and physically in the zone to promote noticeability. There is a playfulness which comes from every part of this laid-backness having room……..the room to breath, to hold breath-details and that is where the GK10s gets points, it hasn’t forgotten the vocals! Here we have a dedicated 7mm DD, and while gaining ground to promote such mid-frequencies, nothing is too overpowered? What the end-results are come through warmth but not too heavy. You hear it as a polish, way more smoothness that you would guess for the price of admission?
Bass:
Where here of course there are other IEMs which promote a more impactful and visceral bass replay, yet where we are going in GK10s town shows a level of sophistication and poise. They were going for a subtle finesse, and that is what we have. It is in-fact this balance that becomes the key here. Where no it is not the most detailed, but there is a charming laid-backness that is hard to argue with. A little slower than the rest of the drivers, yet that is the 8mm charm here. A charm in DD reverberations and echoes. Sure it is disjointed and offers a dislocation, yet that dislocated place is fully rewarding, in a slightly soft but romantic way. This may be why hybrids are my favorite method to build IEMs?
Oh I almost forgot? Also they have introduced a GK80 too (at some point), yep another heart shaped IEM (hehe) which I haven’t heard.
To try and arrange the sound in order of GK10s, GK20 and GK100……….
The GK20s hold a more complex vocal stance, more than the GK10s or GK100. With that said there are remarkable treble itemizations and creations that make owning the $200.00 GK100 special. So the GK100 has the very best treble detail, where the bass is also better with the GK100……….rounder and more detailed (and separated) than the GK20 or GK10s. Where the GK20 comes ahead is with airy-natural vocals, where the GK10s still has slightly more forward vocals than the GK100, GK100 vocals are in one word dry, and to add another two-words simply there?
What is surprising about the GK10s is they do great vocals?
Package:
Build:
An all plastic build, with resin faceplates. They weigh some of the lowest weight I have heard in a while at only 3 grams a piece in weight? Combine that weight with a small form factor and we have a total recipe for success comfort wise. Nice correct length nozzles mean I can use my favorite ear-tips, not needed tip-length to make-up for any loss in the nozzle distance. The 2Pins are easily accessible and the whole shape goes one step further to simply add ergonomics? Simply one of the best out-and-about IEMs, for just cruising the town walking.
Cable: While I did try different cables, 90% of this review was done with the included cable. Great ergonomics and build, really low microphonics as we'll as looking nicer than 90% of cables that come with $50.00 IEMs.
Phone use.
Hilariously you can hear treble (tiny) (small itemization) treble involvement out dispersed into the stage with a phone.....in its own little small placement. It is of a little less note-weight than a full-fledged audiophile DAP, but it is noticeable none-the-less. Then in contrast, the pair of DDs do their job too, just to make sure nothing is too brittle of forward and digital sounding from a phone. Of course we don’t have the separation and note-weight to the midrange, or even the stage-size occurring for that matter, but in simple phone use....this works.
Cable rolls: If you ever wonder what Redcarmoose thinks about in bed, it’s cable rolls. Yep, the question is what if………..and after a while I kept thinking about note-weight and how to improve the already great GEEK WOLD GK10s. Then it hit me like a ton-of-bricks. What would happen if I joined the GK10s with the ISN GC4 cable? Now most emotionally stable folks would never think of putting a $179.00 USD dollar cable to a $49.90 IEM? But curiosity got the best of me….....it really did. What would happen to that Piezoelectric treble, what would happen to the single treble BA timbre, what would happen to that slightly lazy bass?
So I did it. And remember this is no ordinary $49.90 IEM off the street, no it has abilities to go way farther. I mean I’m not sure if Dsnuts is ever going to review the GK10s, heck he introduced the original GK10 to the world. But in all truth.........the world has become a new and different place for IEMs in this day and age. It is hard to fathom but 100s and 100s of IEMs have come and gone since Dsnuts did his review back in mid-july of 2021. And I have to say normally with the included cable the GW10s is still as competitive as ever, except with this ISN GC4 we are in another world. Stage…………stage is thick and way out further than even thought possible? It is probably one of those things where you have to hear it (to believe) and the only way to truly understand what I’m talking about. Then note-weight, yep this added thickness the GK10s was yearning for……I now have to try this with the GK20 and GK100.
Results:
Remember that bass, well it is (now) firm and controlled, who would have thought? I’m a cable believer and I would have never guessed in a million years these effects? The bass is positioned with way more focus and intent? The midrange is now even closer to real-life with better timbre, and wide-open positioning. Remember the Piezo tone, that is also downplayed, almost to a place that has been replaced by total realism……..reality. If I took this set-up to a show I’m 100% certain no-one would guess this is an under $50 IEM………no one. The biggest deal is the size of notes and that each and every note seems to hold its correct place in the stage…..wild? Just bigger, smoother and the instruments are more 3D, plus this GK10s has a huge soundstage now? Way, way different from 11 days ago when I pulled it out of the box. And such a surprise as many IEMs just don’t own the intrinsic ability to gain sound quality, they just don’t. Vocals are big, personable and clear……..clear as day?
Conclusion:
While I received the GEEK WOLD IEMs in anti-climactic order….....still they are all very much going to the same part of town in playback. While still the GK100 is probably the best, and the GK20 is better at vocals, falling behind the GK100 in technicalities. The difference here is this IEM that is called the GK10s and at 1/4 the price of the GK100, it still gets us 80% of the drama of the GK100. It is the perfect example of diminishing returns……………..especially once you get into it. Now I understand why Dsnuts was head-over-heels in love with the original GK10! I didn’t read more than the first two paragraphs and the ending of his review because it may have skewed my thoughts, but I can read the whole review now that this review is completed. I know one thing………he thought the GK10 was special, and I have to agree. If you wanted to get into the GEEK WOLD sound there is no better place to start than right here. Especially if you purchase up the line in the future..........there is nothing lackadaisical going on here. With the GK10s bringing all the sonic enthusiasm and determination to the listening table…………truly an IEM for the masses. Smooth, balanced yet separated and holding realism far above their humble asking price.
@Jaytiss
Thank-you. I advise anyone who reviews this IEM to put 100hrs on it first. As if you go back to the Discovery Page, my first impressions was vocals were way too dark. The posts are there.
I am Happy with my GK10 first ed. But @redcarnoose get it right. If there is something interesting in Geek Wold efforts (price apart) is they have some experimenting skills and no iem, from my old one to the GK100 until last GK200 (very good, different and strangely oberlooked here) sounds close to the other. I dare to say they are putting together some identity and style, in the dark misterious chifi world.
Pros: Enhances stage size
Leaves signal uncolored and untampered with
Built crazy good
Solid chrome plated connectors throughout
Modular 3.5mm or 4.4mm balanced connectors included
732 cores of pure OFC
Visually matches EA1000 and EA500 flawlessly
A guaranteed improvement from your $50.00 to $200.00 IEM's included cable
Cons: None?
The SIMGOT AUDIO LC7 High Performance Modular Cable
Hi! Resident cable lunatic here…….and I always wasn’t this way. As of only the last few years I have come upon this malady of sorts…..call it a diversion, or a sickness, call it Head-Fi? It is the fact that I notice a very small difference from changing cables. This factor depends on the IEM in question, as well as the cable used…….if I hear a change or not and to what extent. Sure most of the time ear-tips make the most difference. And the rest of the world would view these tinkerers of audio-equipment crazy. And in a small way we are lunatics…….always looking for that small improvement, or change to realign the signal to our taste.
To summarize here: 1) Cables can add a style of enhanced sound quality
2) Cables can alter playback and change signals
3) Cables look nice, at times, nicer than the included cable
4) Cables at times have an increase in ergonomics than the included cable that came with your IEM
The thing is that all this these wire cores and effort put into plugs and such cost money. More money that typically comes with your $100.00 IEM purchase.
Some view the audio marketplace with contempt as these designers and builders are out for your disposable income. And in a way they are right, but there is a change when you alter the transmission line to your IEM. As such it is probably better that I start off with comparisons here.
The TINHIFI T5S:
Now here is a new IEM, in fact it is my most favorite TIN yet. A revamp of the original T5. Basically TINHIFI got feedback as to why the original T5 was not the success they were hoping for in 2021, and came-out with a new T5S variation of tone. They increased the bass levels and smoothed out the 5kHz peak. In fact such an IEM sells for $129.99 and makes the perfect example of maybe why you might want to upgrade your cable. The included TINHIFI T5S cable is also the very nicest included cable I have ever come across from TINHIFI, and I have reviewed a few TINs?
My personal TINHIFI history:
The TINHIFI T5 May 7th, 2021
The TINHIFI T1S April 26th, 2022
The TINHIFI Giant Panda Planar April 28th, 2022
The TINHIFI Tin Buds TWS June 24th, 2022 (no cable transmission line TWS)
The TINHIFI T2 DLC October 20th, 2022
The TINHIFI C2 January 10th, 2023
The TINHIFI T4 PLUS January 11th, 2023
The TINHIFI C3 January 20th, 2023
The TINHIFI C5 April 20th, 2023
The TINHIFI C0 ELF October 17th, 2023
The T5S cable comes with 28 strands of 0.06mm enameled copper with 54 stands of 0.05mm silver-plated copper. In short, TINHIFI are not messing around any longer and dead-set on success here. The included cable is amazing, and not only in sound, but in ergonomics too. Totally quiet and moving to where-ever you want it to.
The sound is slightly more intense than the LC7. The way my testing works is I start off with the T5S in use with the LC7 in 4.4mm balanced mode, then switch to single ended, then finally switch to the 3.5mm included cable single ended. And yes, the included cable is of a slightly reduced soundstage, and ever so slightly more forward with elements. This normally would be a good thing, except there is an open positioning of the stage that simply makes the LC7 better, not a world of difference, but different none-the-less. So we are experiencing a subtle LC7 stage width with slightly bigger imaging of a more relaxed and yet detailed stature. Really that is it.
SIMGOT EA1000:
Here it has very much the same effects. Yet the SIMGOT EA1000 is a sizable difference in cost…….$219.99. While a silver plated Litz structure was included with the EA1000, there is simply more material make-up to the LC7. Now my guess is the LC7 was actually made to go along with the EA1000. The sound improvement is accomplished simply by gaining access to the balanced 4.4mm port of your DAP. But also there is a noticeable commingling of aesthetics here? Let me ask you something……..do not the LC7 and EA1000 look like they were made for one another? As the ergonomics are fine, really it moves in and out of position well, with very little microphonics. The construction and the plugs, chin-cinch and covering are first rate, really very nice. As far as being a value there may be better under $100 cables out there, I mean the competition right now is heavy, to say the least. Yet in comparison to the included EA1000 cable...........we actually do find improvements, strong improvements. I used the included EA1000 cable which is 3.5mm in contrast to the LC7 in 3.5mm and found the extra core count did do something? Imaging was better as well as separation and a slight upgrade in vividness. There was slightly heavier bass and an improvement in treble imaging and clarity...............not the very best for $69.99 cable, but really good. Where the upgrade happened was when I moved to 4.4mm..............so here I am accessing a different balanced amp in the WM1A and this is when the party started.
The SIMGOT AUDIO LC7 and SIMGOT AUDIO EA1000:
I don't want to use the terminology night and day, but the stage was of considerable note-size difference, though keep in mind this is not maybe from the cable but from the source? Bigger imaging, noticeably better note weight....etc, etc. So all and all the looks and performance go well as an addition to the EA1000, as the LC7 was perfectly balanced and never colored the sound or skewed any one thing out of place, and if you were looking for a simple way to upgrade your EA1000 this may be a first place to look, as it's guaranteed to keep the EA1000 sound profile the same with just an added pizzazz! As trying to find how much difference a 3.5mm amplifier makes in contrast to a 4.4mm balanced, the simple plug change-out is an easy way to tell. And yes, both 3.5mm and 4.4mm balanced were a noticeable improvement from the EA1000 included cable. Simply more vibrant and holding a slightly bigger presence into where notes where found in the stage.
LC7 summary:
Here we are provided with a stout and robust cable, in contrast to the regular cable which is provided with our IEMs. As such the LC7 can be of a profound price increase depending on who you are. While yes, the LC7 provides a constant and noticeable difference, still this is also the area of diminished return for your audiophile dollar. Meaning The EA1000 is $219.99 and the LC7 is $69.99? Yet the value here is in fact the personality of the LC7. Yep, the LC7 doesn’t really alter the signal any except for slight smoothness and size of replay. This very specific trait means the LC7 can be found as an addition to all kinds of IEMs where you don’t want to make the signal too dark or too bright. Meaning you may have the new SIMGOT AUDIO EA500LM in the mail to you, and the LC7 would be the perfect complement to it. While of course the LC7 could be found to be less bright than some included cables, like with the included TINHIFI T5S included cable, really the differences were not that great. Where the forwardness of the T5S was maybe desirable, maybe not……depending on the style of listener you are. What is not arguable was the stage enhancement and the subtle polish that was obtained when you compared the T5S cable in 3.5mm to the SIMGOT LC7 in 3.5mm.
Bonus add-on comparison:
Even though I finished with the different IEMs in use with the LC7 and did my comparisons, I want to try one more?
The GEEK WOLD GK10s:
Now the intense part here is I haven’t posted the GK10s review yet, But here I am doing cables rolls……..And while the Penon SPACE is probably the closest to the LC7 I have, trading cables with the GK10s is a regular way to find any differences. Now at times the SPACE shows itself to be quite the beast. Yep, one of the coolest cables to use with the Penon Serial, as the SPACE has 2X the wire included with the Penon OS133. Yep the OS133 is 2 shares, single share is 133 cores , a total of 266 cores. And the SPACE is 4 shares, single share is 133 cores, a total of 532 cores. Yet our LC7 is 732 cores? Still the SPACE is a faction clearer and holding a tad more detail yet they are super close to being the same. Though one of the main differences is at times the SPACE can be really microphonic, where the LC7 never is. I say that but today with the GK10s the SPACE is not microphonic at all, so it depends on the IEM used. Maybe there is a different style of silver or the construction makes these small changes? Part of all this testing can be psychological, meaning you always have a pre-expectation bias which colors your view into the reality of cable tests. I say all this but the OS133 is a very widely used cable in the PENON accessory architecture, being used for Tail Amplifiers and even cable Adapter Modules. Reason being is just like the SPACE it is relatively transparent and doesn’t color the sound in any which way! Here we are bestowed once more to clear and clean renditions of stage size as well as being very middle-of-the-road as far as changing the tone. Really both the SPACE and the LC7 where almost indistinguishable from one another here, plus too it’s only a $49.90 GEEK WOLD IEM, that while definitely great sounding, the GK10s isn’t the last word in resolution, therefor not the very best IEM to distinguish cables with. Yet of course we were better than the included GEEK WOLD cable.
Packaging:
it should be noted that SIMGOT went way above and beyond to incase the cable box into a specially designed extra-box which seems like it was custom made?
Conclusion:
Call me impressed. This is SIMGOT AUDIO’s very first cable, and I hope not the last. Going perfectly with many IEMs I have, I did a 5 day burn-in cycle by simply using the cable for IEMs I happened to be burning-in at the time. Built like a brick SCHIIT-HOUSE the LC7 is not messing around here. Call it macho or call it normal, the more cables I review and the more I come in contact with aftermarket cables the smaller they become.
As I go back to cables I purchased in 2017 and they actually look and feel small in comparison to what is arriving here at Redcarmoose Labs regularly. Does it matter? Does size matter, as far as cables go? I personally feel material make-up to be more of a determining factor. I say this as I have some copper/gold cables that are giant sounding and almost thin as a hair. Though as far as SPC goes, yes size matters. And conveniently the LC7 is just right, as far as ergonomics go. I mean I truly think SIMGOT AUDIO spent their time and researched thoroughly before introducing their one cable to market. Still besides the transparent uncolored sound, the build is out-of-this-world. I mean just look at the cable for Pet’s sake. Because the way nothing screws down (at least that I can see)? I mean I’m sure this is put together like most cables, except none of that shows. The plugs come-off and go on to the modular connection super fast and firm? You don’t even have to visualize the connection slot, nope........you just spin until it stops then slides in. Once in it is as firm as any cable I have ever come across? While it doesn’t come with a modular 3-in-1 2.5mm, I don’t own any 2.5mm plug equipment. As such the ear-hooks are smooth and not too aggressive, the micrphonics a dream……………………I mean what more do you want? The LC7 simply offers more material to broaden your stage, and looks cool in action. The LC7 never gets in the way by altering your sound. Though it is slightly smooth in relation to some included cables, so there is that, in that it holds that as an attribute which seems to go with the EA1000?
SIMGOT AUDIO EA1000:
I know I keep bringing the EA1000 up, but that’s SIMGOT AUDIO’s flagship and this TOTL cable seems made for it, I mean why else would they introduce it? There is a non-fussy way about the cable combined with the chrome that just works, as it is a joy to use. If SIMGOT offers new IEMs down the line, I’m pretty sure this style of cable will go along for the ride? That is unless you want to drastically alter your tonal response, to either gain treble or (in-reverse) smooth-out the stage midrange or treble peaks drastically……well then…….you would probably need to look somewhere else?
Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
Shanling UA3 Dongle 4.4mm and 3.5mm
These are the experiences and thoughts of a single individual, your results may vary.
@PapaThrust,
When I wrote this review I had less experience with the three cables of SPACE, White Whale and LC7. Meaning you're always interfacing new IEM experiences. As such a treble detailed IEM can reveal more clues as to the 3 cable personalities and differences. Where a mid focused IEM may reveal the 3 to be perfect equals, believe it or not.
As such I would probably now put the White Whale at having a smoother (lower midrange) take on (less detailed treble) sound transfer, the LC7 is much closer to the SPACE, but the SPACE is still at times more revealing. You can order the SPACE with ear-hooks now. But yes, the LC7 ergonomics are world-class in my book. Just how everything............the 2 modular plugs, and how they fit, the ear-hooks........the LC7 rocks. And with all the wire (added) the LC7 adds stage and transparency from a lot of (free) included cables. I use the LC7 every day, being the workhorse that it is. Cheers!
Thanks for that! "Where a mid focused IEM may reveal the 3 to be perfect equals, believe it or not."
Kinda glad you said that, My Butastur is the only IEM I have that I can readily/easily discern differences. The Space clearly affected staging and spacial clues yet pulled the vocals back a touch...It would be absolutely perfect if it could somehow leave my singer where he was. Also, I was able to carefully mould the space ends with some hot water ....that helped a lot!
@PapaThrust,
Ha Ha, you sound as crazy as me.......in regards to ascertaining cable qualities. Well, the Space does the extra staging and as you say imaging/spacial clues, though I don't hear the vocals recessed, though I believe you. As such this is a marriage of DAP personality, ear-tip personality and cable personalities, along with the transducer.
I mean you could try going up the ladder to something like the Penon OSG.....yet that is not going to be as neutral as the Space, but does other vocal characteristics, which may be your forte? I have never heard the Butastur, but I bet that one will open the treble and midrange for resolution and tone discernment.........
Pros: Beautiful, exotic build and design with a 2X DD and 1X BA Hybrid idea
Amazing correct timbre in all tones bellow the belt
10mm bass drivers delivers an immense soundstage and is relatively fast pace
10mm midrange drives cooperates to provide correct timbre mids
Cons: BA occurrence of a bright treble in 80% of songs that while distracting is also tonally inept
Kiwi ears Forteza
Kiwi ears
Coming almost out of nowhere, the brand Kiwi ears made its mark in 2023. I reviewed the Kiwi ears Cadenza in January 2023, and then the Orchestra Lite next in March of 2023. There was a fever and a focus of intent present. While Kiwi ears produced a $499.00 original Orchestra in August of 2021, it truly has been overshadowed in popularity by the Orchestra Lite. Really the original Orchestra and the $109.00 USD Quartet are the only two Kiwi ears I haven’t received (for free) and reviewed.
It is safe to say from all I have heard that Kiwi ears is not traveling down the same IEM path twice. Imagining new ideas as to sound performance by utilizing different driver scenarios each and every time.
Now of course the Kiwi ears $249 Orchestra Lite was more IEM than the $34.99 Cadenza…..yet both were very different beasts being the Orchestra Lite was an all BA affair and the Credenza was a single 10mm Beryllium DD. I went on to review the 5 driver Kiwi ears Quintet and at $249.00 and it ended one of my most favorites of the year! The $24.99 10mm DLP Kiwi ears Dolce was interesting, and while not finding it special at the start it grew on me. Finally in November of 2023 I reviewed Kiwi ears Planar IEM…..the Melody. We will in-fact compare (today) the $89.00 Melody today against the Forteza. So in hindsight 2023 was the year for Kiwi ears to cause quite the stir in the audiophile IEM community. Probably the Melody and the Quintet are my favorites? Why? They offer both a unique take on balance, and perform technically well for their asking price. While very different, there has been a very consistent level of quality emitted from the manufacturer Kiwi ears…….so much so that a level of respect is given even before hearing the IEM. And………it really is safe to say there is a house sound hidden in there somewhere amongst each and every IEM. While very different they can be thought of as having common similarities in places.
You: And while each listener is very different, it is finding acceptance within the entire audiophile group that makes new companies gain respect and subsequent fame.
Meaning we as reviewers not only look at each individual IEM, but try and read and do research as to understanding of the whole community's acceptance and track record on a company's IEMs.
The downside:
And to put it lightly, Kiwi ears 2023 out-put was a roaring success. With-in that success certain individual IEMs have been more successful than others. I would have to say the Forteza will end-up one of the lesser successful IEMs for the brand. IMO And even though my opinion is simply my own, I have researched and discovered it to be fairly common amongst listeners who have given the Forteza a go. Such qualities even have me polarized in opinion. What this comes down to is treble. Yep, the Forteza has a slightly hot treble. Now in all fairness to the Forteza I have spent weeks and weeks with it, maybe my longest (to take) review in the last 6 months? I did burn-in, and I did burn-in some more, I switched cables, DAPs and ear-tips………..I pulled out all the tone altering devices I know of, and while at times the treble was subtly reduced, what was left wasn’t always that great in tone or texture?
In reality I have not read any formal Forteza reviews or seen any video reviews. I simply confirmed through feedback from individual owners what the Forteza personality was like, to make sure my unit didn’t display any unit variance that would make this review unfair/untruthful. And while I’m not saying the Forteza is all bad, it is not holding the balance that other Kiwi ears IEMs have held in the past. Even though the Quintet was rumored to have a hot and spicy treble for some, I feel it does not offer the overall heat of the Forteza. Where the Quintet has small hot spots possibly to those that are sensitive to such displays, the Forteza treble is more of a broad wash of tone encapsulating the whole bandwidth of treble, as probably a hint too of too much energy even in the upper midrange. IMO
The beginning:
When I first laid eyes on the Forteza I thought it was amazing, I mean look at it. Also I thought the idea was revolutionary, being it was two DD and a single BA. The looks represented a far more expensive IEM than the cost at just $59.00? The feel of the Forteza in your ears is fabulous. The build quality is supreme. Even the stage that occurs is far above the pricepoint, only it is topped off with a style of sizzle? Yet the lower sections offer a creamy inviting smoothness that is both well controlled and images well.
Burn-in:
While my first impressions haven’t changed too much, there was an added amount of cohesiveness and smoothness to the two DDs after 100 hours of burn-in.
The Forteza drivers:
This review was so hard to write as I truly didn’t want to rate the Forteza lower in score. I rotated amps, DAPs and found that (yes) putting on narrow bore ear-tips helped with the replay, they diminished the treble to a point, yet there was still a question of treble balanced never to be fully rectified by ear-tips. As such I have to summarize the treble that is introduced by this middle frequency/high frequency single BA driver is the culprit? Where there is a single 10mm bass driver and a 10mm midrange driver.
1) 10mm DD bass
1) 10mm DD Midrange
1) Single BA mids/high frequency
Comparisons: All comparisons were done with medium bore ear-tips, the Simgot Audio LC7 cable and Sony WM1A with MrWalkman's firmware.
The Kiwi ears Melody: A Melody stout and fully definable clarity into which bass speed and separation are found. Yep, this is where the money is with the Melody. A smorgasbord of fun happening bellow the belt! Sorry. But this bass action is real, more clear, more separated and even the guitar timbre is better and finding the guitar examples to be more realistic despite the subtle Planar timbre. This Melody is simply more dramatic and technically better as well as holding a better tonality of all musical constituents! Sign me up for this, all day long.........simply better.......I know I'm repeating myself.
Where no better example is found to hold this Forteza (while still analogue) bass, the display is of a slower and less defined bass. Where the Melody kicks.......and is simply a better overall tune, I'm sorry to say. Treble is slightly less focused than the Forteza, but that was the needed down-tune with the Forteza..........a gift we were asking for, but didn't get for Christmas.
The 7Hz Salnotes Zero 2: I can make this comparison really simple here. Haha, the 7Hz Salnotes Zero 2 is simply more even, complete and correct. It has less treble. What this does in the end is promotes longer listening times with the treble perception coming off, simply more real and natural. While bass action has been improved over the original Zero, there is still room for dynamite vocals to take place with the Zero 2, heck I don't need to go on, read my Zero 2 review if you want more gushing.
Music tests:
Here I run through a few of my favorites. Upon starting this test I refer back to others' opinions as well as my own, that with this particular IEM, we must pick and choose our music to enable success. Yet here today these are chosen songs which have not been picked to make the Forteza good or bad, I simply don’t know what the outcome will be in the end?
KMFDM
PARADISE
Oh My Goth
44.1 kHz - 24 bit
To start off with this song gets chosen due to how the rock bounce and groove that takes place. Meaning there is an interaction of all these elements which somehow are integrated into musicality and fun. Part of the success here is the fact that while low in tone, the bass is snappy and fast. I mean I really have to hand it to Kiwi ears for at least delivering the goods in the bass section, and how the rhythm plays out? Though the exact problem here is the guitar are thin, not exactly holding harmonics, and as a result not doing their job. This song I have thorough experience with and it turns out to maybe be the farthest from the best in use today? I don’t need to go on.
KMFDM
IN DUB
Amnesia Dub
44.1 kHz - 24 bit
I used the Sony WM1Z with the SIMGOT LC7 cable and medium bore ear-tips. The important part of this equipment use was to see if the more prominent bass of the 1Z made a difference. Meaning this is a DUB song, so bass is critical and necessary for the whole vibe of the song to take place. And in truth this was some of the best I have heard the Forteza. Now the bass did have sub and there was a spread-out formation of stage encountered. So much so that I listened to the song over and over. As this is one of those songs that seemed to make the Forteza more than a $59.00 IEM. Way out to the sides at 01:18 we find the synthetic piano. In reality all the effects have a special itemization and expanded placement into the farthest reaches of the stage, of course part of this is a TOTL DAP, probably. Still there is a faint air of the synthetic thin treble showing-up? While vocals do have a little weight, and there is definitely expansion and speed into which these treble elements find themselves generated, I can’t get over the overall tone? This tone was the first noted on first impressions, and still found here too? It is slightly off, and of a thinner almost in the direction of steeliness that it is formed. I realize that this cutting presence was needed as a counterbalance to the nice and rewarding bass, but I wish they would have simply spent more time and even charged more to get a better BA character in the end.
Robert Miles
Dreamland
Children
44.1 kHz - 16 bit
In 1996 Dreamland caused quite the stir among club goers and fans of EDM in general. It could actually be stated that Dreamland made the sub-genre DREAM a house hold name. There were 100s of imitators and followers of the style, with so many DREAM compilations, And even though Robert Miles is no longer with us, his music lives on as Children still sounds just as fresh and fun today as it did upon release. This song for whatever reason is probably the very best yet today with Forteza playback. The bass synth intro is whole and deep holding roundness and fun. Even the fake thunder sound at the start is interesting. When the piano keys come at 00:42 it’s truly nice and not holding as much metallic timbre as you would guess by reading the above? To back-track there is a deep layering to the bass and an exquisite separation that is normally not found at this price-point? This sounds like just more money, maybe $150-$200?
At 00:35 there is this ambient sound, I can’t describe what it is? Yet the Forteza somehow grabs all of this ambiance and we hear birds chirping and small branches breaking, all bright and brought forward into the stage, there are even fast transients of such background sounds? It is of course Hybrid separation at hand, and the very reason I love Hybrids the most. Because not only do we hear these sounds but we also experience the reverb added to the signal. It is not until the 02:18 mark that the driving beat takes place………a tell-tale trait of the DREAM style. Remember this is only a 07:06 minute song to to wait simply lends to being more involved into the music before the beat takes place. As prior many would start the beat much sooner in EDM. So here we have it, the song elements are all in place………and there is good separation of the cymbal strike on tempo with the beat. There are fluid background synth additives flowing with the music way off to the sides, fully separated. The vocals? There are none. But with how this is done, really it all works so fabulously, so much so that if this was the style of music you always listen to I can fully recommend the Forteza to you! This was the music style that we were alluding to as being its forte.
Dead Can Dance Anastasis
Kiko 44.1 kHz - 24 bit
Here the style of the recording makes many headphones shine. As even at 00:05 we are taken away with the shear size of the drum beat. It is this stage which takes place (maybe) due to the two DDs, which is big and involving. The stage is mostly right to left but also somehow gets involvement with front to back and up and down. The drums sound full and natural with the highlight of cymbal accent taking the whole thing over the top. The snare drum is slightly hot and truthfully cutting really way more than needed? The different snares' emphasis in strikes can be fully noted and taken apart for what they are, yet still too hot. Too hot and of a slight thinness that is not appealing? Still that is only a small feature, as when the bass hits, it is incredibly big, way bigger than the price of the Forteza would have you believe? At 01:31 the vocals find themselves fully separated and out-front, yet so is that timbre the Forteza always (pretty much) emits, I don’t need to go on.
Build:
Found to be built in the most lovely of ways, the full hollow resin build in a semi-custom fit and feels marvelous. A single vent next to the 2Pin guarantees no driver-flex or too much air-tight fitment. You can fully look inside and see the two DDs facing one-another, you can see the single BA driver and the three-way crossover electronics. Nozzle length seems just right, and there are two sound tubes exiting. Outside sound occlusion is medium due to the hollow shell and maybe venting. Though it should be noted the sem-custom fit is fabulous. At only 4 grams a piece in weight they are on the more low-weight side of the street. Combine the weight with medium shell size and we truly have a winner in the comfort department. Flush two-pins make cable change-outs a breeze.
Cable:
There is nothing wrong with the included cable. While minimal to be expected at this price point, I kept going back to it to reference the style of sound Kiwi ears was after. Yet the option of trying a different cable allowed me to access 4.4mm balanced in amplification from both the WM1A and WM1Z.
Packaging:
Conclusion:
While I do get what Kiwi ears was after…..they were attempting to procure lesser off-timbre by inclusion of a midrange DD to complement the bass DD. Having less unnatural metallic off BA timbre can at times be good. Yet, they needed treble, and through the choice of the chosen BA.........to cut through the midrange and bass to offer clarity. And yes, there is definite clarity here, that and imaging of great full frequency elements into the stage, and sure it is very good technical wise for the money. Only………….as always, tone beats out on technicalities and I would rather have the 7Hz Salnotes Zero 2 with lesser soundstage and lesser separation at hand. Why? The Zero 2 simply comes-off more natural in the end, and that makes for easier listening and longer listening times. I look at the Forteza as more of an experimental release and the low point in all I have heard from Kiwi ears. Yet as a stepping stone it does show imagination and excitement in possibly being the precursor to the Forteza Two. Yep, maybe an IEM with the same two DDs in place, yet with maybe (the addition of) 2BAs of smoother and more refined character? Heck, it would be worth way more money just to see Kiwi ears go one step farther in their attempt to realize this adventure. They were so close here, just so close? You see BAs can be found to be able to be (metallically) toned down and still offer the frequency, to be set back and still not be dark or underwater. At times they need to use two BA to accomplish this, but it can be done. I would think such a Forteza 2 sound could be worth $100.00 to even $200.00?
Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
Shanling UA3 Dongle 4.4mm and 3.5mm
These are the experiences and thoughts of a single individual, your results may vary.
Pros: Amazing vocals
Authoritive bass
A great midrange while still presenting the soundstage and imaging the original Zero was known for
Cheap price
Great quality control
Even, complete and correct frequency response
Super well rounded playing all genres and from all sources
Cons: Hmmm?
The 7Hz Salnotes X Crinacle Zero 2
Zero MK2 Many of you have maybe heard the name Zero before for an IEM. In fact Crinacle did the original tuning for the Zero MK1, but didn’t get credit for it till later on. It was the Truthear Zero which he proudly posted his name onto, as he felt it was a conflict of interest to have 2 Zero collaborations at the same time. Yep, both 7Hz and Truthhear had a boner for the word “Zero”. But the other reason you may have heard the word Zero is because (the original Zero) is possibly one of the best selling budget IEMs to ever hit the market…….ever?
At the original retail price of $19.99 the Zero was everyone's dream concept of an entry level IEM. The first review I wrote was just the beginning, as more reviews were to follow both on Head-Fi and the IEM community at large. Here we are at almost 60,000 page views, which is saying a lot for this little clump of plastic, some metal and some wires.
Now it must be disclosed that my views here may be slightly skewed as I’m an intensely emotional fan of the original Zero. Why? Well, it had a big stage and great imaging, offered note weight and was only $19.99. Oh, and correct timbre, timbre is also well done, and that is saying a lot for an IEM the price of two sandwiches with your gal.
Now while not perfect, the original Zero somehow connected me to music…….in a way that I have always tried to explain, but have mostly failed. The Zero in my eyes was an IEM for the masses. An IEM that was low-cost yet provided an audiophile experience. I have been guilty of continuing to reintroduce the Zero as a contender to almost countless side-by-side battles, and almost all the time the Zero won. So you can imagine that when I heard they were making a new Zero I was surprised.
The old original Zero was not perfect, and you know how everyone talks about what they like and don’t like on-line. What a perfect way for Crinacle to do market research and reintroduce a new Zero for the world to hear. Adding bass frequencies, and toning down that original 12kHz treble peak. Yet also lowering a slight peak at 3.2kHz to 7kHz to simply smooth out and homogenize the whole party..........to (if I can say) commercialize the tuning and add more thump.
The original Zero MK1
Should I buy the original or this new one?
With this question I will try to show a few reasons why one would be better than the other. That’s right, a Zero MK1 v MK2 side-by-side.
Both MK2 and MK1 are listed with the same specifications:
Driver: 10mm dynamic driver
Frequency response range: 10HZ-20KHz
Impedance: 32 ohms
Total Harmonic Distortion (THD): <1% at 1KHz
Plug Type: Detachable 0.78mm 2Pin
But of course we know they are tuned differently. Yet I liked the original MK1 cable more? Also sorry for not getting (a better) glamour shot of this new MK2 included cable? Yet really it is fine, the included cable is fine for what it is, of course I played with other cables too. But if anything this new cable is possibly a downgrade, I mean times are changing and it has been a while since early August 2022 when the original Zero came out. Maybe they had to cheapen the cable up a tad? So what, most of us have more cables to use, plus we are going to need a different cable to join (the Zero 2) with our 4.4mm amp of our DAP. Most every DAP now has both 3.5mm and 4.4mm plugs.
Zero MK1 Cable:
Zero MK2 Cable:
MK1 v MK2:
Using the ISN G4 cable in 4.4mm with the original WM1A with MrWalkman’s firmware, tips are my standard wide-bores. I find the original Zero to still hold charm. What is happening is drums have both timbre and note-weight. Though while the midrange is expressing this glorious positioning of elements, there is a slight lack of bass (with the Zero MK1) which is taking the midrange and vocals inside that mid-range, and adding focus to them. You see graphically it is not readily apparent that this lack of bass promotes such an increase in mid-centeredness, but of course it is there. Such a tune actually promotes vocals, and while there are more vocal centric IEMs out there, this MK1 is in-a-way the cheap way to get into great vocals.
Now while the original Zero is not everything, it has this big spacious positioning of elements where we find ourselves right in the middle of great entertainment, despite the fact that Rock shows a thinness that could almost be a sin? Yep, we have lost the gyrating and primal force associated with dancing almost……as it has been neutered. While the bass is still present, there truly is a lack of low-end which almost could be a matter of taste if you truly loved the Zero MK1 or not? Then there is the treble energy, that may be also a choice where to some it's too strong, though I have never had a problem with it?
Switching over to the MK2 there is a grand bass authority now, such a deep presence, such a spectacle seems to add note-weight and reverberations of all events…….even though I want to continue to love my first girlfriend. I have to say both this MK2 drop in the 3.2kHz to 7kHz zone combined with the one-two whammy of more bass, truly change the overall stature.
We now have repositioning to a more commercial friendly and very different sound. Maybe a better MK2 sound, as we still have those giant midrange images going out to the side. Over-all it is not as shrill. Simply better balanced, and that is hard to write, because I truly like the lame duck off-balance of the original Zero……..and I wanted to write that this new tune is boring, but it is not.
Comparisons:
Here we will take on the Kiwi ears Forteza and Kiwi ears Melody. Laughably both are way more money with the Forteza being a 2DD x 1BA at $59.00, and the $89.00 and a pure single 12mm Planar IEM.
Kiwi ears Forteza:
I have been doing this for days, and this single comparison means a lot to me, truly I like the Zero 2 better. Now this is the hard part, as the Forteza stage is bigger, those 10mm bass and 10mm midrange DDs do a number to cement-in a provocative sound, only there is a tinge in the upper midrange that only makes the Forteza great with some music. It is this thinness that the Forteza tune is not as well rounded and doesn’t play all forms of music like the Zero 2 does. Now truthfully the Forteza has a bigger stage, and in some ways better technicalities, but falls short in certain bright vocal genres, where the Zero 2 is not totally exactly vocal centric (but the Zero 2 is vocal centric in a way) and it still has a smoother and correct, more correct way of doing vocals.
The Kiwi ears Melody:
It’s not that you have to have a love for Planar IEMs to love the Melody’s output. Truly this battle should not have taken place……what was I thinking when I put these two together? I was not thinking that’s true! Bigger..........everything is bigger with the Melody, bigger imaging and a crystal clear separation, showing us simply better technicalities can be found for $64.01 more. Though I will say the Zero 2 has better timbre. So that ends a give and a take here, that even though bass texture, staging and imaging is better with the Melody…there is a way the Zero 2 somehow holds this golden tone? Now ask me which I want to take on a trip for a few days……and I can’t decide….really……probably both?
Music tests:
Dead Can Dance
Anastasis
Kiko
44.1 kHz - 24 bit
This ends a really important song as I use to judge drum texture........positioning and detail. Obviously this song's tone is a night and day difference from the original Zero. Reason being these drums have authority and all their stature into the stage, and thus remember that they almost came out midrange positioned with the Zero MK1.
The Zero MK1 was missing some of that drum density that is so important for realistic drums, yet it was still charming, ridiculously charming for a lesser amount of drum authority in playback?
And such drums have a way about them that they can sound remarkable on any style of playback, yet this time we are reminded of all that is there now. This deepness is correct sounding, and not interfering with the rest of playback. Deep round and big, at 00:15 there is a correctness to the cymbal that is uncanny……this cymbal sounds to be exactly as it should holding decays and timbre……exactly right. At 00:28 even though way more complexity has been introduced we are still holding our head above water. I’m simply waiting for things to get jumbled-up, it may happen, it may not? At 00:33 there are variations of intensity and detail in the cymbal strike that are charming and full in relief among the instruments? Wow? The deepness of bass drum at 00:36 calls for respect and nothing like what you would expect from taking the Zero 2 out of the box……..call me humbled?
Finally at 00:37 a sting instrument makes its presence known. TheTurkish Saz Baglama Cogur or Greek Pegasus Trichordo Bouzouki played by Brendan Perry make their way in. Such world string instruments offer both a fresh fascination to the modern guitar sound as well as exotic harmonics that you understand, but are not familiar with. Of course unless you’re a Turkish or Greek and a fan of traditional music you probably don't know them. Yet you also never heard the digital reverberations applied to such treasures, making this whole piece become otherworldly and an escape. One of our keys here is the correct note-weight, yet there is more……at 01:14 our star of the show makes her entrance. Lisa Gerrard now one-of-a-kind showcasing our fully vibrant vocals. And that is really the thing here……the fact that the Zero 2 plays all foams of music, plays them well from all sources, but obviously better from a DAP, and really does vocals well. All I can say is that I didn’t ever believe this new tune would have the vocals be just so good, so rich and full, holding that magic that we come to IEMs for in the first place!
Gdanian
Induction
Shield Emitter (feat. Tineidae)
44.1 kHz - 24 bit
One of the best bass songs, yet not just bass but bass layers, meaning there are stratifications of details within the bass. There is also a theme to the song: a soaring synth that is a lot like the opening for Blade Runner. Obviously this is not the best I have ever heard this song played, yet there is a cool deep bass positioning way out to both sides, and that song has a tallness to it, as already mentioned a wideness to it and even a front to back. It is this fishbowl effect that is a big part of the imaging, and midrange playback with the original Zero was found here as well……..it is part of the Zero IEMs DNA. But beyond that there are layers of midrange besides the bass that are emitted from the middle, and are in no way affected by the other sounds going on. In fact at 02:41 there is a let-up of extra instruments to where we are at one again with this bass, and even though there are other sounds present, there is a quietness. In this area the bass is either louder or just left to be heard singularly…..probably louder. There are ambient high pitched sounds falling off to the right and left that almost sound like water, yet electrified. At 04:18 I hear wind blowing, this sound of wind may be sooner, but that is how this music is that your perception all-of-a-sudden picks stuff out. As going back to the start again the bass almost sounds the same level. Yet in many ways this is the perfect song to test the Zero 2 with, as it is challenging the separation and rewarding the listener with big playback. At 01:30 there is a climax almost where a new synth takes over taking center stage, with what sounds like clocks ticking out to the side, yet clothed in echo. I hear air sounds and they are separated nicely…………really the Zero 2’s main accomplishment was to keep the mood here as well as sonic immersion.
Packaging:
Note how the Zero 2 has a wide assortment of colored ear-tips. Also it is safely put away in a protective box. There are one set of red ear-tips already on the IEM in the box.
Construction:
Some folks have issues with the shape. I never did as the zig-zag shape is really only on the outside. Though I really do think this shape is pure marketing as you can identify the Zero 2 from 6 feet away. One neat thing is how the 2Pins are slanted inward. There is a metal faceplate that shows this product is different. But probably after all this time it is the length and angle of the nozzles that seem to work so well for me…….that and the Zero 2 is only 4 grams a piece in weight. Interesting too is with these see-through nozzles we once more find 7Hz up to their regular 3 level filter system. One black foam, two what looks like a sticker of white material, and three the actual one-piece screen made with cut-outs. Yet I have to say the Zero 2 nozzles have a better construction in layering of these materials, in comparison to the 7Hz Sonus which had small spikes which a cleaning cloth could grab hold of. Here is possibly a better way to do it, same outside screen as the Zero MK1. Also it should be noted that the MK1/MK2 form factor and size is exactly the same, only different shell color choices are new. There is a single vent noted on the back.
Conclusion:
Well, 7Hz did it again. At first I didn’t want to like this new Zero 2, yet after a while I truly understood the ideas to why it needed to exist. A fulfillment of a dream to offer the very best sound for under $25.00. And while sure, more expensive IEMs will do better at generating a realistic presentation of your music, I can’t help but be in admiration for simply how even, complete and correct the Zero 2 sounds. That they really did have to offer a new IEM, that is in so many ways complementary to the original. They really do have some aspects the same, but complement each other to where if you had just the Zero 2 in your possession, there still would be nothing wrong with getting the Zero MK1 also. As they both have well done vocals, yet the MK1 has more treble involvement and fireworks for a midrange which is still something truly special. But if you are strictly a Rock listener, I would probably only recommend Zero 2? Maybe?
Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
Shanling UA3 Dongle 4.4mm and 3.5mm
These are the experiences and thoughts of a single individual, your results may vary.
Pros: Unique imaging, separation and timbre for the under $100.00 price point
Deep textured bass with definition
A subtle U shape tone with emphasis on balance
Extras details with included cable in the midrange and treble over previous Reecho OVA model.
Amazing difference from the OVA model when used with ISN CG4 aftermarket cable with enhancing low end texture and 3D presentation
Coherent full-range DD
New SG-01 3rd generation, self-developed 10mm driver
All new Carbon Nano Diaphragm
New SG-01 shell encasement design and bigger N52 magnet
Resulting in both an extra level of treble and midrange resolution (from the OVA) yet kept in balance
Resulting in an extra level of low-end detail and thump (from the OVA) yet kept in balance
Cons: At $51.99....nothing to note?
Reecho SG-01 Dawn Redcarmoose Labs January 9th, 2024
A new SG-01 Dawn
So the Dawn comes in and I do what I normally do. I photograph an unopened box, then take the box and photographically create a box opening experience........like a little story.
Funny, as I started looking at the box, it brought back memories of the original Reecho SG-01 “OVA”. I mean they are titled the same, which is very different from most IEMs I get that are named in continuing model number after model number, like new numbers signify improvement/advancement?
Even though that original OVA box was opened in May of 2022, it was unique. Unique because the OVA was priced at only $49.00, yet sounded like more of an IEM? The OVA had an involved set of extra boxes......and some boxes had nothing inside but they created a two story box opening experience. Back then I had different terminology to describe playback…….I called the OVA my “Golden Retriever” laughingly enough? What that simply meant was that it was balanced and didn’t do much wrong. Kind-of like a dog that was loyal and didn’t cause much trouble around the house. And if you turn both IEMs onto their backside they do look a little the same.
This is probably the only time you will see me post the same photograph twice? Due to emphasizing the diameter of the included nozzles?
Pictured here is only the Dawn, but you can order different shell colors within the same model, or of course have your shells match.
Now in comparison, the OVA and Dawn are both 9 grams a piece in weight. This places them into the heavier side of IEMs. Now though the difference is the Dawn is about a third thicker, not so much wider, but they do stick out (of your ear) further than the OVA. Yet the one big difference is the faceplate, where the OVA was a continuation of the metal back, the Dawn on the other hand has a hand painted faceplate. And finally the nozzles are very different. Not noted so much in photographs, but in the hand the nozzle diameter of the Dawn is considerably wider. So much so that I got a photo just showing this size with my favorite wide-bore tips in place. Now don’t fret if you don’t have any wide-bore tips like this……in fact these wide-bores (I think) they came with the original OVA. But don’t worry as Reecho has included your very own (wide-bore) set with the Dawn. And just like everything else here, the included tips may even be an improvement than the ones that came with the OVA, as they offer a slight increase in length, which means you can use them with shorter nozzle IEMs.
Now really I’m beating around the bush here...................why? Because the sound is what is different. Now demoing the two side by side, sure there are similarities as far as how they are tuned. Yet, from simply going by my memory I thought tonally they were way different, but they are not. But what is different is this new Dawn driver is a whole different animal. So imagine with me that for the most part the two IEMs really do explore the same basic sound, but the difference here is they have utilized a 3nd generation driver and subsequently (while tonally the same) we are hearing a more sophisticated style of playback. The peak in the upper midrange with the OVA has been lessened and instead a more realistic and next level detail has been acquired. And yes, this can come-off subtle when you're looking for big differences, yet they are real and they are there. With the new SG-01 OVA being $49.00 and this new SG-01 Dawn being $51.99. I am not sure if they did product testing to learn how to make an improvement on the OVA, but the way the upper midrange is now with the Dawn is way more accessible and refined.
Detail:
So it not only brings a slight level of extra detail, but it is ever so slightly smoother and shows a polish of that specific area. There is also a complete rearrangement of the stage, which can be quite confusing and takes a moment to understand, where this new Dawn is showcasing a slightly more 3D and better arranged display. And to me, this is where the extra value comes in, of course that and the upper midrange showing more maturity and finesses. The Dawn is simply more realistic in the end.
Review summary:
This summary is “OK” early on in the Reecho Dawn review. You may not need to read any longer? Many feel reviews are too long and tedious to read, though others like the extra details, so here is a review encapsulation. The Reecho Dawn is a further development of the purple OVA, which was a refinement of the original black OVA.
Here are Dsnuts' conclusions in relation from the original ($10.00 less) black OVA, to the new edition I have.
"Going back and forth from the standard version vs the new OVA. The sound balancing/tuning is identical but now with a slightly better treble and mids definition."
Imagine that?
Funny as it seems we have the exact same improvements to this Dawn design. It is held in an improvement to the midrange and treble definition. Yet in able to reach such sound goals they had to completely redesign the body, and make the exit nozzle wider. The purple OVA has a 10mm Graphite Composite Diaphragm. This new Dawn has a newer 10mm Carbon Nano Diaphragm. Not hearing the purple OVA (I had) for quite some time, hearing this new model was quite the experience. Though I was simply only half right about these new improved performance and character differences.
What I did was find myself blown away by the extra details, so much so that I thought they had modified the total tune even, to make the Dawn more trebly. When in fact I was only focusing on the more natural and more realistic upper midrange and treble details. And that my friends is normal for comparing a tune with a nice improvement to your memory of an older similar tuned IEM. What kinda happens is you can become fascinated by this new section of sound, especially if it has an area of both naturalness and increased definition. You will forget possibly comparing the lower details and like seeing a view from a mountain-top, and focusing in on this new view of a sonic city. Such a description of discovering a new sound truly explains the wonder and excitement discovered that afternoon. There was simply more realistic detail, yet that detail went and seemed to lift the whole signature to a different zone.
End of review summary:
You see the difference here was there was an area of the original 2nd generation purple OVA that held a style of lacking separation, a clump of details that you couldn’t see into as well. Yet where the purple OVA hasn’t changed is in overall stage and lower midrange, and bass……those are really almost the same. The house tuning for Reecho is a balanced U tuning, thus (they are) continuing and refining this sound. The results are an IEM which promotes great imaging, separation and timbre, actually very uncommon for a single full-range DD? Thus the cream on the top has been to leave their over-all sound the same, but offer this upper midrange detail and smoothness which took the original sound signature and made it that much better! It’s more involving and emotional simply because it is now more real. It’s like a sheet has been pulled away and clarity discovered underneath, this area is more 3D and yet a little smoother.
Comparisons:
Here we will once more compare the SG-01 Dawn and purple SG-01 OVA….I mean why not? I was looking for single DDs to add to these side-by-sides, and while rummaging through my gear, I stumbled across the ISN H30. Now my original quest was to find the ISN D10, as it was a more pricey single full-range DD, but after finding the H30 it dawned on me that it would be more fun to compare. At $129.00 the ISN H30 is a 2BA + 1DD Hybrid. Now it’s not always fair to find an IEM to compare that’s over double the price of our Dawn, yet I feel this will be a grand learning experience? One of the main reasons to bring the ISN H30 in for comparison is the introduction of BAs, and slightly brighter BA sound in comparison to full-range single DDs.
Note in comparison the kitchen appliance look of the nozzle, a first...and I love it!
1) 9.2mm beryllium frosted diaphragm dynamic driver for low frequency
1) Sonion BA for middle frequency
1) Knowles BA for high frequency
B) Reecho SG-01 OVA: Single full-range 10mm with 7 microns Graphene Composite Diaphragm:
C) Reecho SG-01 Dawn: Single full-range 10mm Carbon Nano Diaphragm:
In choosing the odd man out with the ISN H30 there are the possibilities to both help delineate what the Dawn actually is and what it is not. While the two IEMs could be looked at as different and complementary, they do have some features which end parallel. Typically Hybrid IEMs will offer a slight skew of timbre into the midrange, upper-midrange and treble. This occurs because we are utilizing BAs, and even though we find ISN bring in name brand mid Knowles and treble Sonion BA drivers, there can still be expected such slight metallic timbre. The reason Hybrids are always my favorite over single full-range DDs is because there is also an added display of separation and imaging, which in my mind (as long as they are kept in check) overrides any timbre issues. And the truth of the matter is this is not a yes, no style of timbre issue. No, with Hybrids there can be endless truly subtle differences depending on the character of the BA, and the exact tune implementation into the sonic IEM signature. As of late there have even been house drivers made by various manufactures, which refuse to pay for outsourced Sonion and outsourced Knowles drivers, to include custom BAs into their IEMs, that due to tuning (and probably build quality) go the extra step moving forward with more realistic tone. As such inventions progress we even may see an extra level of competition to our single full-range DD. So the single full-range DD manufactures are too upping-up their performance with bigger size N52 driver magnets which contain even better control over the diaphragm. With the Dawn Reecho are reintroducing a new self-developed second generation carbon nano-tube diaphragm. And guess what the end results are? More detail like the BA brothers. Yep DDs are actually approaching BA performance, this stuff is real and part of the reason I was launched emotionally 6 feet off the ground when I heard the Dawn for the first time.
Crazy as it sounds……my first impressions of the Reecho Dawn had me thinking the driver sounded almost like a BA? It was the best of both worlds, thus having the detail of a BA with the cohesiveness of a full-range DD. It was this slight extra detail, 3D imaging and vibrant tone which really surprised me…….surprised me so much that I endlessly talked about how this new Dawn was so special…..that it was in fact revolutionary?
The included cable:
The 148 cores OCC silver-plated cable is both balanced sounding and ergonomic. Ergonomic as it just lays wherever you want it to and doesn't get in the way. Probably the best testament to this cable quality is the fact that after using the included cable, I went and tried to use a 4.4mm balanced cable, yet went back to the included cable for my testing. There was an elegant and truthful sound, really all you would ever need. Unless of course you wanted to try and find the extreme of where the Dawn could go sonically, then sure aftermarket cables were a definite change to the sound character......which I will get into.
Preparation for testing and equipment changes:
I spent an hour touring different cables for both the OVA and Dawn, reason being, my version of the ISN H30 has 4.4mm plugs which uses a different amplifier in the Sony 1A. And after experimenting with various 4.4mm cables on the normally equipped 3.5mm OVA and Dawn I eventually went back to the included Reecho Dawn cable. Yet what I learned in that hour was something else. I tried the expensive ISN GC4 cable and the ISN G4 cable. And of note was the fact that the ISN GC4 completely altered the low-end of the Dawn to be very different from the OVA. Yep, first off I kept getting intuitions to try the ISN GC4 with the Dawn. Now when that happens instinct is at work, showing me possibilities. And sure enough, with the GC4 in place for once there was a big difference in how the OVA and Dawn were as far as midrange and low-end. It was like those differences we noted at the beginning of the review were still there, but the Dawn was noted now as being a totally different driver. Now the Dawn showed extra 3D and textured low-end, a separated experience which was miles better than the 2nd generation OVA? Yet, the replay was slightly colored as that is what the GC4 does, it is a speciality cable. I then tried the ISN G4 and found it went back to the low-end I was familiar with from the stock Dawn cable. So I ended up using 3.5mm output of the 1A and the stock cable on both the OVA and Dawn, and the included 4.4mm cable with the ISN H30. But just so you know, if you have a number of cables laying around, there is a pretty good chance to explore low-end textures and definition with an alternative cable than the one the Dawn came with. And at $179.00 the ISN GC4 is not going to be the choice for everyone to match with a $51.99 Dawn IEM?
Yet incase you did already have the ISN GC4 or wanted one of the very best cables to experience the Dawn after falling in love with it and it’s included cable, I can thoroughly recommend the (slightly colored) ISN GC4, as one of the aftermarket cables which took the Reecho SG-01 Dawn to a whole new level!
Let us begin:
ISN H30:
In replay the H30 was noticeably better than I remember it to be. Of course part of this is trying new music that just by itself, the music helps IEMs to be their best. Big washes of midrange elements is maybe the first thing you will notice, that and how the bass is sequestered-off into its own “bass zone”.
Kaveh Cohen, Michael Nielsen
Forza Motorsport OST
Brotherhood
44.1 kHz - 24 bit
Really the break when the bass arrives is no better place to showcase this phenomena. Right at the 00:42 mark the song goes to a different level where surprisingly I don’t remember the H30 as being so plush and into how the lower midrange and bass was heard, of course it could be the music, accentuating stuff? Remember it is the effects separated out to the edges and completely itemized, that the Dawn can’t keep up with. While offering really the opposite in how the nozzles work, the H30’s are on the long side, and the Dawn is on the shorter side, yet I’m able to get my preferred ear-tips to work flawlessly! A switch to the Dawn and we are met with both a more together style of playback and denser, thicker and even holding more bass physicality. Yet don’t make that together comment mean the music is not separated and not fully spacial….because it gloriously is. And while yes, timbre is better with the Dawn, the difference was not something I picked-up on right away………..it was this warmth….now someone could say that warmth is the timbre differences between the two IEMs……and I wouldn’t argue. You see really the shining Dawn difference here in comparison to many DDs is the beautiful separation, especially in the upper midrange of this song…………so much so that I forgot which IEM I had in my ears and had to feel them! But to cut this comparison short….yes Dawn soundstage is narrower, imaging out to the sides takes place closer to home with the Dawn and of course the separation in of lesser notice, but most of all this bass and lower midrange is clearer, somehow? Though due to the separation the ISN H30 still offers a style of bass definition, but that is not one of its strong points. Yet while holding better H30 details, those details don’t carry the note-weight of the Dawn. Where the H30 is way more midrange centered and holding action in a thinner but more refined way, especially when imaging goes out to the side. It is truly hard for me to choose the best, and really if anything they would be truly considered complementary. Yet, my heart tugs on the Dawn, which is very unusual as normally Hybrids are always my choice, and to think this H30 Hybrid was even powered by the better amplifier in the WM1A DAP? Lol
The OVA v the Dawn:
Yep, I’m comparing them again, different days, different moods, YADA, YADA. Why not….there could be more to be discovered. And while the ISN GC4 cable did start to give clues as to highlight the deep-end difference between the two OVA and Dawn….Let’s see if those features show-up now using the included cable (for both IEMs) in 3.5mm……..maybe?
Lorne Balfe and Andrew Kawczynski
Grand Turismo OST
Academy Race
44.1 kHz - 24 bit
Sure enough, with the sonic clues provided into vision of the low-end by the use of the ISN GC4 cables, now returning to the original Dawn provided cable and 2nd generation OVA IEM truth is found. The only way I can explain this is psychology. As listeners we are distracted and even though I did do a low-end comparison between the OVA and Dawn before……sonically I was given new clues after cable rolls. As such the bass was not only 1dB deeper, it was more defined and separated with this new Dawn 10mm Carbon Nano Diaphragm. I mean how could it not be really? The driver is moving ahead to proclaim a different midrange and treble showcasing more detail, so why wouldn’t the same go downstairs? It could be said that the OVA being the same weight, yet slightly smaller probably fits a little better? Where the OVA weight sits more inside your ear? Yet these sound differences are real. And yes it would be the treble and midrange and upper midrange that get the resolution details the most…..and the biggest issue with the 2nd generation OVA was that area of less resolution than the Dawn, a difference that is maybe even worth upgrading even if you had the original OVA and were wondering if that difference was enough……..as with different cables than the included Dawn cable……those differences will end up totally surprising and drastic. And truly I apologize in advance that while ear-tips made a difference, the cable rolls here were nothing short of staggering?
While in no way is the Academy Race track played back perfectly, the issues at hand are truly meaningless at the asking price for the Reecho SG-01 Dawn. Such favoritism here most likely revolves around the musicality found. As such you may forgive me for such enthusiasm? But if I was to try and take Academy Race playback apart……the stage here is actually tall and wide, even forward and back. Such displays of imaging are slightly more connected and at the same time while there is even more detail in places in comparison to the 2nd generation OVA, we still are met with a lack of total imaging resolution and refinement in comparison to more expensive IEMs. I don’t want to call the SG-01 Dawn blurry, but if you were looking to throw rocks here, that may be the defining starting point. Still with the layers offered regardless of detail withheld inside of the imaging……the Dawn is still a ton of fun and totally offering close (close) to near perfect timbre. Even the darker and thick violins at 01:45 while not completely airy hold a deep seated connection to the deep cello work as well as the standup bass here. While some may point-out, this sea of elements, there are beautiful harmonically rich details found holding provocative low-end energy.
The packaging:
Slightly different is the original OVA package.
Note similar included cable and my favorite ever wide-bore ear-tips.
From a phone:
I always have to try this. And while maybe meaning even more as this time, I used some generic middle-bore ear-tips. Not really in fear of losing my sacred wide-bore tips out of the house as the Dawn offers super wide nozzles being a first of their kind here at Redcarmoose Labs. As such the diameter will hold any tip on-tight. It is just the point of going outside with my wide-bores, as I only have two pairs and don’t know where to get more. Anyway the sound was very balanced from a phone, which may be the point as there were less contrasts into the stage, yet the stage was still big and easily liked. Were here we were noticing a smooth midrange and treble and the bass (while compacted) still sat in its place and offered a warm charm, that while not something I would maybe choose first to leave the house with, was fine none-the-less. There was nothing offensive or out of place, the payback was simply holding less stage and less technicalities from coming from a slightly smaller stage.
Build:
While the same weight as the previous edition, now we can see wider nozzles, they even look way different than in the photos. Bigger probably the biggest I have ever seen in IEM land. We are also gifted a solid shell with the addition of two air vents. Such a semi custom design ends a joy in daily use.
Conclusion:
While I never heard the original black OVA, I did do a review of the 2nd generation purple OVA. And following down the understood and expected path to glory, Reecho and company have once more reinvented the SG-01. And different from other companies putting out an ocean of different sounding gear, here Reecho in a very careful and conservative way is naming the IEM the same, yet keeping up with the times. Offering a vastly different level of resolution which is noticeable between the OVA and the Dawn, yet can be drastically noticed upon trying new variations of cables. So much so that I can imagine people getting the ISN GC4 cable and naturally matching the Dawn to bring new lower-end details and wonderful textures to life. Now at this place in time if you’re game to explore simply what the included Dawn package provides, you will be thoroughly amused and satisfied, yet this here Dawn has incredible quality to scale with better and better gear, so much so that its potential is astounding?
Yet, remember early on I had not discovered such traits, as it was simply the benefit of this new Single Full-range 10mm Carbon Nano Diaphragm, and a new encasement which thrilled me. And sure the $51.99 Dawn is not everything, but at this level of musicality, I really don’t need anything more. As many are in the know…….that there is a secret in that regardless of price, Single Full-range DDs can mesmerize regardless of cost, if they are made correctly, and the Dawn is just that.
Disclaimer:
I want to thank Penon Audio for the love and for the Reecho SG-01 Dawn review sample.
Disclaimer:
These are one person's ideas and concepts, your results may vary.
Disclaimer on 4.5 star rating:
Normally I would go ahead and rate the Dawn a full 5 stars, due to rating on sound quality % to cost. Yep, it is value where I get my rating system from. The Dawn is all that, regardless of a rating system......in fact if there was 6 stars the Dawn would get that, simply because we are not trying to get every ounce of detail from a $51.99 IEM, it's impossible. Yet upon finding the Dawn to be both incredibly musical and detailed for what it is, I found myself emotionally beside myself.......I really thought this IEM is possibly the best DD I have ever heard (regardless of price) and I still think that way. Yet due to folks finding my judgment to be overly enthusiastic, and off the ground.........I am giving a 4.5 star review here. Yet as more people get the Dawn, and you will witness a phenomenon of success, I promise you that. Cheers!
Equipment Used:
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
Samsung Phone 3.5mm output
Pros: 14.5mm Planar Action
Warm
Musical
Fun
Forgiving
A value
Great fitting
One of the best (if not the very best) Planar IEMs I have heard to date, and I’m not afraid to disclose that
Cons: At $99.99…….none?
NiceHCK F1 Pro Redcarmoose Labs January 3nd, 2024 To tell you the truth having the F1 Pro around has worn out my camera. There are way too many photos in this review……too many to count. As the look of the F1 Pro ended inspiring……almost like having a supermodel over for the weekend……..click, click….click…..a drink of water……click, click click. Here at Redcarmoose Labs we don’t often get supermodels dropping by for photos………so I guess the NiceHCK F1 Pro will have to do….it actually sounds nice too.
In this review I compare the NiceHCK Cyan to the regular cable. This (package deal) Cyan upgrade cable is NiceHCK’s way of offering two cables at a discounted price.
Anyways……there was the original NiceHCK F1 which had the same size driver, but this Pro edition offers an upgraded driver, plus the regular F1 included nozzle changes to offer different sonic signatures. Now it looks like NiceHCK is offering cables as a way to adjust the signature to your liking. And….yes, there really was a noticeable change, if this is simply cable impedance so be it, but both cables are truly very different than what I have seen with IEMs of this price point.
To start of both the Cyan and the regular included cable offer an upgraded look, and sound, simply the 2Pins and the cable jacket material, the cable splitter and chin-cinch additives. This is kinda how it works with cable manufactures which also offer IEMs. As a manufacture, due to not having to go out and buy a nice cable to go along with your IEM, you are able to get an upgraded cable (to your customer) at wholesale, passing on that value.
Cables:
I’m not going to spend too much time on this subject, except I do cable reviews all the time. I’m a cable believer, so much so that before I started to write this review I used the Cyan cable on a handful of IEMs. Yep, this is what happens when a manufacture (NiceHCK) goes ahead and offers you a 4.4mm cable, you start to use it on other manufactures IEMs……in which they only offered 3.5mm. So in many ways the Cyan (blue) cable here has a personal story and relationship. And sure enough the Cyan did its magic trick with other IEMs same as the F1 Pro. What it does is offer an expanded stage, bigger than the included cable, and adds a hint of warmth to kinda smooth out the peaks in treble and upper midrange. For me anyway this was found as unique because normally a wider stage will take place with more silver additive over copper, yet here we were gaining smoothness and a wider stage. The cable though is slightly strange in that it has a furry coat…………..now in regular use it is fine, but this extra fur showed up in photos. Yet as a whole both cables offered great ergonomics…….note how all four 2Pins are color coded…..why doesn’t everyone do that?
All are Planar IEMs in the below photo.....but don't whine, 2 are square planar IEMs and two are Hybrids.
Comparisons:
Comparisons are important as if you were in the market and choosing fruit or vegetables you would grab them and hold them in your hand. You can tell that some fruit is better quality than others. That quality may partially be subjective, but part of the quality is not. Meaning some like soft avocados and some like firm avocados. Yet when you get that one avocado that is the cat’s meow………it goes and somehow gains ground on the other avocados…….to become special. Such character is actually quantifiable and able to be listed as qualities……..beyond preference and beyond subjectivity. This often happens because the sound is more real. It’s hard to argue with that one! Of my two photos here one is the three IEMs we will use to compare the F1 Pro, and another photograph, the one with nine different IEMs is simply showing the hierarchy used to arrive at our test group. If you find your IEM as one of the other eight included, don’t take offense as that my personal choice in the end. Obviously as this is really only my personal battle of IEMs, there still is that element of subjectivity included.
Top row TANGZU Zetian Wu Planar IEM and Kiwi ears Melody Planar IEM
Bottom row NiceHCK F1 Pro
The TANGZU ZETIAN WU unexpectedly became my favorite. And for good reason, as its $149.00 14.5mm Planar driver just seemed to promote my style of response. A V shape response which holding to Planar attributes offered a faster bass replay than comparable DDs, or ever Hybrids for that matter. The tone was warm and yet still dynamic. Coming out around September of 2022 the WU ended the Planar to beat…..that was until the Kiwi ears Melody came along.
Kiwi Ears Melody:
Just last November I reviewed the Kiwi ears Melody and found it to offer amazing vocals and low-end authority. In fact the Kiwi ears Melody jumped ahead of all the other Planar I tested and found itself holding a spot right next to the ZETIAN WU in Redcarmoose’s history of Planar IEMs. Maybe it is the forwardness that is its secret weapon against past IEMs like the LETSHUOER S12 PRO? You see it’s not just forwardness here, it is also bigness, bringing to life the music at hand…..so much so that I don’t need to test out the LETSHUOER S12 PRO again, I already did that numerous times. As once again this is not a question of preference.
So……shall we begin?
Now I know why everybody is talking about this F1 Pro, yep…….while surprisingly the Wu offered a deep bass additive, there was a noticeable exaggerated treble/midrange energy that I didn’t remember the WU as having. Don’t get me wrong, as I actually love the WU, keeping the WU in her case and not commingling with the peasants. To try and make this clear as day, the Kiwi ears Melody had it’s forward and big displays of imaging, only strangely the F1 Pro was even more forward and offered a (bigger) soundstage which travels even farther outside my head. Where the Medley had bass texture, the F1 Pro had both clearer bass and it was found somehow more together and polite? What this means is the F1 Pro was simply offering a bigger stage and inside that stage was every musical element displayed as it should be, with no Pinna Gain sizzle or heat. There was gorgeous big and fluid bass that outstretched into another realm, an unexpected realm into the stage. Such displays of general quality and detail depth went and truly put the pants on the Melody. The Melody takes slightly more juice to get going than the F1 Pro, but going back and forth between these three over and over again, there is a truly common sound held in many ways making each one the same. Yet the F1 Pro is bigger and possibly more involving due to that size? The F1 Pro is ever so slightly more vibrant and real also showcasing a little more detail in how the stage is spread-out. It’s the fact that the F1 Pro doesn’t have that much of a vocal push as what the Melody is trying to accomplish, that instead we are greeted with a slightly more balanced display……and that balance goes to proclaim slightly more visibility in places…….yet there is this warm smooth lower midrange that is endearing too. That there are spacial properties to this F1 sage where the lower midrange has a finesse to it? In a way that finesse is soft and inviting…….this is what I hear. Yet the WU has a charm all it own, yet that charm is also needing of slightly more juice. In some ways the WU still comes out ahead with imaging? Yet finally in the end I figured out what the biggest difference between the three (timbre)……..really they sound very close to the same as there is speculation one company makes these planer drivers……that is is how they are encapsulated that makes the differences here. But while the WU offers the lower tone of timbre, the Kiwi ears Melody offers the higher aspect inside of each instrument……..and guess where the F1 Pro lands………..can you guess? That’s right, Goldilocks Land…..right dab in the middle timbre wise! It may be that the timbre replay of the F1 Pro gives a more relaxing feeling while listening……..I mean maybe, maybe not, but there was this unexplainable inviting tone which the F1 Pro did all the time, and I tried but could not put my finger on how or why…………………
Though despite these abilities (sure) there is a noticeable difference, yet I’m not so sure if you already had one of the prior two, that getting the new F1 Pro IEM would be that much of a different deal? The crazy part was the contrasts between the the WU having the midrange/treble boost (in that area) but also going with the lowest overall timbre?
Timbre:
What is it? This is the character (inside) of a musical instrument or sung vocals which enable a listener to distinguish (apart) a sound of exactly the same frequency. To address this here, BA drivers often have a distinguishable metallic tinge, Planar divers too at times will not replay perfect timbre, with other factors such as speed of the bass and layering causing people to own them. And finally single full-range DDs ofter probably the best timbre if we were keeping score. Yet none of these methodologies are perfect, what an enthusiast can do is find out though experience which way they want to go, as Hybrids are my favorite way to make IEM music. Yet believe it or not the industry is always making-up new ideas, better ideas to work on any specific one drawback of a methodology and improve that aspect. Where first impressions with the F1 Pro had me say the timbre was really really good, to later on another day and another listening session find the timbre to be slightly off. And that’s how perception of timbre is, no matter who you are. As when put into a challenge the F1 Pro it turns-out generates the best timbre out of the three. Now the biggest part of this timbre judgment is actually the source material. Meaning it is the song you choose which enables your specific judgment of timbre, and maybe as some guess, this has to do with known acoustic instruments sounding real, or not?
Build:
Showing a very different aspect (to me) of a build idea. At just 6 grams the F1 Pro is nether heavy or light weight. And I found the nozzles to be only a fraction short to allow me to use my favorite ear-tips. I mean sure they give you 12 sets of included ear tips……and I have them near by here to try. And I did find the yellow centered included silicone to fit fine, yet the nozzle opening is lesser circumference, hence lesser stage than what I normally use. Though a wild-card tip that seemed to work really well for me was the TANGZU DIVINUS VELVET ear-tips? Such ear-tips had that length that I wasn’t getting with my preferred tips, which makes up for the F1 Pro’s (ever so slightly) short nozzle length. And the VELVETS do this funny dispersion thing which add air to the treble…….really this phenomena works with a number of IEMs…too. NiceCHK has gone forward to include a set of 3 Sony EP-EX11 clones. These are virtually indistinguishable from the real Sony’s and promote extra bass if wanted.
Sony MDR-Z1R with Fibonacci Grill
Shape:
Such build factor comes off really close to perfect in that maybe the F1 Pro could be viewed as middle size? While it is chunky, it is not overly big as seen in all the side-by-side photos above. And I can think of a few IEMs off hand that have utilized this “barrel” shape idea, namely DUNU with the ZEN and TRN with the TA1 Max…there are more. But this encasement is probably aluminum and holds back and subdues any unwanted vibrations from the second generation 14.2mm Planar Diaphragm. But often we need to judge an IEM shape in the long term, I mean does it stay in place? And that’s why the Velvets were even better than the Sony EP-EX11 clones………And why they say fit is everything……because if your not getting good fit, you really don’t know how an IEM sounds. The cable guides also help in this regard. Yet once in place, the F1 Pro stays in place, surprising when you consider how different they look? There are two vents, one facing your ear and the other near the 2Pin as see in photos. They are basically two piece with a Fibonacci Grill to finish off the nozzle ends.
Music tests:
KMFDM
PARADISE
Oh My Goth
44.1 kHz - 24 bit Here is the deal, there are a bunch of IEMs (out there) for sale right now. Ones with maybe better timbre and ones that maybe do the vocals in a slightly better light? Yet where the F1 Pro hits home, where your hard earned dollar bills go into action is with the fast bass dexterity here. Bass notes are getting in and getting out, plus there are layers of detail that is pretty hard for any other driver type to compete at this price. It’s this slam held into actual note visualization, they (the notes) are clear and separated into layers. There is a nice bump to this whole song, in just the way it rocks. Now while all this is going on it still doesn’t have that pin-point detail like some Hybrid in this price-point have…….but due to the bottom-end fireworks we forgive such drawbacks. It’s the fast pace here that is floating our boat……..and taking us out to sea! That in-fact stuff is getting in, then getting out-of-the-way just as fast. That and the sonic transients that just won’t stop. These transients are e-v-e-r-y-w-h-e-r-e!
Here Lucia Cifarelli’s vocals are just right.....meaning there is a place for them which isn’t out front and not behind either. To where the vocals are simply correct, but not forward. There is a character too with the guitar where you can hear really fast how the bass tone (notes) follow the exact same note as the guitar, that there is this relationship which takes place, this interaction which comes off sublime. The Planar idea of sound reproduction is very apropos for fast/complicated rock. I mean, that’s why people buy them, if you were wondering.
Kaveh Cohen, Michael Nielsen
Forza Motorsport OST
Brotherhood
44.1 kHz - 24 bit
This song is one of favorites to judge timbre. That and there is a way about it that the song Brotherhood which sounds special on a wide variety of IEMs. So why not use it as it is both a tool and a joy. It is recorded well, offering to showcase many IEMs strengths, and at times weaknesses.
The first thing I notice is the size of display. Now with my schedule I’m hearing this song many times a week, and taking it apart into IEM attributes and deficits. And the outcome of such ear-time is I start to get even closer to the music, I am able to start to perceive even deeper into playback ideas and explain them to you. So while my first ideas were to judge timbre, we are long past that idea. Why? The pure size of this song has a very sincere way of distracting you. And folks if you ever wanted to know the very best thing an IEM can do……….that is not on the list of musical attributes like Bass, Treble, Timbre…….it’s distraction, to be inside the song. To forget your laundry list of stuff to do…….that's living, and what IEM listening is all about.
What another paragraph talking about the size of display, already? What? Well kids it’s this immersive quality that everyone is after, and maybe I have hit the mark of mental burn-in with the F1 Pro, maybe a further connection with the music here, but I’m inside the zone. Such examples maybe take place due to evenness of playback? That it is all here, where nothing is causing a disruption, to disrupt our distraction from taking place.
Timbre: This is my Timbre song. As such the piano is the first clue as to how we are getting along, and of course I used this song in my first impressions of the F1 Pro. And really while there is a hint of planar timbre, it’s not bad, not bad at all……..to almost having you guess there is none…..and that my friends is where we want to be.
Probably the most fun here is the separation, separation and layering that was made for planar IEMs. The next level is when the midrange synth hits at 00:42. This fact is taking place not only due to the midrange synth wash, except it is the actual contrasts to the bass…..again the layers that are taking this song apart, and showcasing the musicality found present. I never get tired of hearing this song, into many forms of playback, but I also notice that the complex bass replay here is making everything much more of a treat.
Lorne Balfe and Andrew Kawczynski
Grand Turismo OST
Academy Race
44.1 kHz - 24 bit
Laughably, this song is suppose to win-out over the last song due to size of replay, being the last song was primarily direct to board synth with (said) orchestral additives. When Academy Race is the real-deal, a full on Orchestra recorded in all of its size to showcase the grandeur held in replay. Such grandeur can maybe help with the epic emotions found in cinema, the larger than life aspect of cinema. Where the last song Brotherhood was in support for a video game as to not distract a person driving an imaginary car around an imaginary race track, and trying not to get into an imaginary racing accident, so you can meet the imaginary females at the end, and receive an imaginary trophy.
Here though the very first thing we notice is the stand-up bass and cello action. Just letting us know, that this song is not messing around. The low end here is authoritative and full, basically emotional is the best word I can come up with? Part of that ability comes from speed. There is a transient response factor here. Such a component of replay means subtle bass notes can be introduced (even as an accent) and become showcased due to their inherent detail. Transients are detail in the time domain, getting in and getting out just as fast, to enable the highlight of detail, but more than that, to proclaim their space into the imaging.
At 03:03 we come upon a question of timbre? Meaning there are these super high up and fast moving rhythm elements, a lot of ruckus is the metallic rhythm section, and it does have me wonder how close to life such percussive sounds are replayed? Such sounds can also be found falling back into the mix, where they almost blend in once more. Timbre is connected to just how out front sounds in a song can be.
Delain
Apocalypse & Chill
Chemical Redemption
44.1 kHz - 24 bit
Oh, gosh, so here is maybe the timbre test song. Truly I don’t know exactly how this is going to work out, as this is a song I don’t always listen to, due to being an extreme example of how to do a musical mix down. Here is Symphonic Metal with a Charlotte Wessels fronted sound that also goes with this buzz-saw guitar. Many IEMs can boost this found frequency or diminish it to where it doesn’t sound correct. Two IEM ways of interpreting the sound, and of course there are a multitude of ideas out there, just as there are a multitude of different IEMs to hear the song with. Plus I’m game to reveal that there isn’t always simply a right or wrong way, that there many levels of right and wrong, with some ways being just a little right and some (ways) way perfect. Also I wasn’t there when the producers were dialing the sound in. I mean sure, I have a guess as to when this sounds correct, but it is anyones guess as to how it sounded during mix down? Here we are witnessing an out of the ordinary song which will do two very important things…..one of course it will show how the F1 Pro does the guitar, but also it is very important to know how the upper-end of treble and midrange are interpreted, as we already know the bass (busy) actions and (complex) drums will be well defined, we can guess that…….but there is a lot going on here…..and it is a good song to use.
Wild as this is probably one of the ways that’s close to what they heard in the studio as far as guitar tone, still there is no denying this tone in completely out of the ordinary, except if your into Symphonic Female Fronted Metal, then you probably listen to this first thing in the morning.
At 00:24 Charlotte Wessels takes a well deserved breath (probably overdubbed) and begins her vocal additives. And I must say, these are exactly the balance I feel the producers wanted as far as where the vocal placement is. They are out-front but still blend with how the song can be heard, right in place. Such a number goes ahead and proclaims a myriad of details……the cymbal strikes etc….etc. It isn’t till the middle of 01:11 that this song kicks into gear, and shows us a broad sounding anthem of a break……one that if you aren’t feeling the music........at no other time later on will you feel the music either. Yep, it’s sink or swim for how this calculated, detailed and complex piece of music is performed. Yet right along with all the bumps and grooves we find the F1 Pro simply keeping up, and better than only keeping up, the F1 Pro is making this memorable. At 01:15 the music starts to sway and Charlotte Wessels sings….the word physical…that’s when we realize that this song is going to places yet uncharted, to a romantic place, full of entertainment and surprises!
Package:
Conclusion:
Well there you have it folks, my first NiceHCK review. And to tell you the truth the F1 Pro was a surprise. And while sure I did first impressions and they were great, but then I set the F1 Pro on the burn-in rack for a week and became inundated with more sound making devices. Yet back in my mind were still those first impressions……making a statement. Then I did something else, I pulled out the NiceHCK Cyan cable and started mixing it with all kinds of IEMs, in fact as the F1 Pro was doing its burn-in I had a week to play around with this peculiar cable. I learned how the Cyan first worked with the F1 Pro, and of course that extra lower authority is a pleasant additive………..but what if it could do the same thing for other IEMs, and increase soundstage girth and size? And sure enough the effects were real and repeatable. I could almost do a complete review separately of this Cyan Cable, as there is story there. Yet NiceHCK said it was fine just to included the Cyan review with this F1Pro review. And in fact if you didn’t want the Cyan cable and you are attracted to a cleaner and faster replay, in so many ways the included cable is all you need. There is nothing cheap of value sounding about the included cable, maybe I didn’t give it enough love here, but it is fully a nice addition by itself, and far nicer than almost all cables that come with IEMs at the $99.99 price point. Simply sturdy and ergonomic, and remember some may like the included cable best, as that’s how subjective this whole hobby is. That NiceHCK is going an offering a cable that totally works, but offering the Cyan Cable to those that want their F1 Pro to own a smoother sound contained in a wider stage!
To summarize this review….the F1 Pro was my most enjoyable Planar IEM to date. And since April of 2022, I have heard my fair share of them. Get yours today……oh, and to me they look even better in real life, than in photographs?
Haha crazy. Was listening to Charlotte wessles (early morning here) and pulled out this review and stumbled on those lines about her! Looks like I just might have to succumb and get F1 pro. Shades out Wu zetian eh... (Was deciding between the two).
Pros: Gorgeous big sound stage and imaging due to a bunch of drivers
Such GK20 with 3BA-2DD-2PZT arrives at a seven driver IEM inside a compact solid 3D printed shell
Three channel, four frequency division internal design
A Titanium coated DD and one LCP DD
Perfect semi custom 3D printed form factor on the medium small size
Included branded GEEK WOLD 4.4mm cable
Slightly more vocal centric, both in detail and positioning than the nine driver $200.00 GK100
Cons: May be one the edge of bright for some depending who you are
GEEK WOLD GK20 Redcarmoose Labs January 1st, 2024
While I have the latest GEEK WOLD GK10s in route to me, they haven't made it in time for comparisons. Yet I really am curious to hear them, as somehow GEEK WOLD has started to make their lesser priced IEMs sound pretty good? While I have only heard 2 GEEK WOLD examples, both the GK100 and GK20 sound both a little the same and a little different. So to let you understand the history of GEEK WOLD…..
This takes us to the original GEEK WOLD GK10. Priced at $45.00 USD, the GK10 came out in early July of 2021. There was also a GEEK WOLD GK3 that was released in 2018, yet pretty much overlooked by the Head-Fi community. Yet the original GK10 was a success and really is the single earphone which brought GEEK WOLD to Head-Fi. For the most part (at the time) the GK10 provided a sound that for the money was untouchable……I hear.
The original GK10: 1) 8mm titanium dome dynamic bass
2) 7mm graphene dynamic for midrange
3) A BA for treble 4) And two piezoelectric for treble extension…..just to top things off.
Such an invention would compete with many IEMs in 2021 even up to $200 so I'm told?
GK10s:
I mean sure the GK10 is legendary, and most likely the GK10s will be a subtle improvement, I can guess?
The GEEK WOLD GK20:
But to take this GK20 seriously, I probably like the bass better than the double the money GK100? And even though I have only heard two GEEK WOLD products, I do understand where they are coming from…….GEEK WOLD is attempting to give the budget world a taste of high-end treble. Really that is my generalization of what their goals are……..as such I can only guess their start here at Head-Fi (with the GK10) was based on that same premise? GEEK WOLD is putting a lot of parts under the hood.
Now to level with you, I really think the GK100 is on the larger side of big. I have seen pictures and laughably the (huge) GK200 dwarfs it……..so? Sure you want the GK200 10 drivers and are willing to put-up with that specific size, fine then, also that size difference looks to be mostly the added thickness over what the GK100 example is, as seen side-by-side in photos. Yet as little as I know about GEEK WOLD’s line up, this GK20 is a whole new deal, a whole new way of making an IEM. Notice when you see both the GK100 and GK20 (side-by-side) in my photographs, you can start to realize that GEEK WOLD took a whole new approach to making the GK20. Yep, it is solid 3D printed resin, where the GK100 is a hollow shell. And while the GK20 is 5 grams and the GK100 6 grams, the GK20 is see-through and the GK100 a totally opaque hollow shell. But more than that, the GK20 has way more curves to help it sit inside your ear farther. And finally the GK20 is truly a medium-small size………and for some that is going to be a big deal. So custom universal 3D designed and smaller (for me) better fitting than the GK100 form-factor.
How do the GK100 and GK20 compare sound wise?
First off the GK100 takes slightly more juice to get it going. And bass is actually more substantial with how the GK100 portrays a song. With that said (and if you read my GK100 review) the mids are a tad dry, or not as fully worked-out to portray vocal life in general, even compared to the GK20. What I’m trying to say is the vocals are forward and holding placement, it is just that the actual tone is on the dry side. Now I hope you understand this is not as big of a deal as it seems. Why? Well this giant groovy bass action and size of stage, makes the GK100 incredibly fun anyways. The fact that it is the ultimate Hybrid being built with no less than 9 drivers, using Piezoelectric, BA and DD to function. Where the GK20 goes ahead and adds a pure flavor of moving more upfront imaging and the vocals follow along to become showcased ever so slightly better. Just ever so slightly cleaner and more natural.
Heck, I can see the owner of GEEK WOLD sitting in the boardroom and having a discussion with the sound engineers. He is saying make me a new IEM and make it smaller, make it have more upfront and personal vocals……you don’t have to make these changes too different in the vocal department except maybe 20% or 28% of naturalness will make a world of difference to our consumers. This change is adding slight note-weight to the GK20 vocals and somehow that adds reverberation comprehension? Heck……what am I talking about? The vocals are simply clearer……that’s all. Now keep in mind that if you already owned the GK100 and primarily listened to instrumentals…..stay with your GK100. The GK100 increased separation and itemization is a real thing, over the slightly more together (forward) stage and item placement found in the GK20.
The truth is the GEEK WOLD GK100 has a smoother and more sophisticated instrument generation, especially up-top. Stuff is found into better detail and of more resolution, more lifelike even, falling into a better arranged and more realistic placement. So yes, you can tell it is the more expensive IEM, only the GK20 has better vocals……..more lifelike vocals!
The trebles GK100 v GK20:
I’m not one to concentrate on treble, I’m more into midrange and bass, yet I know trebles are super important to many, and maybe more so if a person is curious about a possible GEEK WOLD product? I’m partially guessing that this brand is trying to bring an expensive and sophisticated treble response to the value market, I mean there is room for such focus out there. And sure enough that is what is going on, all this complete itemization and structuring of separated treble components. The shakers, the hi-hats, the cymbals…..and those sounds that are indistinguishable as to what they truly are, but reside way up there in the treble response regions. To level with you, the GK100 does those better, and not just the sounding clearer, but even the reverberations of the treble items…….the GK100 room response is found to be more complete, clearer and better separated. Yet, if you truly wanted better vocals played, all of that maneuvering may matter less.
Conclusion of GK100 v GK20:
All this talk of one being better at this or that could lead someone into thinking that one IEM is faulty or off. When the truth of the matter is both IEMs lend themselves to very balanced and thoroughly entertaining replay……..as if you were strictly into instrumentals and listen to vocal music secondary…then the GK100 would be the way to go. If you wanted airy and forward vocals which contain an element of a breathy human character…..then the GK20 would be your choice.
The GK20 v the MEAOES Eagle:
I reviewed the MEAOES Eagle almost exactly a year ago on January 5th, 2022. Coming in at $149.90 the MEAOES Eagle fits right in with our side-by-sides. I mean just look at how the shell seems to be made at the same factory as GEEK WOLD………..but more than that the Eagle is also going ahead to offer more treble details and definition same as our IEMs above. Those who have been around maybe remember HIFIBOY, well this is that brand. We are gifted here with 2BAs and 2DDs. One DD is 7.5mm and the other is 8mm.
Here I would call the Eagles personality as the hard-trier. Where there is this ultimate treble definition, yet it isn’t of the best way blended nor of correct timbre. There is this synthetic aura to the top-end yet to someone trying out $150.00 IEMs in a shop this brightness and in a way technicality could come off exciting……….at first. And even a year later I have always been pulling the MEAOES Eagle out to see how different cables may help align the sonic response into a more cohesive and toned down approach. And sure enough a few weeks ago I really hit pay dirt. Which is one of the values of cable rolling, that every once in a while you have this magic cable that can truly change things for the better. Now the other extreme here is the bass! Yep, the bass is actually quite good for what it is. But to truly put things into perspective…….the Eagle makes the GK20 look surprisingly good…….almost perfect in comparison, it’s just a fact of life that the treble with the GK20 is just way better done. Also surprisingly the vocals with the Eagle regardless of the treble were actually quite clear and forward, really very good. Still the fitment and feel of the GK20 is better as well as the outside noise occlusion which gets an increase due to fit. Though to summarize this battle, it’s the midrange and top-end timbre that the GK20 ends up doing so much better…..that and better vocals……for less money, too! It’s just that the GK20 comes off as the more cohesive and mature player…….smaller and better fitting too, sorry to say.
Build: 2 Piezoelectric ultra treble high frequency drivers
2 Treble BA drivers
1 Midrange “BIG” BA
2 Dynamic Drivers
A 3 channel, 4 frequency internal design. There is a titanium DD for the super lows, and a LCP DD on top responsible for the lows. Such 3BA-2DD-2PZT arrives at a 7 driver IEM inside a compact 3D printed shell.
Cable:
Right before I started the below music tests I went and prequalified the included cable. What that means is (the included cable) could be less than optimal to do complete listening tests if it had sound quality issues. And I was suspicious as I had spent an entire evening using the included cable on a (different) IEM. And when I switched cables to a different aftermarket cable I found the stage opened up a little. Now you may wonder as to the reason why I chose the GEEK WOLD included cable for this other new IEM? Reason being is it is 4.4mm……and a great way to access the 4.4mm amplifier in some (now maybe most) DAPs. So in the end I actually prequalified the included once more and while not the very best cable I kind know why they included it with this package. 1st off the cable has a look and feel that is spectacular. The included cable looks like money with the gorgeous trademark named 4.4mm plug. The way the ergonomics work out in daily use. The way the chin cinch works, and finally the color coded 2Pin plugs and ear-hooks. Also who knows why it wasn’t the very best with a random IEM but I came to a definitive understanding as to how the cable performs. It must have a touch of silver over the use of copper because what this cable does is accentuates the forward positioning of imaging. Meaning trying other warmer cables the effect was less contrast and while slightly smoother, did not bring out the wanted vibrancy and even vocals inherent in the character of the GK20. So in my mind I went back to the boardroom ideas of GEEK WOLD and I could hear the GEEK WOLD President saying……I want vocals with this one. Being the last GK100 had meh vocals, do me and the listening community a favor and add vocals, we don’t want the reputation of so-so vocals, especially since this is China the epicenter of vocal music. And sure enough they added a cable which helped push the vibrancy………so much that after understanding what GEEK WOLD is up to with the personality of this cable, and the fact that it came with the IEM, and the fact that it’s beautiful……..well you get the message. Besides the GK20 is so well rounded that it goes with phones and DAPs and desktops. Yet I bet GEEK WOLD included a 4.4mm plug standard as they found out the GK20 craves a good source to become its best? I mean sure you can get the GK20 a regular 3.5mm plug and hook it to your phone and the sound is full and not thin………….except there is a profound difference in regards to stage and imaging, and even a more authoritative nature arriving at your favorite DAP or desktop. So to summarize this rambling……..the cable is fine and actually has many redeeming factors in daily use, you don’t need to change, except there are other places in tone that can be found by using some GUCCI cable you have laying around…..the GK20 has the ability to go there.
Music tests:
This section is by far the easiest to do…..simply listen and describe what is going on.
KMFDM
PARADISE
Oh My Goth
44.1 kHz - 24 bit
This song is one of my all time favorites and it contains vocals so going with the program here. But more than that, I’m more into instrumental music except I do appreciate good vocals from time to time and understand the concept of how they are done by an IEM character. Here are female vocals, yet I tested many other examples of male vocals to learn about the vocal abilities presented here. Probably the message to this song is that the GK20 doesn’t just to vocals…..but performs in such a balance that it does it all………I mean right off….right off the bat this is what I’m hearing! At 00:16 there are forward and punchy bass actions……..where it may be a layering of both synth bass and regular bass? Or maybe it’s all synth bass…..whatever it is there is a quality to where if it cuts through, and I’m content with this demeanor. If we rewind there is a wolf-howl at the start……at only 00:12 we hear the reverberations contained in this sound effect, bringing the realization that this isn’t your parents $99.00 IEM. And while going to the very start of the song there are thunder-clap sounds…………but to generate an idea of truly the resolution here there is a faint sound at 00:12……..it may be some movement in the studio, maybe it’s supposed to represent a lightning strike here? Whatever it is…..this is what an expanded top-end is about……the small stuff…in great detail and heard. I can look over at my collection of IEMs and many don’t have the ability to pull-up this faint sound…….then when you add the GK20 price point here………amazing!
At 00:22 the electric guitar arrives. I’m a guitar player so I always key-in on the timbre and judge it. The thing is all this sonic story telling is a lead-up to the vocals at exactly 00:30. Lucia Cifarelli has done vocals here since 2002 and I find her totally captivating, as maybe I like feisty females? But to fall back to my regularly understood sonic character of the GK20……here we are met with more of the same, as this $99.00 IEM really just goes about it’s day once again portraying the exact same vocal character as it has always done with my weeks of testing. There are no surprises here, and that is a good thing. What this means is not only are we awarded with vocals, but are also introduced with the effects layered about the vocals, yep as at times (especially with a song like this) we become smitten with just how artistic the vocal effects can turn-out. There is a separated off-to-the-right (00:43) as an example of a highlighted vocal delay, and the GK20 shows such subtle fireworks. I mean sure other IEMs go forward and don’t leave this out, except here it is our gift and showcased along with clear and vibrant instrumentation. Is this vocal replay better than the GK100……I think it is? Yet I say this except the GK100 is no slouch, not at all, allowing even more items and details to be found in this song, just the vocals and really everything else for that matter, are not so forward, leaving room for elements to position themselves back to come forward with more resolution into the GK100 stage display.
The cymbal strikes…..that is what GEEK WOLD is about…..to show the world that you too can have such replay. Why? Because it’s a hybrid and because the GEEK WOLD have an ability to promote a sophisticated Piezoelectric top-end. And there is complete naturalness to timbre here…..I mean that’s what is special, as we found out with the Eagle, anyone can throw in a forward and bright cymbal sound, except the art form…..the IEM art form is to make it have correct timbre and make it sit right into the pocket, where you hear it with the best of IEMs.
Excuse my verbose………because I can get side-tracked with this song and write about it endlessly. The point here is that this playback is separated, involved, correct and emotional, in fact this is one single example of total success, success that maybe happens due to GEEK WOLD concentrating on the fundamentals of replay. Meaning it’s all here, all you would want, especially at this particular price point. I mean I randomly chose this song because it is fun to listen to, but also because it is well-recorded and puts-up a set of challenges. Challenges that I know and understand…..because that is what test songs are about. Here my satisfaction results from completeness, size, thoroughness and technicalities as well as tone being just right.
Kaveh Cohen, Michael Nielsen
Forza Motorsport OST
Brotherhood
44.1 kHz - 24 bit
Here is another of my favorites, and not because it is the most thrilling song I have ever heard, but because this song is a tool to understand timbre, and a few other clues which I will get into. Even at the start 00:08 this drum metronome starts up. This is in fact the rhythm the whole song is based around. As this song is part of a gaming soundtrack to which the generated pace here seems to enhance gaming activity. There is a mood which takes place with humans when they partake of a driving game……and we want an element of relaxation, along with the thrills of taking part in a racing adventure. Maybe this metronome is connected to almost our heartbeat, maybe it’s only an added pace that simply lets us know we are in fact getting somewhere as far as progress in the game? Whatever its mission this drum beat can be found played back wrong. In fact there are subtle different intensities to it, yet with-in those intensities the actual tone needs to be represented as a drum, not a slap of a drum. The drum must hold note-weight and be fully formed into a believable representation of a drum…..and gloriously we have that. That may sound like a given, except here we are dealing with an IEM mechanism which (due to tuning) is always in danger of highlighting BA timbre issues. Where here is the use of a single BA given the midrange duties, but wait that is only one driver? With two BA responsible for the high frequencies and two Piezoelectric drivers for the extended highs. Then two DDs for the lows. But this single BA for the midrange has extra importance, at least that is how I hear the GK20? Also for whatever reason this particular BA is called by GEEK WOLD “large-size” lol. I mean it actually sounds like the midrange is what they were focusing on when they designed the GK20, because really the vocals and any other instrumentation are fully represented here. And the character of this middle toned drum is executed super well. The next timbre test comes from the piano in this song……as maybe the song originated as a piano piece and as such these keys are also from the start to the finish. Even at 00:09 we are greeted with the piano introduction, and as such it slowly makes its way front and center. It’s important to realize that while often a repeating sound can be put into the backseat while listening, due to the piano timbre being crucial, it still becomes a center of questions, and yes this is piano super well done. It’s the metallic sheen of the BA which will offer this double edged sword here, being both bright but offering a realness that often we are prejudiced to only accept from Knowles or Sonion. Yet I have to say times are a changing……as don’t you think GEEK WOLD went to a ton of effort to get the correct BA into place? And they really did as far as this piano timbre is concerned. It’s naked and out-front, not hiding in the background here. But to take this song to the next level…….there is introduction of new dynamics right at yep……at 00:43 seconds the creators added a multitude of instruments, a bass beat drum to show they mean business and a wash of midrange synthesizers. Seemingly arriving in a new place into the stage is a thrill as we didn’t expect it. And even though I have heard this song numerous times……the break here is still an honest and rewarding thrill for IEMs to be simply a part of. You see it is all coming together and the sound results are big and emotional. In fact, right at 00:43 seconds the two bass DDs kick-in, the midrange washes take place and even the introduction of way outside stage rhythm additions start their jobs. It’s this satisfying start of the song even before one minute! Yet this can be also a sink or swim moment, as not every IEM has the Hybrid abilities to separate and add warm luster to each and every aspect of this winning display……..except the GK20 does, it does very, very well here and better than the price-point would have you guess.
Lorne Balfe and Andrew Kawczynski
Grand Turismo OST
Academy Race
44.1 kHz - 24 bit
Here is an addition of more real (recorded) instruments. Meaning the last song was a game soundtrack, yet now we are moving to the big leagues….a full-on blockbuster movie OST. So now more dollars are spent trying to add emotional response to a film experience. And sure enough there is a pay-off………..right from the start. At just 00:11 seconds in the bass cellos are creating a Head-Fi trigger here at Redcarmoose Labs……the rest is history as this tune is creating quite a stir. In fact at the start of this review I said that the low end was maybe better than the GK100? Now to tell you the truth the GK100 has an ounce or two of more bass, it is $200.00 dollars and a lot of instrumental action, sure this OST is slightly bigger and offers maybe slightly more GK100 fireworks. We already learned that the GK100 is going ahead and providing an extra dose of tip-top realism and pizzaz. Yet the GK20 is no slouch and even though the vocal in choir form will show-up in this song later..........right at this point I’m simply getting off on the quality bass action. Its action into the bass response is both deep and yet still careful. I say careful as right at the 00:12 - 00:13 mark, right after the big bass drop there is another accent………………..it is a subtle extra bass additive that just goes to show how complete the GK20 is. Though to be critical here there are violin string accents that will often show-up more vivid with a number of other IEM replays……..and as always I’m listening for them, trying to hear them appear? Sure this audio glitch in the matrix is real, yet as I sit back and chomping banana cookies, I’m simply reporting on it. Sure they are there, just not as heard and not as clear being they're actual string friction bow accents which can often come off more vivid and clear? Yet as my first review of 2024, it doesn’t bother me as much, and especially not as much as reading about it would have you guess. LOL Plus I need to find something missing right? Something that is out of place……And I’m as always trying to figure out why this is……are the strings overshadowed by other more vivid instrumentation? Sure I can hear them, they are just not as separate from the background as regularly heard other times? So I go through and play this beginning over and over…….about nine times so far…..and it doesn’t get any better. In fact it is these violins are the very first things you hear to clue you in on the fact the stereo is on and functioning as correct, making music. I mean there is a dramatic boost of low-end energy which creates the cello and stand-up bass you fully hear……it is just a slight over emphasis which occludes the violins…..not that much of a big deal. Actually things like this are welcomed as there is no such thing as a perfect IEM, and as such issues like this keep it real.
Cello:
Stand-up bass:
Delain
Apocalypse & Chill
Chemical Redemption
44.1 kHz - 24 bit
Really cool that I’m ending with this song. And while other IEMs may do those violins better in the last song, they don’t always get this syncopated bass as forward or as vibrant as it is heard here. Right out of the gate at 00:00 you get such a pace maker……..and it is pushed way forward to what could only be described and vibrant and exquisite. Now this song is a toughie and part of my testing regime. I’m actually trying to cause trouble here. The guitar at 00:08 is a defining feature of Symphonic Metal. No where else would they even try to place this buzz-saw of a tone. This is actually a very careful test of BA timbre, and it is an overly busy song with 100 things going off at once. So what we are looking for is first a listenable and true to life guitar tone, then we are exploring just how well the GK20 is able to take the song apart and provide a credible reproduction. There is another reason I chose this guitar tone, because many may be sitting back in their easy chair and laughing with a GEEK WOLD product due to the treble accents ...that it would be better to leave this song for other IEMs to do better with. And there is some truth to that statement, yet there is not a yes, no type of answer here. As with tone there are maybe 10 different levels of perception, meaning most of the time few IEMs get it right anyway. Yet here there is no denying that nothing is left out, nothing is missing, maybe due to the middle “giant” BA, but what makes this whole thing really work out is Charlotte Wessels vibrant vocal imaging. Yep, who cares about those guitars as we now realize there is a method to this madness. That in fact Charlotte Wessels vocals get placed farther out front and make use of contrasts to somehow make it all sound correct and balanced. There are also faint extra accents to the ssssss sound she makes that sounds like an overdub, yet smooth and natural here with GK20 playback. Now I won't gussy up anything, sure I’ve heard this played back less trebly and less bright, which makes me realize that while correct here, it is on the brighter edge of correct. With that said, that doesn’t mean any bass was left out, it is just there is a tilt to the GK20 that maybe will be loved by some with this number, and while maybe showing the song actually for what it is, some would choose a different route.
Music conclusions:
First off, that Chemical Redemption song is an odd-ball and has very little weight in showing what the GK20 is about. Luckily I have switched back to more regular programming to finish this conclusion. Yet I can’t help but notice this slight slant of brighter than regular replay. There are 5 midrange and treble providers doing all this brightness. Yet the two DDs also add the service of grounding everything. The GK20 is balanced but is also offering a window into a more detailed and clear idea of under $100.00 replay. Is some of this treble energy synthetic or over used……..I’m not sure…..but at this price point the GK20 is totally listenable and unique. You have to remember I’m using the most treble centric wide-bore ear-tips to increase the stage size. In fact............a switch over to regular bore can reduce much of this treble energy and bring about a possibly more balanced tone? Still note the picture below……….yep, take note of the maximum treble and maximum soundstage wide-bore silicone ear-tips the GEEK WOLD have included in your package! They want you to experience this ultimate stage playback.
Package:
Conclusion:
Depending who you are, the GEEK WOLD may have your name on it. The brand somehow has kept-up with the times to provide an always improving sound per dollar ratio. And while the GK100 came out in May of 2022, and is $200.00, you can tell that GEEK WOLD didn’t let up. In their imagination they thought they may introduce an IEM which was $101.00 dollars less expensive, yet did these airy forward and real sounding vocals……they of course had to also remove 2 drivers and an insanely nice 3 in 1 Hukugei cable to do so. We don’t have that incredible cable like the GK100 has, yet still we have 7 complete drivers for under 100.00. And it sounds like 7 drivers……it really does. Oh, and as far as instrumental music goes, the GK100 does that way better all day long, yet that doesn’t mean the GK20 does it bad, just not as good. Yet those reverberations into how the vocals are presented may make the GK20 the ultimate choice anyway…....that and build and fitment……..I mean common just look at the GK20…......it’s the cat’s meow! You're probably going to expect me to talk about which one would be better for certain genres….....and I’m not. Why? Besides vocals being best with the GK20, both IEMs are super balanced and super efficient at everything, they really are. There is just enough bass with the GK20 to pull-off EDM, just enough shimmer to do violins in Classical, and enough midrange and lower midrange to make that groove happen in Rock. So you see if you add vocals to the GK20 line of features it really does it all…..and that is saying a lot for an IEM priced at $99.00!
And while it’s not everything, phone playback is fine and will suffice during those times when out and about, but I would seriously recommend a dongle or audiophile DAP to feed the GK20 the style of food it’s accustomed to. When roaming out in the city the GK20 seems to be made for this style of elements, offering a deep custom fit and really good noise occlusion, being it is fully solid. Yet on the medium smaller side, and being only 5 grams per IEM, there are reasons for this style of fitment. And to think they squeezed in all 7 drivers? Yep, each driver does something to bring the sound frequencies to life. Separation, tone sculpturing, vocal and instrument realism....all into a sumptuous stage display…….....…need I say more?
Pros: One 10mm LCP Dynamic Driver Diaphragm for bass
Two ZiiGaat treble Balanced Armatures
Two ZiiGaat midrange Balanced Armatures
Weighs only 4 grams a piece
Super small form-factor, yet big vibrant sound
More vocal forwardness than the SIMGOT EM6L, yet the Cinno seems to be a direct competitor otherwise
One year warranty on the IEMs, three month warranty on the included cable
Cons: None at $99.00
Let me introduce the ZiiGaat Cinno Universal 5 Driver IEM Redcarmoose Labs December 29th, 2023
This first section is copypasta from my newly published ZiiGaat NUO review, as it is about the introduction of the ZiiGaat company.
Head-Fi
Laughably, Head-Fi is becoming more and more like a shopping mall all the time. Yep, it’s a place where you only have to park your car one time to take a guided tour of mankind’s IEM inventions. Each section is like a storefront, and goes to proclaim what offerings are for sale. You could even call it on-line mall culture. As an example of regular mall culture, there are special mall fashion shirts for sale. Often this style of shirt is designated by a marketing trademark. At times there are names combined with the trademark symbol, but names are slowly going away, to be replaced by only a symbol. Such a symbol designates quality and price…............really a lifestyle possibility upon purchase.
While visiting the mall........often you may see a gentleman wearing one of these symboled shirts, and coincidentally the exact same shirt will be for sale even twenty feet away. I find humor in things like this………maybe I’m easily entertained? But more than that the branding serves a purpose in that (pretty much all the time) there is a level of quality obtained with a brand purchase, you already know what you’re getting before you buy it…for the most part. With IEMs often it can be a brand showing similar designs, similar fitment and even a house sound….....thus improving sales due to reputation.........and past history. Thus this is product marketing and merchandizing..........except for the challenges that may face a new brand? No one is familiar with this new name..........it still needs to prove its worth and value.
Here at Head-Fi the guys walking around in Polo Shirts or Giordano Shirts are simply the Head-Fi members relaying their experiences with IEM ownership. Yep, this place is built on disclosure and critical reviews about various products. Still what happens when a new brand is introduced? I would say the first emotion that goes through my mind is disrespect. We judge new products with a hint of jaded cynicism or skepticism. That is actually a healthy and correct response. Really no matter what the package looks like, or the IEM looks like, there is no credibility that this new product is worth anything………and even if it plays music well, still it may not have the sound character we are looking for. The sound character or the fitment, or something……….
What? The name is ZiiGaat?
Personally I find this to be a totally strange company name for a company that makes IEMs. Yet it means something…….I will get to that.
ZiiGaat Doscinco: 2DD+3BA Hybrid (Audiophile Tuning) Price soon to be disclosed
ZiiGaat Cinocotres: 2DD+3BA Hybrid (Studio Tuning) Price soon to be disclosed
ZiiGaat Cinno: 1 10mm LCP DD+4BA $99.00
ZiiGaat NUO: Single Full-range 10mm LCP driver $29.00
The Linsoul/HBB Jupiter 4EST+6BA+1DD is powered by ZiiGaat $1.599.00
So they made a showy (big) entrance……considering no-one ever heard of them a few months ago. The ZiiGaat name is an acronym derived from the companies core values: Zero-in on Ideas, Innovate, Grow and Achieve All Together. But more importantly how does the Cinno fit and sound?
The ZiiGaat Cinno:
First off I have some apologies to make. You see the ZiiGaat Cinno was the winner of my last review. In a way this is not saying much as I put it up against IEMs that were 4 times less than the cost of the Cinno. It would be like putting a heavyweight fighter in the ring with middleweights or even the lightweight division of fighters.
Except I get these IEMs sent to me in a group, and it is only natural that I would compare them………regardless of price. Also due to the Cinno sonic contrasts in playback (in comparison to the cheaper IEMs) the value and quality becomes very vivid. So there is a method to my madness, yet out of fairness, I’m going to compare the Cinno (this time) to the SIMGOT EM6L in that it is a direct competitor. Also I will reiterate my prior testing with the $24.99 7Hz Salnotes Zero MK2, the $22.99 Zero MK1, and the little Cinno’s brother, the $24.00 to $29.00 ZiiGaat NUO. Such discoveries are important due to helping to outline what the ZiiGaat Cinno really is, thus proving its worth and showcasing sound idiosyncrasies.
Idiosyncrasies/Character:
In such is replay personality that folks find their own tone value with-in a sound character, yet there are often sonic values which transcend personal tastes and seem to be widely appreciated as positive traits across the board. Most of such replay characteristics have to do with realism and balance. Balance in relation to reflecting lifelike replay, and technicalities referring to correct imaging, reverberations and transients………..as in life.
Comfortability: Such sound ideas ultimately result in comfortability. You could simply call this listenability.....…..maybe? This is a lot like finding comfort in furniture or on a bed……..as it’s when you stop fiddling around in restlessness……..and find peace…….obtaining (your own) sonic splendor. This sonic place is not always permanent, but can be found by both knowing your own personal sound likes and dislikes, and finding synergy in equipment which goes ahead to provide such details. Comfortability in IEM playback is the very reason we are here at Head-Fi and the reason your reading this very paragraph. Such comfort has to do with believing the illusion the music is real, that there are no distractions as far as tone or technicalities……that everything is in place, and there is an emotional connection. At times some IEMs are more perfect (than others) with certain styles of music, or (only at) certain volume levels. Other times there is importance in IEM fit and feel, as if an IEM doesn’t fit right we are once again at a distance to finding this place of harmony. And ultimately this “comfort” is truly individualistic, it only belong to you personally…….in the end. Though still there is a phenomena where certain IEMs will find that sweet-spot with more people…..that there are better odds at this comfort thing working out with a certain IEM and with the general populous. Thus an IEM will reach a level of popularity due to holding such charms……and sales will flow.
The SIMGOT EM6L:
Such charms in IEM retail have bestowed a certain SIMGOT IEM, its fit and technicalities/tone style seem to blend with most people. One particular thing that is different though is the nozzles. So imagine with me an IEM whose shape and form are regarded as close to perfect…….yet they built these lipless stainless steel nozzles which don’t always go with every ear-tip. In my SIMGOT EM6L I found the nozzles to be different except due to being a wider circumference, they still held the provided ear-tips on fabulously. In my mind I try to always judge a new feature later after the dust has settled. And while yes the EM6L don’t go to hold every ear-tip on with poise, they do offer another interesting feature. The smooth nozzles go to provide a freedom for the tips in place to move about both forward and back to obtain better placement of the IEM/tip in position. So imagine with me that having an ear-tip only locking in to one location offers fit, but only when the distance in place is optimal as in relation to your ear. Thus we look for other ear-tips which are longer or shorter or whatever to try and bridge those differences. Where with SIMGOT they have experimented with this sliding tip mechanism which offers many places to find fit, that and staying sealed all the time as well.
Really the SIMGOT EM6L (being 1 gram heavier) is the arch nemesis of the Cinno. Coming out prior to the Cinno, except offering the exact same driver configuration. Realizing the two needed to be compared hit me like a ton-of-bricks. Strangely I started this test by finding Cinno/EM6L commonality in the low end. From memory I started to look for the same songs, just to see if the sonic bass textures and detail were the same with the EM6L and Cinno. I went and found other songs which showcase the high pitched rhythm guitar, to see if both IEMs also handled such intensities of heat in the same fashion……and guess what….from memory they did. So it’s time now for side-by-sides!
The SIMGOT EM6L against the ZiiGaat Cinno:
First off the Cinno is just slightly more efficient to power….with a couple of notches removed to equal the volume of the EM6L. From memory the bass was very similar, and really in many ways that was still true in side-by-sides........but not the most important aspect. The most important difference is the fact that the EM6L is just slightly more laid back than the Cinno….this is not something that could be easily noted from memory, except once you had them together this forward vocal stance the Cinno had was readily noticeable. This style of pinna push enables an extra dose of vibrancy across the spectrum, meaning the Cinno is showing more contrasts. Still truth to be told they were closer together than farther apart…....really. Often I wonder if companies set out to challenge a popular IEM by emulating it, and bringing a slightly new and different character to market? Where sure the Cinno is maybe slightly better fitting, only because it is gram lighter and somewhat smaller. Also so my favorite ear-tips stayed on the Cinno where I had one or two instances in testing where the ear-tip remained in my ear after switching the EM6L out. Still really the differences are small, though may be big if in-fact you already owned the EM6L and wanted a more forward vocal stance?
But for the record here absolutely the Cinno is every-bit the IEM the EM6L is, if not more.
The process: Don’t tell me about the pregnancy, just show me the baby!
The path to this discovery was in fact long and drawn out, spending an entire night with the Cinno and going through song after song looking for issues.............yes, it turned-out that well rounded. Where the EM6L is (due to pinna gain diminishment) the slightly warmer example, due to the lower midrange getting a psychoacoustic focus due to lesser (than the Cinno) pinna gain. Sure I changed a few cables, ear-tips and sources and went over a few songs to come to these assumptions……..where often I will list all the equipment used in a test, but it is not needed here due to the pureness of results.
Bass differences:
Now this is interesting, as to be direct, the bass of the Cinno is very much in-line with the quality of the EM6L. In fact it was the bass texture (while listening to the Cinno) that first reminded me of the SIMGOT EM6L….and subsequently led to this showdown between these two IEMs. Except after many side-by-sides I have to say the Pinna area of the Cinno will and does come forward to overshadow a little of that bass perception. So the quality is still there between the two, yet the EM6L after-a-while shows itself to be slightly more sleepy. Yet that sleep provides long listening magic into which many have found a (warm) home.
EM6L v Cinno side-by-side conclusion:
When I was just listening to the Cinno at times I wondered if it could go side-by-side against the EM6L? Except on the short listens the Cinno will even appear to be more focused and own better technicalities, due to this forward vocal stance. When in reality they are very much priced the same, have the same driver count and perform in ways the same…….benefits could come from the size and weight of the Cinno and if you were looking for more vocal vibrancy?
The difference between the Cinno and 7Hz Salnotes Zero MK1 and MK2, and the ZiiGaat NUO:
Here we try and gain understanding in reference to three cheaper IEMs. The ZiiGaat NUO I just did a review of and offers both a DD complementary signature (to the Cinno) as well a similar tuning. Though across the board the Cinno offered better technicalities, such as imaging and itemization. These are only two I have heard from ZiiGaat so far. Yet after testing really it is the NUO relaxed (yet slightly forward) pinna gain that offers so much of the same signature. Both the NUO and Cinno offer 10mm bass drivers, yet the NUO is a single full range driver and the Ciino has a cross over network and sound transfer tubes which allocate only bass frequency from the 10mm LCP Diaphragm. Such a set-up means more expense to produce, and more complications under the hood. But results in a more refined and sophisticated style of Cinno bass action, getting us both sculpturing and a clearer window into bass texture. There is also separation which takes place with Hybrid replay where part of the midrange and treble fall farther out to the sides, resulting in a more defined Cinno bass response to perceive! Both the NUO and Cinno come in at 4 grams each, and despite the strange shape of the NUO, both seem to really fit well, though check this out……………..even though the NUO is only one 10mm driver and the Cinno is 5 drivers, the Cinno is smaller, and possibly slightly more comfortable? Many times single full-range drivers offer better cohesiveness of playback and more realistic timbre, yet Hybrids are really my preferred way to go, becoming delighted by the Hybrid itemization and entertaining separations to be found. Plus with this BA set-up the Cinno is really tuned-down resulting in smoother brightness and of lesser steeliness/BA timbre! As such while close to the same as the NUO, the Cinno midrange and treble seem to offer a tad smoother and slightly more relaxed tone display?
The 7Hz Zero is playback that is one of legend! Back in early August of 2022 I introduced the Zero to the on-line Head-Fi world. Since then the page along with 10 other reviews has generated close to 59,000 views………quite a lot for a (then) $19.99 IEM! And while the Zero is not perfect, to me it was maybe what the Zero did right that made it such a winner? Simply big involving mids, with a solid musicality and timbre. In fact it was the timbre and note-weight that had me prefer the Zero even over the 7Hz Salnotes Dioko, a 14.6mm $99.00 planar IEM released at about the same time. So nowadays I had the Zero 2 in a combined package with the NUO and Cinno to review………so why not compare them? Where the Zero MK1 and NUO are more closely aligned in the bass department, the Zero MK2 goes hog-wild with bass. Yet in fact it is the Zero MK2 Pinna Gain which truly makes a difference in relationship to the NUO. You see even though graphically the NUO/Zero MK2 lower midrange measures the same....... due to that Zero MK2 2.5 kHz to 4kHz gain, thus subsequently creating a mental focus. Where with the NUO, it is the lesser but broader Pinna Gain which moves mental focus down and promotes a style of thicker and more robust lower midrange. And even more surprising, we don’t exactly have that lower midrange robustness heard with the Cinno either. Cinno lower midrange replay comes off tighter and clearer/cleaner, even containing what I like to call hidden bass.
With all these graphs (flying around) you may be looking for a Cinno graphical response.......sorry don't have one, don't need one.
Cinno bass:
While the Cinno the bass is absolutely clear, yet it has a very special transient edge that allows for hidden bass action. Hidden bass action refers to a bass edge attack that due to the blackness of background and transient response, ends up surprisingly fast!
Packaging:
Laughingly......no not two sets of ear-tips! The Cinno actually comes with three set of ear-tips, as one is already on the IEM in a medium size.
Build and fitment:
The reason I have so many photographs of the Cinno is because it is actually hard to photograph. For two reasons, one is there is a surface which really attracts the highlight of dust particles. Such particles show-up in photographs because (at times) the magnification is greater than with the human eye. In daily use you don’t have photography lighting and even if a few dust particles are there, you can’t see them. The other reason is due to the reflectance of the surface, the Cinno can look like the back-side of the shell is of a different color, when it is uniform material and smoothness. It is in fact this smoothness that is special with the Cinno, the fact that it is on the smaller side of the IEM world but carries a big sound. Interestingly the screens are farther out than the nozzle ends, a first here at Redcarmoose Labs. There is also a very sophisticated emblem positioned on the faceplate front. Such items go to proclaim a simple yet effective look, as the Cinno is subdued yet striking in its own un-photographical way. Such resin build and universal custom back-side means feel good ergonomics and long unnoticeable listening sessions. Just the fact that really the nozzles were the perfect length meant the world to me. The fact that they are just 4 grams in weight means they could be something you enjoy while sleeping. Two air-vents means they breathe and are never affected by driver flex, yet due to fitment, provide amazing sound occlusion too.
Cable:
A nice cable which amazingly was different, better than the rubbery one that came with the NUO. The Cinno comes with a one years warranty on the IEM, and a three month warranty on the cable. Such a cable shows a smooth texture forming into any user shape you want with-in reason, never jumping out of place or making too much unwanted microphonic noise.
Music tests:
Here is maybe the easiest part of the review, and the most fun.
Kaveh Cohen, Michael Nielsen
Forza Motorsport OST
Brotherhood
44.1 kHz - 24 bit
This has been one of my go to songs recently. And while recorded well, it is not up to the caliber of the next following song, on a different album. This might be due to Brotherhood being a game soundtrack and the next song (Academy Race) being a full-on OST to a blockbuster movie. And while studying the two music pieces you may guess they are the same, when in reality they each have a specific job to do. Where Academy Race is more about engaging you into the movie emotion, Brotherhood takes charge as support for game players to not maybe become distracted, but is more background theme music……..endlessly supporting game play.
The intro to Brotherhood really starts at 00:08 with the bass metronome. Such features set the pace along with a drum beat. It is super important to get a timbre reference off this beat, as some balanced armatures will make the sound wrong, into almost sounding like a slap, when in reality it is a drum beat and should be heard as such if done correctly. Here it is one of the first clues that we are using a very well timbre’ed IEM. Such a sound may even be connected to note weight? At 00:42 a wash of middle toned synthesizers takes place............all of a sudden farther out than previously guessed. It’s at this point that we are fully interacting with the song…........the song has now arrived, still this is background music……so holding a generic and utilitarian usage. It is at this time too (00:43) that they introduce percussion accents as slight knocking sounds found to position themselves out to the farthest regions of the stage.
The elephant in the room is the piano timbre. Yep even from the song start we have to pay attention to this specific musical instrument that maybe is the true hub of the song. This song is actually a piano piece, with embellishments. If we travel back in time to just 00:09 we start to get a glimpse of how this whole song is based on the piano theme. Such an instrument is maybe most important of all to get right? And with all this talk of timbre, there may be a hint of off-timbre to the piano, I mean if bad timbre was going to be anywhere, the piano is where we would find it. Yet due to tuning it is all very well put in its place....it’s fine? Later on I will use my Delain song “Chemical Redemption” to truly go into if the timbre is bright, or off, or wrong somehow. As each of us have songs we know and test examples where timbre becomes heard for what it is. With all that said, it may be the piano timbre which is still heard to be on the brighter side of correct.......but only a little bit?
Lorne Balfe and Andrew Kawczynski
Grand Turismo OST
Academy Race
44.1 kHz - 24 bit
What I love about this song is the more I hear it the more I start to feel the size of playback. Meaning this was recorded on a soundstage with live instruments (at least I think it was) and you can find placement to both harmonics in playback and reverberations. Such bigness even starts at the very beginning with both the deep cello bass energies at 00:10.......and hearing the feathering of faint violins taking formation in the outskirts. All this is bigger than the last song, and the Cinno makes it real. Also I may add, this is some of the very best (test song quality) bass I’ve come across all year……just big, fluid and entertaining. Note, I meant music, not music replay. Yet still the way this $99.00 IEM does bass is truly satisfying!
At 00:17 there is a synthesizer effect which is probably meant to sound like a passing race car………..at 00:58 the main theme starts with the use of violins. At 01:17 the use of a choir starts to add dimension to the song. This place also shows a recess of elements allowing for the choir to have its form and place. From the 01:17 to 01:29 we get to hear just how the attack quality is of the bass, the transients and separation into the stage……..it is a separate bass tone as it was designated from the start to be only the effort of one 10mm LCP DD.........separated through a crossover and sound tubes, to remain clear and sonically pure with-out interference.
Gdanian
Induction
Shield Emitter (feat. Tineidae)
44.1 kHz - 24 bit
Wow, the bass and better the sub-bass is kicking right from the start at 00:10. Here there is also an on-top synth taking the lead almost just like the Blade Runner Theme. And sure this is not the very best I have heard this as other more bass laden IEMs seem to extract an ounce or two of added emotion, being this style of bass is more of the controlled and clear style………..still I don’t care. Meaning this style of playback (while not perfect) is acceptable and I will run with it due to such bass quality almost being all things to all songs..........just maybe not the authority to grab 100% success here. Still what is extracted is 100% clear and technically correct. It is maybe more like near field monitors where the bass is clean and put into a specific place never interfering with the rest of playback, what I’m saying is this bass in this song is totally careful still reaching all the frequencies, but just in a more polite and correct manner……maybe this is what many would want?
KMFDM
PARADISE
Disturb the Peace
44.1 kHz - 24 bit
This is a song that I also used to review the SIMGOT EM6L, reason being is bass texture. KMFDM are bringing back (the sound of) a very clear and provocative old Roland Bass Machine. Such an instrument is not used on every song they play on this album, so here it becomes a treat. At 03:35 the drops are enormous and punchy……but then the regular utilitarian rhythm section finds it installed again at 03:39…………….bass, bass bass………..you get the message. And while the bass texture is there, it is not the central focus of this song like you can experience with other music…..except it IS an integral part of the whole, and would be missed if left out by a lesser IEM of lesser technicalities. While trying to see if the other playback worked-out, it really did, as there are other DUB style KMFDM songs (on other albums) where bass becomes turned up to the hilt. This style of music uses bass to almost define what the song is up to. The whole vibe of the song is resting on this over-the-top bass presence. And while playback is found to be just on the border of correct and workable……..this if anything is a tribute to just how well rounded the Cinno is. I say this as few IEMs can do both distinguished bass with detail, and overboard bass with amounts generating total bass presence. This is why you have people recommending EDM bass IEMs, and other different “vocal” IEMs……..where due to a bass curtailment, do vocals only…………..but in this exact case we truly do have everything. I mean sure at times it’s a stretch, but somehow the Cinno gets there?
Even though the Cinno could almost be looked at as a lush darker IEM, it’s actually not totally, thus all the talk of balance here! It is this way of almost doing everything that is so endearing.
Delain
Apocalypse & Chill
Chemical Redemption
44.1 kHz - 24 bit
This is one of my all time best test songs. I will pull this up to try and discover just how guitar replay is. Meaning right at the 00:08 mark there is a forward and out-front rendition of crunchy guitar distortion. Many of the female fronted sub-genre of European Symphonic Metal will go ahead and showcase this level of guitar mix. It’s cutting and trebly and forward……yet at times and with certain IEMs in playback it can be too much, too much heat. Yet here all is well as this is the balance put forth, where vocals are still accounted for and out front, this guitar seems to be smoothed out and desirable in replay?
Conclusion:
You know the comparison to the SIMGOT EM6L was the meat of this review. It was to me anyway. Why? Because not every day do you come-up with an IEM that can go against it. The Cinno trading blows with the SIMGOT EM6L is serious business, and most IEMs are not up to competing in this arena. This exact arena is sound per dollar value, and there is a blend of how it was done with the EM6L.
To an awful lot of people the SIMGOT EM6L was the IEM of the year for 2023! That fact is fair to say due to finding the EM6L held a combination of technicalities and tone folks could enjoy all day long. Except another IEM sound has been introduced, which is fair to say is the ZiiGaat house sound. A sound which is slightly less sleepy than what the EM6L does........more out-front with the vocals, showcasing more contrasts, yet still reserved and poised to please.
Such a graceful and elegant bearing goes ahead to fulfill ZiiGaat’s dream. Their dream is to become a household name. And just like the Polo Shirts or Giordano Shirts in the mall, this is absolutely a name brand product....a product holding name brand quality. Such a purchase (like the shirts) is easy going and easy to wear in daily use. You see buying the right brand is a lifestyle choice, and means you gain a certain level of return for your investment. I can’t imagine many IEMs that are so easily liked and comfortable to wear as this ZiiGaat’s Cinno is? There is a friendship upon listening which is both easy to understand and taking place due to just the right amount of balance and vocal pizzaz.....…..get yours today!
Pros: Great fit and feel ergonomics, despite the look of the shape
A lovely balanced warmish tone with a splash of caramel midrange and treble
Sophisticated 10mm LCP dynamic diaphragm
A solid value in sound
Could be a purchase option to the 7Hz Salnotes Zero MK1 and MK2
$24.00 (on sale) to $29.00 (regularly)
Feather weight at just 4 grams each!
Both the ZiiGaat 1DD + 4BA Cinno, and this single DD ZiiGaat NUO show this new brand means business, and should be welcomed with open arms
Cons: Not the most detailed or defining style of playback, yet makes up for it with an extra together and smooth musicality
ZiiGaat NUO Part of the ZiiPluse Series, whatever that means...........
Head-Fi
Laughably, Head-Fi is becoming more and more like a shopping mall all the time. Yep, it’s a place where you only have to park your car one time to take a guided tour of mankind’s IEM inventions. Each section is like a storefront, and goes to proclaim what offerings are for sale. You could even call it on-line mall culture. As an example of regular mall culture, there are special mall fashion shirts for sale. Often this style of shirt is designated by a marketing trademark. At times there are names combined with the trademark symbol, but names are slowly going away, to be replaced by only a symbol. Such a symbol designates quality and price…............really a lifestyle possibility upon purchase.
While visiting the mall........often you may see a gentleman wearing one of these symboled shirts, and coincidentally the exact same shirt will be for sale even twenty feet away. I find humor in things like this………maybe I’m easily entertained? But more than that the branding serves a purpose in that (pretty much all the time) there is a level of quality obtained with a brand purchase, you already know what you’re getting before you buy it…for the most part. With IEMs often it can be a brand showing similar designs, similar fitment and even a house sound….....thus improving sales due to reputation.........and past history. Thus this is product marketing and merchandizing..........except for the challenges that may face a new brand? No one is familiar with this new name..........it still needs to prove its worth and value.
Here at Head-Fi the guys walking around in Polo Shirts or Giordano Shirts are simply the Head-Fi members relaying their experiences with IEM ownership. Yep, this place is built on disclosure and critical reviews about various products. Still what happens when a new brand is introduced? I would say the first emotion that goes through my mind is disrespect. We judge new products with a hint of jaded cynicism or skepticism. That is actually a healthy and correct response. Really no matter what the package looks like, or the IEM looks like, there is no credibility that this new product is worth anything………and even if it plays music well, still it may not have the sound character we are looking for. The sound character or the fitment, or something……….
Let me introduce ZiiGaat.
Personally I find this to be a totally strange company name for a company that makes IEMs. Yet it means something…….I will get to that.
ZiiGaat Doscinco: 2DD+3BA Hybrid (Audiophile Tuning) Price soon to be disclosed
ZiiGaat Cinocotres: 2DD+3BA Hybrid (Studio Tuning) Price soon to be disclosed
ZiiGaat Cinno: 1 10mm LCP DD+4BA $99.00
ZiiGaat NUO: Single Full-range 10mm LCP driver $29.00 The Linsoul/HBB Jupiter 4EST+6BA+1DD is powered by ZiiGaat $1.599.00
So they made a showy (big) entrance……considering no-one ever heard of them a few months ago. The ZiiGaat name is an acronym derived from the companies core values: Zero-in on Ideas, Innovate, Grow and Achieve All Together. But more importantly how does the NUO fit and sound?
How does the NUO sound?
Well to start off with, the NUO scales up amazingly well. Meaning from using the included cable and using the HiBy R3 II it was very agreeable, but not everything the NUO could be. So? If you just wanted a basic entry level IEM to go with an entry level DAP things really have changed for the better in this regard. Miles better to me than what the standard iPod response was and better than a regular phone and Apple Dongle…..was the NUO and HiBy response. This is especially noted in both stage size as well as deepness of bass and realism…….still there is more if that is what you’re looking for. I’m not embarrassed to disclose I used the NUO with my favorite silicone wide-bore tips (for increased stage size) then hooked it to the NICEHCK Cyan cable in 4.4mm, then added that to the Sony WM1A using MrWalkman’s firmware. The results………Bigger and more vibrant playback. And I have no issues disclosing that this was in all fairness an audio treat! Due to the way the bass is carefully yet correctly positioned, the midrange will showcase into more robust themes, in comparison to an IEM like the 7Hz Salnotes Zero 2. Yep…..now don’t start to think the mids are too forward or too bright because they are not, only showcased due to the balance at hand. I know the word “balanced” is over used both on the Linsoul NUO web site and the word is often thrown around Head-Fi way too much, except in this case it goes to perfectly describe what we have. And even if you don’t listen to vocal music, this same balance goes ahead to provide the listener with entertaining and provocative musical immersion. It was the pure scalability that made this one fun, being I’m way beyond trying to find the very best IEM there is, sure others offer better technicalities, more separated imaging, except for just what the NUO is……it is very interesting and listenable. There is a warm fluid and ample dose of note-weight to this one…………one that I forgive you for not believing (me) due to price. Sure later-on in the review I will get to the drawbacks and try to find the reality check with this one…….but why rain on the parade so early on? Probably what floats this boat is the simple fact that all is one, there are no dislocations of playback, that and no bad timbre. With-in such realms of playback we find a way that each band of frequencies seem to blend well and are inter-connected in the purest of ways. The NUO is $29.00 but at times goes on sale for $24.00……and in this regard I find this both to be a relatively safe purchase for out and about, yet at the same time an IEM you could easily cozy-up to, and find an extended listening time with at home. The trick here is tuning, that if the tune is special that we can find replay non-offensive and enjoyable………but the other trick is to be amused……to not get bored due to something left-out, or something more wanted. And typically that can happen with ultra-budget IEMs……being they had to cut-costs somewhere? The trick is nothing is too dark or too bright…….it really is finding that sweet-spot dead-center in balance. To try and bring this back down to earth, I’m going to try my luck with instead using the included cable and a phone.
Regarding phone playback:
Maybe the key here is again that balance of thick harmonics, yet nothing sounds too compressed or thin……..as playback still has note-weight, the playback is just not as expanded or as separated…..as far out into the edges as with Sony WM1A playback.
As an example of phone playback:
Depeche Mode
Violator
Enjoy The Silence 44.1 kHz - 16 bit
Here the acoustic/electric guitar has wonderful thickness and while the vocals are not super forward or separated they are out-front and pleasurable. Such synth extras at 01:39 shows some analogue excitement and fun!
Nirvana
Nevermind
Smells Like Teen Spirit 48 kHz - 24 bit
Probably the best compliment I could give the ZiiGaat NUO would be it captures the essence of this song. I don’t want to give the wrong impression here, as this is a $24.00-$29.00 IEM simply hooked to a phone……it is minimal at best……yet my head was nodding as the feeling of the song was totally transferred.
Phone replay conclusions:
Maybe the NUO would be more simply understood with just using the provided ear-tips and cable? Yet I’m trying to replicate a user experience, even if it does complicate matters. And sure at times I don’t reiterate the advantages of using an IEM with a 4.4mm audiophile DAP with wide-bore ear-tips…………..but you see that was my charm with the NUO, that is isn’t just some run-of-the-mill generic cheap IEM, that you could take-it places in sound. As such there was definite changes in regards to audiophile playback (with a DAP) creating a wider stage, better separation, blacker background and more realistic imaging. Such playback features are what this single review is about, no way can I sweep them under the rug?
Build/Fit:
The power here is the 10mm LCP dynamic diaphragm, ported with two rear air-vents. I mean sure everyone realizes that this is maybe the single one thing that generates sound, and it is the effort of that build that generated success or failure. When ZiiGaat uses the word “High Performance” they are not joking around. ZiiGaat are getting you a one year warranty on the headphones and a three month warranty on the cable. As such the top faceplate is solid metal, maybe aluminum, with full resin build weighting in at 4 grams on my kitchen scale. Surprisingly the NUO is bigger than the Cinno. Literally both the Cinno and NUO weight exactly the same and both have 10mm LCP drivers, though the Cinno has 4 extra BA drivers. Really, even though they look different shapes in my comparison photographs, both offer optimal fitment due to small-size and low-weight. In many ways the NUO will fit better than even the 7Hz Salnotes Zero II, being a more conventional shape. It really makes you wonder if the Zero II shape is a form of marketing as of course the Zero II is recognizable from 6 feet away, except I truly have never seen a zig-zag shell shape before? Still in all fairness the Zero II fits well as this shape mostly does not touch the inside of your ear, still the Cinno and NUO simply fit better offering less nonsense.
The faceplate side of the NUO looks long and maybe a little strange too, though you don’t seem to notice this length while listening. But for the record, the NUO is surprisingly long shaped, even noticeable when on its back showing a thinner and longer form-factor than the Cinno. In build features one of my most favorite aspects is the metal nozzle-end. Such a character of construction showcases a very clear lip and joins with the rest of the resin body flawlessly. In ending this section, I have to reiterate that while the NUO looks very different from the Cinno, due to the correct universal custom form and low-weight and small-size, they both fit exceptionally well, without issue. After so many truly heavy 9 gram 10 gram IEMs, you start to appreciate the pleasure of having a 4 gram IEM in your ears. And due to the relaxed tone and fitment of the NUO, you may even find them perfect for sleeping.
Top row Zero MK1 and Zero MK2 Bottom row ZiiGaat Cinno and ZiiGaat NUO
NUO comparisons:
Here I use three other IEMs to try and substantiate the playback character in relation to sonic contrasts. Thus we may encounter a clearer idea as to the playback character. The Zero and Zero II as well as the NUO are priced almost exactly the same…….with the Cinno being $99.00.........4X the price. So why am I even including it? I am including it because the NUO and Cinno are birds of a feather, they share many of the same tuning ideas, separated by the pure technicality of adding 4 more BAs into which the Cinno gets a different midrange and treble display. But more than that, I would probably offer up the Cinno as the better IEM? Still remember that this review is written by a listener that simply likes Hybrid above all other methodologies to make sound with IEMs. And maybe a confused reader could learn that money may be more wisely spent buying one IEM instead of four. Though keep in mind there are sonic features that due to single full-range DD responses, come off better inside of NUO playback. Better than the Cinno due to more cohesiveness and even more natural timbre.
7Hz Salnotes Zero MK1 and Zero MK2:
Interestingly the Zero MK1 and the NUO have a few similarities. Both the Zero MK1 and and Ziigaat NUO have less bass than the Zero MKII. Still this shows itself to be way less of a deal than any graph would have you believe. Meaning the approach of balance by all three IEMs make them listable and musical. Where the Zero MK2 will at times start off sounding very close to the Zero MK1...then in time when a specific bass drop hits (and especially sub-bass) you will start to notice substantial differences in playback. This same bass concept goes for the NUO in comparison to the Zero MK2, with further differences happening in the 2.5kHz to 4kHz Pinna Gain region. On paper this may not seem like much, except this in-fact is the most sensitive area of our hearing, meaning even the smallest change of 1dB is fully noticeable. Also (for me) simply listening to the NUO and Zero MK2 side by side there is a Psychoacoustic change where the higher Pinna Gain area of the Zero MK2 response makes the comparative NUO lower midrange take precedence. This cannot be understated and sonically may represent the biggest differences between the two in playback? Thus if you’re into a more full lower midrange style, with more emphasis there........get the NUO instead of the Zero MK2! I will save you from reading another paragraph on this subject.
But while appearing graphically the same, it is that NUO dip at 2.5kHz to 4kHz that truly substantiates the personality differences here. Where sure there are extra treble energies the NUO holds in relation to the Zero MK2, in a way making the treble like the Zero MK1, except these treble energies are not all that noticeable, at least to me hearing them they are not, doesn't get me wrong I hear the differences, but it is the least of importance in comparison?
Though do take note too of the energies which extend outward towards 5kHz with the NUO. Such upper energies provide a thicker highlight which goes to add both soundstage perception and even goes to substantiate the very top end of vocals. As in first impressions of the NUO, I couldn’t help but key in on this 5kHz feature. And being these energies actually start at 2.5kHz….this means the midrange vocal abilities are never lacking.
Even though the NUO could almost be looked at as a lush darker IEM, it’s actually not totally, thus all the talk of balance here!
The NUO in comparison to the Ziigaat Cinno:
I have never laid eyes on a Cinno graph but still I will go by listening to say this is really more my cup of tea. Upon side by side they are both very equal in response to volume with that tell-tale personality of the lower midrange and even bass being slightly more refined and sculptured with the Cinno. Thus the Cinno goes ahead to also produce a slightly smoother midrange and treble still holding any BA timbre down to a minimum. Sure it’s 4X the money but in-fact the Cinno is generating the perfect sonic storm……..simply better detail………a lower window to look down and find a more refined sculptured bass holding itemization with-in the low-end. Combine that with a more sophisticated treble imaging farther out into the stage outskirts………and technically the Cinno is the better IEM, is it worth the extra money………absolutely. The separation of imaging is simply more real sounding and falling into a blacker background.
Packaging:
Cable: Such a cable looks more rubbery than it is? Though yes, it is covered with a rubber material, yet it is not bad at all. Nice color coded right and left 2Pin markers, and pleasant ear-hooks.
Conclusion:
Somewhere at this very moment there may be a Head-Fi listener using the NUO and smiling? The NUO is totally entertaining and fun……..really it does a lot for the money. It fits great, can be powered well off a phone and is low in the weight department. To go back to our original Head-Fi shopping mall example…………..this is definitely name brand quality through and through. I mean how could it not be? At times I try and think back to my early days of Head-Fi and remember just how far we have come in this price-point. The replay differences between the Zero MK2 and the NUO mean that the Zero MK2 comes off more contrasty, showing off more of a cornucopia of tones, almost more vivid. And while there are benefits to that, it is this NUO warmer and substantiated lower midrange (that will not show-up in comparison graphs) that when combined with the 2.5kHz to 5kHz “shelf" goes ahead to make the NUO both unique sounding and balanced, both at the same time. Due to maybe Zero MK2 driver quality and tune, there are times when the 7Hz Salenotes seems to pull ahead with vividness, yet it is not everything…......
No........…everything is the Cinno, maybe? Haha!
Still if you wanted to have fun, having both the Cinno and the NUO makes more sense than you would think. Reason being they do share some tuning features, except one being a DD and one a Hybrid goes to make them complementary. Yet Ziigaat may have a house sound none-the-less……..still I have only heard two by the maker, but they do share a similar tone, enough that you could guess they are the same brand…….and just like the Polo Shirts or Giordano Shirts……there is a comfort and a respect for quality that will not let you down. A wearability that tells you it is from a company that knows what they are up to............and is worth your spending money. It’s this wearability that results in friendship……..IEMs that you simply want to use and experience on a daily basis.
Pros: Huge 12mm single full-range Dynamic Driver
Ability to change the impedance from 20Ω to 68Ω by a switch on the IEM
Gorgeous staging worthy of a TOTL Flagship
Vivid vocals and treble items
Included 3 in 1 modular cable
Deep yet clear bass with dramatic authority
One of the most transparent IEMs I've come across regardless of price point
Reacts differently with every source, showing upstream character
Amazing price delineating clarity
Perfect timbre
Nice note-weight
Cons: Pinna Gain region can be slightly too intense at times at both impedance settings
Transparent to a fault
Reacts differently with every source, showing upstream character
SuperTFZ Crown TOTL Flagship IEM
The Fragrant Zither
It seems that The Fragrant Zither company has slightly changed their focus and name. For many of us TFZ was the gateway to China made IEMs. While I did listen to many of the TFZ products back in the day 2018-2019, I never purchased any of them. The TFZ products were not bad to me, it was just that you can only own so many IEMs, and I guess others were more what I was into? With that said TFZ must have updated their name and style just to keep-up with the times. The other new SuperTFZ product I have heard was the Force 1. Really in so many ways the Force 1 is special, at least to me it is. And in designing the Force 1, you can tell so much of it was about noticeability. The box presentation was and still is something I have never before come across. The Force 1 cable had this giant block of metal (lol) (on the end) which use is……..I have no idea other than to get stared at while using your IEM in public. Hello, yes……this is me, listening to my Force 1 IEM and the music is traveling through this giant block of metal before it reaches the IEM, and into my ears. And again we have a stand-out feature with our Crown faceplate circuits here………………more on those Frankenstein’s Monster looks and function later on. But probably my favorite part of this review is the fact that the added circuits do something, they do something completely noticeable and add a warm musicality to the signal, one that with-out the circuits would be very bright and edgy.
Comparaisons:
Here we primarily look into the sound differences between the SIMGOT EA1000 and the SuperTFZ Crown. Both are TOTL Flagships for their respective companies, both are single full-range drivers. Both have rear radiators, with the SIMGOT EA1000’s being fitted with a diaphragm. The Crown a 12mm dynamic and the EA1000 a 10mm driver. Of course there is a heavy dose (by both companies) regarding the description nomenclature regarding driver builds. Meaning these buzz words seem to find a way between science and verbal marketing. Where there is definitely a truth inside there somewhere in the descriptions, with how a company uses technology to design and create a driver unique unto themselves. At the end of the day it is the resulting sound character which enables us a window into the music. This comparison sequence following concerns itself with sound and not speculation regarding driver builds. Though I will say that both IEMs offer a noticeable openness, maybe due to the actual encasements being wildly vented? With the backside of the Crown offering 7 openings in a circle formation, and the EA1000 offering a two sided round port with a screen of vent openings, having R or L become designated in the center. As a subject of interest these new open back rear IEMs seem to showcase a faster and more open stage……..so (in fact) part of these new ideas are real and give results. Also while priced close to the same, the Crown comes in 99 cents cheaper, and provides a modular cable, where the SIMGOT simply supplies a 3.5mm jack. On my kitchen scale the SIMGOT EA1000 comes in at 11 grams weight, and the Crown at 7 grams. It may be a truth that one IEM in the test may be for one set of listeners and the other IEM for another? Though it is safe to say the SIMGOT EA1000 is a phenomenon both in sales and sound, with many climbing aboard the EA1000 hype-train…………….finding a surprisingly technical and balanced EA1000 replay.
Crown v EA1000:
To be fair I used both with included cables, switching the Crown to 3.5mm to be equal to the EA1000 in using the same amplifier. I used the Sony WM1A with MrWalkman’s firmware and my favorite wide-bore regularly used silicone ear-tips. Music used was a wide range of OST’s and Rock, New Age and EDM.
While the Crown was noticeably less efficient by about 25% - 20% in the down position. That may read like a lot, but really they are closer to the same as far as drivability with DAP power fully capable to get them loud enough. The Crown “ON” mode is approximately 20Ω, and the “OFF” mode switch down is approximately 68Ω. So to simplify things the down mode is with the additive circuits in action, which gets you slightly less efficiency, and less treble. Interestingly enough the SIMGOT was slightly brighter in the treble compared to the Crown in the down position, yet the Crown was brighter than the EA1000 and had even more aggressiveness in the midrange and treble in the “UP’ position.
So to summarize here going from levels of brightness down.
ON Crown = most bright
SIMGOT EA1000 = middle bright OFF Crown = lesser bright
This actually was surprising and occurred with all styles of music. Though keep in mind that music with simply more treble and midrange playback got enhancement more as there was simply more treble and midrange to accentuate. What also was surprising is many have commented about the EA1000 having a bright intensity which could be addressed with the SIMGOT filter kit. Such a filter kit can be obtained directly from SIMGOT. Though the relaxing thing was with the Crown we could easily switch a switch and find smoother playback in an instant. Now, when I say smoother I don’t mean dark, not at all, as the midrange and treble boost is still noticeable just taken down a notch or two by the regulating……….circuits which we can see emblazoned across the Crown faceplate. What about the rest of playback in comparison?
The rest:
Interestingly the Crown in the “off” position was my favorite and had a comparable bass while simply less though (than the EA1000) yet more detailed. This Crown bass detail may occur due to a tighter lower midrange and middle bass, where the Crown advances here due to sub-bass orientation. Everyone knows the EA1000 has an added mid bass and lower midrange emphasis which helps warm it up, yet at the expense of bass detail in the end. In the Crown “OFF” position I personally found a more linear and pleasant listen, minus the heat, and less heat than the EA1000. As far as staging and technicalities both IEMs tested today were very very close to the same. Sure the volume differences were different with both IEM the same when the Crown was in the “ON” position. SuperTFZ promotes the use of the ON position as a studio sound with the OFF position being warmer and more musical, and that is how it works.
Cables:
I hate to say this but the SIMGOT cable is nicer than the 3-in-1 used by SuperTFZ. This is just my opinion in working with it. While visually there has been tremendous effort put forth by SuperTFZ to add this cable we have here today. It is just that the included SIMGOT cable is thicker and more ergonomic. Yet to inspect the SuperTFZ included cable we are met with surprising quality and sound, only the thinner cable can end-up slightly tangly at times but it sounds wonderful! Note the 3-in-1 system with how the barrels of the plugs fit onto the cable………perfect. Also everything else about the included Crown cable seems to work really well, the ear-hooks, the slider mechanism, and the actual quality of the plugs themselves. Nice! Though there was somehow some cable noise transference in regular use, I especially noticed this when using the Crown with a regular phone.
From a phone:
The playback from a phone is remarkably honest. Meaning it sounds exactly like the phone sounds, no extra bass boost, yet an added feature is forward vocals which helped me get a handle on just how the Crown personality is. Meaning at times reviewers need a source which is simple an uncolored, and while technicalities such as stage width is simply normal, we are gifted with just enough bass and incredibly correct timbre, where as always the Crown has decent note-weight, but not totally thick or of an overly thick style of weight.
Build: The build it quite nice and represents just how far budget CNC IEMs have come. And while part of the build may seem different than any IEM you have ever laid eyes on, once you get acquainted with the Crown it starts to seem totally normal. The nozzle length is totally correct and even the fit seems totally correct. Not too low weight or heavy the Crown is medium in size and seems to blend with a large number of cables and ear-tips.
Packaging:
Additional photo supplied by Penon Audio.
Music testing:
This is by far the easiest section of the review. And if you were interested in the possibility of the Crown, very informative. Here I’m using the included cable in 4.4mm, my standard wide-bore silicone ear-tips and the Sony WM1A with MrWalkman’s firmware. The music of choice for testing has been music that I often have used to test other IEMs, so I know it fairly well. I have tried to included a range of genres, but also the most important thing is I feel the music has been well recorded, thus showcasing the attributes here. Here with DAP playback we are truly seeking entertainment and enlightenment. While no IEM is perfect, there are examples of the art which go ahead and demonstrate a fairly good technical range of skills, and make the over-all musical tone enjoyable. With-in such parameters normally an IEM will still be able to be itself. Meaning really we want different IEM abilities and character, as that is the spice of life. Yet when an IEM like the Crown performs its best is when both the Crowns intrinsic character gets displayed as well as (somehow) the musical tone and technicalities of the music find splendid replay. This can all come together as part of heard synergy can be from the song file too. Still also we will attempt to find music which challenges the extremes of Crown playback. Such difficult files may give clues as to any drawbacks such an IEM like the Crown may have. And to kind-of summarize the music testing section at the start, I have to emphasize timbre. DD timbre is like no other, no other IEM methodology in the world has this gift of such accurate timbre. Not Planar, not BA IEMs, not Hybrid configurations. So while no IEM is perfect, there are attributes which are found to be naturally occurring within playback. Such key features are found within music that has already been heard before and noted to contain examples of good or great timbre playback. Examples of timbre can be all across the range found in music. Meaning there is treble timbre which is the actual function of an IEM to display instrument characteristics in that realm, bass timbre, and midrange timbre which could be how vocals are heard and felt. Obviously the function of timbre is only a part of the IEM playback feature, as also note-weight comes into play. As we have found out, this note weight is a deal breaker at times, especially with brighter IEMs. But if the note weight is good and timbre is fine, really many other elements of playback are of lesser importance. What I’m trying to say is I have an affinity for many different styles of tonal response, I in-truth don’t have a target curve. As if realism is found inside of playback due to timbre and note weight, many different examples of realism can be heard, I feel. With that said we can explore different levels of bass playback, different levels of vocal forwardness and wildly differing levels of treble replay and each showing a different take on musical involvement due to correctness of sorts. Obviously different tunes go along with different styles of music, the Rock listener may need slightly extra lower midrange to give the rhythm section authority and groove, the vocal music listener finding enhancements possibly due to what it leaves out. Yep, if we lower the amount of bass the midrange naturally comes forward, and we find a style of altered focus with still the rest of the playback still being considered correct. Yet music like electronic or EDM using bass drums into a character of authority which would sound thin and un-involving if such styles were attempted at a closer to ruler flat response. Same as singer songwriter material will all-of-a-sudden come alive if the guitar harmonics are pushed into focus along with a vivid vocal style of playback which in reality can downplay the bass emphasis to allow a style of clarity to be perceived. Though what we want to know is if the Crown can play it all. With the 2 variations of tonal response SuperTFZ are trying to make an IEM for all uses. Yet with-in that ability I found out they also made an IEM that was incredibly transparent. Such ability means the Crown can be swayed to replay by just which cable you have in use, just which DAP character you have in use, and even which ear-tips are in your set-up. Such abilities can make it difficult for a review to learn exactly what character we have to work with. Still I would much rather own a transparent IEM, one that can relay all the properties of whatever is upstream, than to try and deal with an IEM that stays with-in a certain character all the time. So in reference to such abilities I have purposely used the included cable as to not confuse matters. Such the DAP has its own character which will be transferred, but it is the lesser of issues here, as it sounds correct. And finally it must be noted that I have the “ON” setting turned off on the IEMs. Such performance ability allows for less treble and midrange, allowing for more musicality. At least that’s how I hear the Crown. And truly this switch set-up is fully functional, meaning you can’t help but notice vibrant results. The “ON” switch allows (SuperTFZ says) to engage the Crown into a more monitor style of IEM, where with the added circuits in use does the opposite, I found a smoother less contrasty, less bright and less intense Crown listen, which ended up being my favorite way to go. So to restate the set-up, the “ON” switch is not engaged for the musical tests.
Kaveh Cohen, Michael Nielsen
Forza Motorsport OST
Brotherhood
44.1 kHz - 24 bit
This is one of those songs that can make any IEM sound special. Yet still Brotherhood has its demands and needs. And really there is no better song in my library to help demonstrate the style of bass that’s going on here. And while the bass here is clear, it is also tight and controlled, never overstepping its boundaries. The beauty is the sub, the way it finds itself fully separated from the mix, in its own zone. While sure there are other ways to accomplish this bass, yet somehow this bass simply cleaner and in-order the way it holds its stance. Gone are any of those bass frequencies which creep-up into the midrange, this here, the way it's done is both fast, deep and correct. There is also a beat metronome which exists as a thump, really through-out the whole song. Starting at 00:08 seconds this drum beat allows for a continuous pace which the song holds……..and it in itself is so uneventful, it just sits there doing its job, and slowly falls from your listening focus. Now when first heard, as with many new instrument introductions in a song, this thump will get analyzed for a moment. In fact it is the timbre of this drum that is super important. As when playback is correct this thump has a sound like a drum, of course it is a drum, but where its tone is in some all BA IEMs and even some Hybrid IEMs, will provide more of a slap sound instead of the thump realism. So right off the Crown is making points of progress here. Though I have often heard it more thick and of more density in IEM replay, still the actual tone is totally correct. Where the Crown excels is being able to separate stuff and throw out a big stage here, full of musical involvement and attitude. Yes, the Crown has attitude, come-on it’s named the Crown for Pete’s sake!
Lorne Balfe and Andrew Kawczynski
Grand Turismo OST
Academy Race
44.1 kHz - 24 bit
By the cover of this record you may think its going to be like the first song, though here we are on a much bigger scale as it is a blockbuster movie OST. Where the previous song was a game soundtrack. Bigger sounding on all levels, with real-life renditions of choruses and big orchestra instruments. So now timbre and note-weight have even more importance being many of us know how these instruments are suppose to sound. And that is a big part of IEM judgements, to be able to have heard this music enough times (and enough ways) to kinda know when playback is on the better side of correct. The bass here is a matrix of events, a layering of synth bass like the above song had, but then added real bass added on-top. At 00:17 there is a drum sound way off to the left, yet it is again so many layers of instruments, more than we can mentally take apart. Yet the main sound we can identify as a kettle drum (timpani) and all is well both with tone, timbre and note weight. HA, I’m laughing as at 00:23 seconds there is this synthesizer effect that is also processed to sound like a race car. The sound truly starts at 00:16 and becomes a winding big sound. Just the contrasts with-in the stage and the transients obtained here make this special. Yet there is something going-on that is far greater than anything I have described so far. Yep, the transparency going on with the Crown is totally letting the differences in recording quality in contrast to the previous song show through. This is the biggest event so far in my music testing. Why….....it is the true nature of the technicalities held with-in the Crown. That’s right, the ability to show the second song was recored on a much larger scale, holding size, and layers……sonics that are just too evident here. Sure we have note weight, and timbre, but more than that we have an actual stage size that is revealing of the ability of the Crown to dedifferentiate. It is in-fact this difference that is a clue that we have an IEM of far greater worth than the $219.00 asking price.
Gdanian
Induction
Shield Emitter (feat. Tineidae)
44.1 kHz - 24 bit
I have to laugh again, as now we are entering a bass laden, ambient soundscape. A song that at first reading about the Crown, you may guess didn’t have the (deep-end) ability to replay? And that’s why I’m writing this, and the very reason you’re reading this, to find if the Crown can handle these bass textures and come out a winner. When really in so many ways the Crown has it all. 9 years TFZ have been perfecting DD playback, do you really think they would short change us at this place in time? They simply took all they knew about making a good IEM and put it into action. In simple terms it means we can listen to pretty much the full gambit of music reproduction. And while this song sounds totally correct and natural, there are treble itemizations that for whatever reason sound new? Right at 00:10 I hear this high pitched synthesizer, and I’m sure it has always been there, but I’ve never heard it exactly sounding like it does today. And that’s the beauty of owning a few IEMs, as most of us don’t have the luxury of owning multiple home speaker set-ups which would allow a slightly different window into our musical replay experience………yet with a few IEMs we can do that. And I want to make one thing very clear here, that there are actually many different ways to replay correctness. And just like different home speakers in a room, we have replay that can sound slightly different and still be considered correct. Does the Crown sound like an IEM I’ve heard before? No it is slightly different, yet totally correct and natural.
KMFDM
HYENA
In Dub We Trust
44.1 kHz - 24 bit
This is a tough song to use. I told you I would challenge the Crown, so here it is. Reason being that Dub music uses bass authority to delineate itself, to separate itself from all other styles of music. Now at times extra bass will make an IEM sound more natural, but no not here……..this is simply too diminished in bass to work out effectively.
Theater of Tragedy
Assembly (Remastered)
Episode
44.1 kHz - 24 bit
This here is a super important song in testing because it is one of the single brightest recordings I own. Yep, it does not fear to go there. Literally right from the get-go at 00:00 we have a multiple deluge of sonic (read bright) musical instrumentation. Trebly guitars, cymbals, drum hit, I could go on, but you get the message. And sure the Crown is on the brighter side of the street as far as IEM playback, there is bass but there is also a midrange and treble intensity even with the “ON switch” turned-off. And sure this style of playback could be considered an acquired taste, or simply not doable to some. We always have to ask ourselves, how well rounded an IEM is, as some IEMs can play everything and some only part of our library in the end. And of course here I’m looking for trouble, trying to dig it up. And while the vocals are great, there is a stance here that is telling me it’s all simply too much. I can tolerate this at a reduced listening volume, and with-in that playback level all is well, but no way can I crank-it. Who’s fault is this……….it’s not the IEMs fault, the song is simply crazy bright, that’s all. And once again the Crown is going about its day being transparent that’s all. Yes, the treble details are there, but more than that the Crown is providing this clarity window where treble elements are both expanded out into the stage, they are clear and formed……..and that is an area where some need this brightness, they crave it. Such listeners may find darker more forgiving IEMs boring and dull. And to tell you the truth, I can listen to this whole album, even though much of the mix is crazy bright…..I simply lower the volume a notch. Yet the treble highlights both own rhythm accents and show cymbals fall off way out to the side when crashed. And much of this extra detail I simply don’t ever remember hearing, I mean of course it must have always been there, but never bought into focus, like the Crown does, these sparkling highs are real and exist, all the while still existing with a formidable bass kick.
Conclusion: SuperTFZ has made a competitive introduction with the Crown. The Crown is as good sounding or better than the current introduction of IEMs. The innards are somehow on the outside with this one. And just like a muscle car that seems to go faster with the hood taken-off…….the Crown really does sound great. Maybe SuperTFZ has to put the circuits on the outside just to prove they were there? I’m no expert at building IEMs, I only listen to them, but I’m pretty sure the ones I own don’t have these circuits inside, and I know I have never seen them before outside. First glance would have you believe the circuits don’t do anything, that they are all show, and no go. And I forgive you for guessing that, as we see so much hype on a daily basis. But I’m here to tell you this trick of changing the impedance really works. In fact it made an IEM that pretty much would have got a low score into a masterpiece. The Crown would have got a low score simply by being too bright and too intense, otherwise……for me anyway? Also with these added new circuits SuperTFZ is staying with what they know, perfecting and improving the single full-range DD. After 9 years of DD work they are presenting their DD TOTL Flagship IEM, simply the best they know how to make. This in itself means all the IEMs TFZ has produced before have been stair steps to this final product…….the Crown.
Disclaimer:
I want to thank Penon Audio for the love and for the SuperTFZ Crown review sample.
Disclaimer:
These are one person's ideas and concepts, your results may vary.
Equipment Used:
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
Samsung Phone 3.5mm output
Bonus cables rolls:
Remember how I said the Crown is incredibly transparent? Due to such abilities we can use cable choices to try and help align the character of the response to our liking. A cable like the ISN GC4 uses a gold additive to enhance note-weight and thickness. With an IEM like the SuperTFZ Crown we still have a margin of room to gain access to extra note-weight, while at the very same time using the additional smoothness to gain better acceptability into tone.
"some of the others".........I know of one kmmbd who feels (and has stated here) the faceplate "looks completely whack."
Everyone is going to perceive it as one way or another.
Well...maybe the Crown it is trying to be steampunk? Actually I see IEMs everyday that are boring, in fact most IEMs look boring to me, though this one does not. Yet it doesn't look normal either. I mean probably they will take this look farther with other releases, and it will be less shocking. Back in the 1990s I had a Scott tube amp that was fully open, and I loved it.....audiophiles are more about sound, and this has the sound!
@Kundi,
Thank-you. My listening is not fully well rounded as far as musical examples, yet I know the music and it is a challenge for the IEMs to get right. That ambient album by Gdanian is very difficult to get right, and holds many layers. But I have to agree, reviewers often stick with audiophile regular listens, that or mainstream popular songs, which are also regular public listens. I have always been edgy (at times) with music choices, still......I simply use music I like?
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Possible new TOTL Voltage
Possible new TOTL Voltage
The DEW4X
