The ISN Neo1
Redcarmoose Labs November 27, 2023

Introduction and build:
The Neo1 comes in at an easy to wear 4 grams a piece. A 10mm CNT driver does the sound, and there is one single air-vent in the middle of the back of the housing. Due to the exquisite form/shape and weight the Neo1 may actually be the most comfortable IEM I have come across all year. Such charms can double in value once you leave the house. Seemingly not that thick, yet sporting a wide treated wood faceplate, we are gifted with aesthetics of a much pricer IEM. As seen in the pictures here, the nozzle is also the perfect length allowing me to go ahead with my preferred wide-bore silicone ear-tips. With dealing with a single 10mm CNT driver and Penon it seems have actually built a housing around the driver, maximizing ergonomics found when you don’t have to build a giant IEM shape to accommodate the innards. The shape arrives simple, as a single driver laid facing upwards into the nozzle, invents such a wide, yet thin shape. With the back body I can see formation of construction lines traveling the whole length, even up to the nozzle. Such lines are very different from the standard 3D printed resin formations regularly found here at Redcarmoose Labs. Yet maybe it’s the material, or maybe the shape or maybe both, but it is truly a joy to wear, as long as I want, never even moving or acting fussy.

The filter kit:
The birth of the Neo1 happened it two stages. It was released, yet some wanted a slight reduction of the 4.5kHz peak. So as a permanent fix you have both a Dampening mesh or Cotton mesh to add, if you prefer. I will be moving forward in this review with the Cotton mesh in place. Yet, remember if your game for exactly how it sounds out of the box, go for it!

$39.90
https://penonaudio.com/ISN-Audio-NEO-1

Sound journey:
Often I will start off my tests with a song that is simply easy to get (play-back) right. I mean why cause trouble at the start, we want impressions to be gifted, yet accurate.



Dead Can Dance
Anastasis
Kiko
44.1kHz - 24 bit (ISN Neo1 in place)
Look, while easy to play back, this number also has what we are looking to test as far as dramatic dynamics in sound. Meaning a while later the vocals will show-up and the question is, are they too forward, or too intense, or both? Yet at the start we are gifted with a big round and fully accurate drum rhythm. This is where the money is as far as this IEM goes. Vibrant, big, accurate and holding the most correct timbre. Why? Because it’s a 10mm CNT driver silly. Yep, it is all here the way this 10mm is reproducing accurately the overall sound, feel and vibe of this drum. I know I said the word big, but I’m going to say it again……also the decay is exactly correct. At times IEMs this price range will seem short-handed, especially with note-weight or stage. I can say, that if you took the Neo1 to an IEM show and placed it in someone's ears, no way, no way would they guess (this is) an under $40.00 IEM, this would not happen.

Back to the song:
There is also a cymbal of sorts right at the start and while I have heard it played back slightly more separated into the stage, away from the drum-sound. Still this is nothing to get your panties in a bind about. Truly if I had never heard the song before, it would sound exactly correct, especially how the pace is done……pace, note-weight and timbre…….is there anything else? Oh…..and the staging is nice, where everything has that 10mm cohesiveness and while not the biggest stage it is in-between large and middle size………..which is provocative and truly nice to have here, especially at this price-point. At exactly 00:18 a dramatic introduction of drum emphasis and added instrumentation lets us know we are now getting somewhere as far as moving forward. And here is an example of layering, that in-fact the separation and delineation at hand is what is truly endearing. Often I get called-out as a shill or a talker of un-truths. The point here is I truly like IEMs, and I get them for free, to borrow. I’m simply relaying the character as I hear it, there may be a slight exaggeration at times, but that’s the force of both being an enthusiast and a writer. This is truly how I encounter the ISN Neo1.

At 00:39 a guitar-like (world string) instrument takes place, the thing is, it is in no way too forward or wrong sounding at all. Such a sound grabs onto other effect channels and is brought back into the track reformed into a slightly different tone, also holding different positioning into the stage. Upon further study this is really a form of decay or echo, such an instrument then gets combined with a synth accompaniment, taking our little tune to the next level. At 01:14 Lisa Gerrard’s vocals make an entrance. The ultimate question here is where are they, both in tone and contrasts? This is the tale of quality because the human hearing is specifically tuned to hear the female voice the strongest. This may be designed by our creator or evolutionary………yet the Pinna Gain area either makes or breaks an IEM. This occurs due to micro-sensitivity into perception of this area of hearing. Literally 1/2 or 1/4 kHz will be commonly noted by everyone listening regardless of experience. They may not be able to describe what the effect is exactly, but they will perceive the mood. You see part of this formula is balance, meaning get us a deeper and more robust bass and the Pinna Gain area gets played down. Same almost gets us some treble splashes and also it will ask you to lower your listening volume to in fact reduce again the perception of Pinna Gain. What we are looking for is balance, balance and technicalities. Because at times a boost (unneeded) into the treble can get us the feeling of more detail, when it is just pushing-up the detail that is there. Same as the bass, where there can be a formed and adequate bass, yet set back into the mix. Here is in fact Penon/ISN’s house sound for the bass. Such a display of low end is why people purchase a Penon/ISN. The best way to describe it is full, warm and textured, but not overbearing. ISN is Penon’s company that aligns itself to more bass heavy replay than Penon branded products. And it’s true this has ISN bass DNA written inside of the bass replay.

With that said, the small peak at 4.5kHz takes precedence over all up top, perfectly balancing the bass with maybe a dB or two more energy up-top. This results in the V shape character we experience. Also typically single full-range DDs will always exhibit this style of treble. What this does is offer a very cohesive, non-treble boosted romantic, warm and vibrant tale for your music. Where the thing to look-out for here is still the 4.5kHz peak exploiting dominance over all other aspects of the Neo1 character. This becomes in the end a double-edged sword. One adding the clarity into which we find the vocals moved from the back seat, in some other replays, to front and center. This in and of itself works to create a big stage and takes notice slightly way from the ISN bass. But ultimately it makes these very much vocal IEMs, with a bass boost.

Lisa Gerrard’s voice is something I can touch, and will end-up a spectacle of fascination for those who have never come across such a juxtaposition. At the same time it limits the well-roundedness as experienced with other IEMs, though there is nothing except maybe the SIMGOT EW200 that offers this level of entertainment, at the price of lunch out for two. Except the EW200 has a different tune, to make having both truly complementary.


EW200:
Here is the same song played with the EW200. Such impressions taken from my EW200 review:



Dead Can Dance
Anastasis
Kiko
44.1 kHz - 24 bit (SIMGOT EW200 in place)
While the cymbal ride at the start is not as vivid as I’ve heard with more expensive sets, there is nothing really to complain about. At 00:38 this stringed instrument hits. Seeing Brendan Perry play this live he uses a 8 string Greek Pegasus Trichordo Bouzouki. And while I’ve heard this song for years it is probably the first time in the (this) review that a slight subdued realism is noted. Meaning the treble in the first song and the lows in the last song were fully there and for the most part realistic. And I don’t know why this is but I have often heard it more forward and jumping-out in the mix? Still it’s incredibly natural and while slightly subdued, not in any way a party pooper. In fact once the synth accompaniment takes place it goes to add vibrance and fullness to the song. Though the main concern will be vocals and how they are addressed. At 01:13 Lisa Gerrard makes her entrance, and what an entrance it is! Now all is well, and it wasn’t that the string instrument was bad in any way, it was just slightly farther back and didn’t show the separation that I’m used to, and remember I’m used to hearing this on a more expensive set. It is kind of like different sequences of information take your focus, first the intro of world guitar, then Lisa Gerrard takes the spotlight, only to take it all that much further with her ideas of music on the seductive yangqin (a Chinese hammered dulcimer). At 01:48 we are really at the center of the musical message with both the Yanggin and Greek Pegasus Trichordo Bouzouki playing side by side. The special part is we can differentiate between the instruments. The major part of this success is the note weight, that and the fact that over-all the character of the music is complete, even and correct. At 04:30 there is a wonderful pace to the song that almost becomes a feeling of floating, that’s when Lisa Gerrard comes back again for more vocal tremolos to take this number over the top…….as who needs lyrics?



ISN Neo1 v the SIMGOT EW200:
Let’s cut to the chase here. The EW200 is a full 9 grams, 1 gram more than double the Neo1’s 4 gram weight! And yes, you do notice this stuff, I mean how could you not? In comparison the EW200 has a fuller lower midrange, combined with a less forward pinna and we are basking in a style of murky waters. Don’t get me wrong here, I love the EW200 and have been recommending it to everyone and their Mom…….their Dad and little brother too……even their Sister. The whole Family.

More Nimble:
But here is a chance to find a lighter and more nimble replay, where the bass is actually better defined with the Neo1, and especially when you take away the lower midrange blanket. Now this is where it gets slightly complicated, even though the EW200 is probably more well rounded, it is because of what it's leaving out. Yep, where the Neo1 is fresher sounding and faster, yet at times there is that Pinna Gain which can make some music slightly problematic. Where the EW200 is simply extra lush and more forgiving all the time. But what gets me maybe the most is how the Neo1 stage seems bigger, not so cluttered and cleaner, cleaner to let the pinna gain imaging have more contrast……as it is simply more forward, away from the rest of the mix. Here was the surprising part, before the side-by-sides I would have guessed the EW200 to be the winner across the board. I have more experience with the EW200 and it holds a position of respect here at Redcarmoose Labs. Yet back-to-back the Neo1 showed its character. And when you hear the Neo1 by itself you don’t notice the bass as being careful as it is when you compare it to how the EW200 does bass? You don’t notice how the soundstage is expanded compared to the EW200 when listening to the Neo1 alone?

End of comparisons and end of DCD album Anastasis song review:



Kaveh Cohen, Michael Nielsen
Forza Motorsport OST
Brotherhood
44.1 kHz - 24 bit
While probably the best feature here is how a lower frequency drum can get replayed. Normally this isn’t something I regularly notice because when it comes in at 00:09 it kind-of can get ignored. Meaning this drum is literally the metronome for the whole song holding pace information. Yet once you are clued into the pace of the song, the drum takes on more of a utilitarian role, providing pace substantiation behind the scenes. Of course it’s not behind the scenes, it is just because it never changes your mind looks for other changes and finds them to be intriguing. So this drum just is. Only when you start to compare IEMs there turns-out to be very different ways this metronome drum can be heard. This is a style of orchestra music with electronic music that serves to be a backdrop for game play. So you can imagine how this drum offers a pace and adds drama even while being downplayed by any changes. Except there is one dramatic thing here…………often BAs don’t get this timbre right. Nope, they will go ahead and replay this drum as more of a slap sound. As IEM listeners we have made small compromises. Compromises where we were not too critical of timbre at times. Now the best part is really it is not so bad of a slapping sound with Hybrids, no where it is bad is with all BA IEMs. Yet now with the Neo1 the sound is like a drum, where it’s round and full, containing not a bit of slap…….and I like that. Zero smacking noise! The reason we go with single full-range DDs in the first place.

Bass:
The next part of this song that is money is the bass. Because the standout feature is the fact that the bass holds actual note frequency, and that note frequency is clued in on, and subsequently displayed correctly. The bass is the whole foundation of this song, and I don’t need to give time clues as it is everywhere. Besides note information, we are also given texture. And while it’s not totally the best ever, it is better than the EW200 so that maybe makes it the best bass quality I have heard in the under $40.00 range? Sure it is an ISN product so what do you expect? The bass is simply more clear than the EW200 and with that clearness comes detail…….etc…..etc.

Midrange:
Here we are kind of following the mix as it unfolds. This is an instrumental. As no vocals. Yet the piano keys take that job and run with it. Nice offerings of echoes and such commingling with the bass to create a dance of sorts.

Treble:
And while much of the time (with more expensive IEMs) I will note better separation and itemization inside of what the treble is doing. Here the message is the forwardness to fight the bass in the 4.5kHz region. That is how they can get away with the IEM sounding correct and balanced with-out adding excessive treble energy to the replay. Still due to just how it is tuned we find all is here that is needed or could be asked for. Yes, the treble is downplayed yet, if you had never heard better you would not know. As Penon/ISN are masters at finding a tune, and they found it with the Neo1. The best part of the Neo1 in that regard is the fact that every tone has an area and there is nothing left out to cause concern.

Song summary:
Probably the organic fluidness is what is the most charming here, the fact that all is one, yet each element has its place. The way the bass finds a natural yet smooth and robust way to come into the farther reaches of the stage, the way there can be times when that same exact bass jumps down a few octaves into the sub-bass zone and is relayed with a special style of magic that will have you content no matter how many $$$ big-gun IEMs you have laying around.



Dead Can Dance
Within The Realm Of A Dying Sun
Summoning Of The Muse
88.2 kHz - 24 bit
Ok, now comes the fireworks……………maybe? I mean this is a random test to see where this goes. This album is very well recorded and has great female vocals on the second part of the album. Here we want to discover if things are too much, too little, or just right. Just like the story of Goldilocks………..

At 00:00 it is the ultimate introduction, with fanfare abound……the very first instrument is a bell sound, in fact there is a whole symphony of bell sounds. Slowly at 00:15 our mind is able to slowly find home and in doing so is taking this whole thing apart. Yet surprisingly nothing is too bright, as surely these bells take that sonic positioning, of course, it is the treble doing its thing………only. And again while I have heard this showcased with more detail, treble energy and spatial clues, opening-up a kind of vista to view, here maybe it’s just the price-point? We are fine. Holding regular if not slightly compromised positioning of elements, this is the style of what DDs do in this situation. At 00:26 the vocals join us. And I’m waiting for it………but it never comes, the balance is correct and well done, while I have heard this showing vocals more forward in separation, there are other added vocals which fall out farther to the sides, and even the climax at 02:14 is filled with dramatic luster, yet never any fear of too much or too bright, or too forward. What we are left with is truly balance, the balance to enjoy the music and forget which IEM is in our ears. At 02:29 there is this synthetic stand-up bass or something which goes along with the bells finding the vocals right in the middle. Again the redeeming factor is the naturalness and fullness of replay. The way of the fall-offs of reverbs, the correct Oboe tone, where this IEM truly allows you to figure out which instruments are real and which are sampled or created with synthesis……and that is more than I would ever ask an under $40.00 IEM to do.





Packaging:

The Cable:
While it's easy to shoot arrows at the included cable quality, we are not talking about a $300.00 IEM here. Therefor the cable works and is of adequate quality for the money asked.

Out and about:
Possibly the most overlooked feature here at Head-Fi will be just how valuable the Neo1 is from a simple phone. Yep, if you were to truly only use a phone with the Neo1, you have just struck solid gold. Reason being is the sound is full and possibly more correct in stature. Honestly I can’t believe it? Big stage, big imaging and most importantly note-weight. Yep…..even any worry about any 4.5kHz pinna gain has been totally smoothed out. But, what am I really getting at? Simply musicality my friends. This is singlehandedly one of the very best IEMs for phone use in recent memory? Somehow it sounds better from a phone than audiophile sources? 1st lets start with bass……..please is this really how good these are from a phone? What? Big, deep, powerful and well paced………don’t believe me? Just get a pair and see for yourself. If I wanted to join the ranks on the subway or walking, I can’t think of a better way to go? Big imaging, hefty note-weight and a fun playful signature, and best of all clarity, with nothing harsh, just making stuff sound natural and wholesome.




Conclusion:
Is there a reason to buy this? Sure it showcases the Penon/ISN sound characteristics and performs the very basics of sound reproduction well. Nothing is fake or really wrong inside of regular replay. With that said, some may find the murkier waters of the SIMGOT EW200 better or at least more forgiving. Normally this would be the place where I say that the EW200 may be better for Rock or EDM, but no……not here as Penon/ISN have really put together an IEM that (for the money) does it all. Sure the 4.5kHz peak is still there, but becomes an attribute once you really understand what the Neo1 is up to. You see this 4.5 little kHz peak is what makes the Neo1 have openness and clarity, pace and distance. This distance is created so that the bass has imaging and texture, form and character. I have spent 21 days learning about the Neo1, do you think I truly don’t know it as an IEM?

The best part is the sound, but secondary to that the build and the fit. I mean look at it, it’s gorgeous, and the wood faceplate means every build will look slightly different. It is the style of IEM that allows long listening runs due to both fit and sound. Truly I feel Penon/ISN are making a great value statement by releasing such a bargain……get yours today!

$39.90
https://penonaudio.com/ISN-Audio-NEO-1

Disclaimer:
I want to thank Penon Audio for the love and for the ISN Neo1 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
Samsung Phone 3.5mm output

PENON RENATA (Beta) CABLE
Redcarmoose Labs November 25th, 2023

Disclamer:
This model of the RENATA (Beta) had a different sound than the finalized version. Penon decided to change the product tone and introduce the Penon RENATA with a slightly different forward tonal stance, in-turn adding regular midrange clarity. Hence the actual cable described here will never be widely produced for consumers. While the new (final form) RENATA could still be considered warm, it is in general more well-rounded finding home with most IEMs, oppose to this (in this review here) darker treble and subdued midrange energy model.

Probably the very best way to approach this is with a story. Yes, it’s true that all cable interactions are stories, except this particular cable, the Penon RENATA is vastly different from any cable I have come across. Different only because when I first got it I didn’t value what it did. I thought it was weird because it tilted my favorite IEMs into a wrong position. The RENATA made certain frequencies dull and lifeless, boosted others. I was perplexed…….then I started to get a clue as to what its uses were……..yep. The Penon RENATA does things different, and actually doesn’t go with all IEMs like the Penon ASOS cable I just reviewed. It’s almost the opposite of the ASOS cable.

As far as cables go (to over-generalize) we can place them into two categories. One being clarity (ASOS) so the cable simply gets out of the way and lets the personality of the source and IEM shine through. Two being color. Yep, some cables have use into aligning a sound different, almost vibrantly into a specific direction. Now vibrant may or may not be the very best word to use, except let me explain. Even with the 1st category (regular clarity cables) they can use a slight midrange or treble lift to bring things into greater focus. Even the bass can be slightly enhanced by itemization, a sculpturing of sorts. And while there is many different qualities of such taking place with different cables………this clarity group is wanted and needed as an alternative from the cable they gave you with your IEM. Group one simply makes the IEM you purchased better. Why? Because they couldn’t provide a more expensive cable with your purchase due to it thowing the over-all price out of whack, and because cables do less for the overall sound than the IEM. So manufactures know this, and get you most of the build effort inside the IEM, not the provided cable.

Except what on the other hand if your IEM was too intense, too bright or too forward? And even the manufactures supplied cable still didn’t work to make the new IEM you have listenable for long periods of time. Sure everyone has their own personal threshold into the perception of this energy. Some like excessive brightness, yet that’s not the norm. And typically with these types of IEMs we don’t know what to do. Number one we like them due to the ability to enhance detail. But as far as long listening runs there is a point to where we feel it’s just too much. Sure EQ can help, different ear-tips can totally go along to decrease our nozzle opening, to decrease the tone frequency…………but what if you want the widest soundstage? And what if you don’t want to use EQ? There is the solution of using different sources too, as at times we have a wide range of tones available at our disposal. But let’s just say even though all those methods do work, there is an easier way to reach success. There really is.

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.



PENON RENATA CABLE
At first before I found my way with this cable I thought it was strange. As if you attempt to join the RENATA with balanced IEMs that don’t need correction you will hear things sounding almost off balance. The color will be apparent and you will wonder why anyone would make or use such a cable. Here at Redcarmoose Labs the respect meter goes down as there doesn’t seem to be an application for such a product. Even with first realizing the cable is a type of smoother……………..it still doesn’t smooth everything out in an even and correct manner? So imagine with me that even coloring sound needs to be somewhat even and correct………….a correct change. But then I started to come to terms with what the RENATA did well. Yep, I actually owned a number of IEMs that were in need of what alterations the RENATA did. Not only were they in need of exactly what the RENATA was up to, they were the very best sounding after the RENATA treatment.....the very best they could be! At least to me they were the best? So the character of the RENATA had a use, but more than that, there was no cable on earth (or at least one that I tried) that did what the RENATA did.

The RENATA is a singularly different cable than any cable ever made. Wow, that’s a big statement. Let me clarify.

First off probably the closest to what it does can be found with the ISN CS02. Yet the CS02 comes with a permanent plug surfaced with Rhodium. Now I have no idea what a regular plug would do with the ISN CS02, because I don’t have a separate permanent plug cable made with the regular style plug. Yet, what I can do is put on a Rhodium Plug onto the RENATA. Thus my attempt to make the RENATA more like the ISN CS02. Yet that flopped……….where the Rhodium Plug does make the CS02 great, it added a little too much intensity to the RENATA. Basically that is kinda what Rhodium does, there is an increase in treble energy and a forwardness or sorts, actually in many ways it’s clearer than a regular plug, but at some expense at times. But the real reason the RENATA is different is in sound, the resulting sound with taking a few IEMs and making them be the very best they have ever been.



Did you read the Latin description of the name RENATA? Guess what, Penon told me about the name two days after I already discovered what the RENATA did. So that in itself was mind blowing. I’m going to go over a few IEMs in use with the RENATA and simply try to explain what’s happening. You don’t need to research them, except in my reviews I will talk about the IEMs character drawbacks. Typically what this group has in common in brightness. So even if you don’t have any IEM in the test group, but do own a forward or bright treble or midrange IEM that delineates lesser listening times, then the RENATA may be the avenue to try. I mean that is what it is about, to have an older IEM become reborn!

Tests:
First off I could probably find more examples of success, yet it would be redundant. I literally received the RENATA a few days ago and it reduces my time (to write) to test every bright or forward IEM in my collection. Plus while fun, the results are the same and we would basically be going over the same ground over and over, which would be a little boring. Except for the “what if”.

What if:
What if is a term which in many ways encapsulates the discovery and mystery of IEM testing. What if means that often cable tests can be predicted, but other times surprising. Surprising just because often IEMs and cable unions don’t always play-out as guessed. Still there is a wide ranging group here to test, and they each offer different price ranges and popularities. There are truly different frequency responses, as how could there not be? But beyond what we can learn from graphs into viewing the FR response, there are unique abilities due to the various drivers displaying their own unique sound sculpturing. Yep, different balances of bass, different resonances, etc, etc.

The test subjects:
The TSMR Sands: 3BA x 1DD-$319.00

The TRN BAX: 1BA x 1DD x 2EST-$312.88

The MEAOES Eagle: 2BA x 2DD-$149.90

The SIMGOT EA1000: 1DD-$219.99

The Geek Wold GK100: 2BA x 2 Piezo Highs x 2 Piezo Ultra Highs x 8mm DD middle x 8mm DD lows x 8mm DD ultra lows-$200.00

The KZ AS24: 12BA-$112.00 (switchless model)




The TSMR Sands:
As always, I’m rooting for the underdog. You know a great IEM, yet not perfect, except shining as far as price-to-performance goes. Why else would I surround myself with so many budget IEMs? Truth to be told I am always looking for that bargain, an IEM that leaves you satisfied regardless of cost. But I have to say the Sands was and is different. Joining the mid frequency duties are 2 Sonion BAs. It was at the end of May, 2022 that I reviewed the Sands, and I have to say I was spellbound by what how the implementation was done of these two magic BAs. Maybe it was that they were “nude” in a way, having to procure so much of the sonic statement? One Knowles tweeter, one DD……..yet the midrange is what made the Sands, at least it is what you remember after the dust settles?

Today I’m using the Sony WM1A with MrWalkman’s firmware and my regular wide-bore silicone tips on everything, all of the test IEMs here today. And while the midrange is again the first and foremost the notable “thing” I can’t help but be persuaded by the increase in bass authority. The RENATA is expanding and separating the stage elements into both smooth and itemized elements of entertainment. I mean I choose this one as the first to write about just because cable changes have been a big part of the Sands life, ever since introduction, people have been concerned with getting the most out of the Sands via a new cable. Yet, here we are at home, as it seems like this combo was meant to be together, that the Sands and the RENATA were made for each other. Don’t get me wrong, that treble is still there, yet softened and digestible……seemingly smothered in golden light? Attacks are instant, transients fast and encapsulating imaging into a reality into which we view the stage positioning. And while of course the Sands isn’t everything, it is the best it has ever been here today. The ear-hooks too, go ahead and add positioning.



The TRN BAX:
A little harder to drive than the Sands…….here we are witnessing size, size and a different style of forward intensity. Normally I don’t bring-up gossip but since my BAX review I could not help to read the trash-talking. The first thing you learn is never become upset if someone doesn’t like the IEM you like. Only these folks on Facebook have never heard the BAX, they are only going by some graph. Yet as gossip goes, it is a wave of taking, with one and then another gaining force, simply by agreeing. LOL

I’m sorry, the BAX is absolutely one of my all time favorite listens. And again it’s not everything, and doing side-by-sides with the IER-Z1R did put it in its place. Only I’m a sucker for big-big stages, then if you itemize those elements into positioning into the stage, then dislocate the DD bass maker into it’s own HYBRID world, I’m completely satisfied. Yet some have found the intensity to be slightly overboard with what the BAX does. The new BAX Pro has an extra BA driver and tuning switches, so maybe that will attract more folks to this Hybrid paradise? But to me I’m in love and you know how love is blind……well the BAX doesn’t need a thing. Sure it’s intense, but the good kind of intense, the kind I can get lost in all day long. This style of forwardness brings with it clarity, yet the RENATA enhances such handiwork. Yep, the BAX is also now the best it has ever been. Sorry if you don’t believe me, but it is true. A slight separation, a smoothing of the edges and a new stage, a bigger stage than I ever guessed was possible. There is even better timbre maybe, as that is what can happen when you dial things down a tad, same as the Sands, offering a slightly more realistic take on daily file playback. Oh, and the ear-hooks……total win-win.

I know this sounds crazy, but with the slight trimming of intensity, the over-all cohesiveness also was increased as everything just flowed together more evenly. More of all-is-one, except this is a Hybrid and still has that marvelous separation, like home theater does.



The MEAOES Eagle:
OK, the Eagle could in-fact be the poster child for the RENATA cause. A perfect example of turning an IEM that after a while you may be on the fence as to possibly selling due to brightness? Yet saving the day, the RENATA is in place finding new found perfection. Well, not perfection, but close to it. In truth I forgot the retail price of the Eagle, yet it sounds like money now? Also the MEAOES Eagle was kind-of a surprise in that I don’t ever remember it sounding anything like this. Just super big expansions of detail and floating harmonics, all very natural and not steely or too bright? Also the two DDs are simply kicking it, bringing a welcome groove to whatever music is your choice. Yet it is probably timbre that is the most inviting here, as this typically is the style of IEM that can be controversial, being it is accepted by a few, and shun by others that don’t understand what the Eagle is trying to accomplish. Yet here is the cohesiveness, the completeness of tone, and an overall demeanor which gives it both a charming character, and an accessible one. It’s like that grouchy neighbor that was always complaining about this or that across the street, then you have him over for drinks and end up hugging……….well not hugging but you get my drift. LOL

Total acceptability here. Truth to be told I don’t know what price they are going to ask for the Penon RENATA, yet if by chance you end up buying it, it’s not too late to learn of the MEAOES Eagle. No doubt that it’s different, but so wonderfully different now, you know how it goes, a difference that becomes of an enchanting character, and one of singular value.....when you hear how the bass has a clarity and pace……..you won’t care that you only spent $149.90 because often this isn’t about how much you spend but the value of the synergy you have found. The bottom line is if you can enjoy your listening sessions, and while, yes the Eagle is still on the brighter side of the street, the DD balances that out just right. But most importantly it sounds natural and correct……..so much so that its tone is what I remember now with the RENATA, and keep coming back for more. Amazing! Some of the best sound per dollar out there. Don’t disrespect the Eagle……..don’t!



The SIMGOT EA1000:
So word on the street is this is the hottest thing since the last hottest thing. And while the EA1000 has its slight issues, most will agree that it is a lot of sound for the money. SIMGOT is going crazy introducing a full-line of budget IEM offerings, yet they may have hit the ultimate Pay-Dirt here? Did I say Pay-Dirt, that means finding gold, and I think they may have done it? I just wrote a long drooling review, a poem to the IEM GODs who bestowed this marvel upon us. That while great, the issues here have to do with what inherent issues single DDs have anyway.

The EA1000 was one of the very first IEMs I tried with the RENATA. Why? It was near by, and the sound was also near to heart. I had just done a review, but more than that, I wanted to find out where the RENATA would take the SIMGOT EA1000. There is another reason too, I had just tried a few “normal” IEMs and the RENATA was not always correct with them. What I mean was the Penon Volt and Penon 10th Anniversary didn’t become enhanced by the RENATA charms? They were too balanced and already did the magic that they do, and didn’t ask to be pushed into the direction the RENATA goes.

First off I mean, I’m not a fan of changing filters, and if an IEM is on the slightly bright side I can normally just deal with it, maybe my listening level may go down 5%…..or something? The way you know Schiit-hit-the-fan is I will recoil from my wide-bore tips and suggest some narrow bore tips to enhance bass and midrange authority while diminishing treble frequencies. But no, none of those shenanigans are needed with the EA1000, at least for me they regularly are not. Still there was room for improvement with what the SIMGOT EA1000 does and did. First off there is a pleasant overall warmth that is taking place, warmer than any other cable I tried. A warm blanket, yet due to the character going on with the EA1000 such warmth never seems to diminish the details. But there is a better stance of details as the stage is bigger, that and what could be perceived as closer realizations of elements oppose to Hybrids, the EA1000 now enjoys an immense bigger stage. Not the biggest ever, but a totally welcome improvement. What can add to those perceived improvements is separation, separation can at times be more important than stage. And that is what we have, a blacker background, littered with bigger imaging, and such imaging is in every direction……wider, taller, lower and deeper front to back. Next off the bass is both warmer and slightly deeper, bigger at least. And while bass it seems is not the stand-out value of the EA1000, it is totally intoxicating to me? And I don’t know why that is so? Maybe the fact that everything is so integral? Where the upper treble and pinna gain areas get a softening, where they don’t arrive as forward as say the Kiwi ears Melody, they are smoother now and still in perfect placement, as far as I’m concerned? Still if any drawback could be found with the RENATA and the EA1000 it would probably be how vibrant the vocals end-up? Just saying………..Yet remember I’ve just got done hearing 3 Hybrids, and just by the Hybrid nature vocals can be heard into more of a brighter toned color. But more than just tonal, they can be slightly more separated and dislodged into the mix spatially.



The GEEK WOLD GK100:
This makes the Eagle sound slightly less filled-in by comparison. Yep, all lot of fill-in due to a Smörgåsbord of drivers. All those GK100 drivers! Heck, there is everything but the kitchen-sink going-off in there. Yet it is all now smoother, and I like that? The RENATA is again making a love affair happen? Vocals are incredible, going from the SIMGOT EA1000 to this? I mean I call it just like I hear it, and while this is a test of a cable, you can’t help but compare IEMs you just heard. Yet this still isn’t a vocal centric IEM. Meaning vocals are better than the EA1000, yet still not maybe totally upfront? Probably GEEK WOLD accomplished that with the new GK200 which has just come out? Yet the RENATA improves the vocals here. I mean I’m sure I don’t sound believable with this review? Sure, I understand, yet it is what it is, the RENATA makes the GK100 the very best it has ever been. Again we are starting to grasp an ongoing theme of attributes. Bigger stage, rounded deeper, more authentic bass, more separated bass, more separated everything! HA

A smoother more natural rendition where instruments take on a more real timbre into their realization of occurrence. Literally there is nothing not to like here. In fact this may be the actual Poster Child of the ultimate RENATA cause…….why? Because it’s all here, all you could ever ask for from the GK100. If I was at a show (an IEM meet-up) and there was a table with the GK100 laying there…..I would blind fold a listener and simply ask how much he or she thought the sound value of the GK100 was with the RENATA in action………….it will in no way be a $200.00 IEM, no way. Yet it is these vocals that are special now, just the way they hold so much detail of expression? Just the way they are centered into a full-on stage with everything else going on around them….priceless?



The KZ AS24:
This is the full-on WHAT-IF style of hope. What if pigs could fly, what if the moon was really made of Swiss cheese? What-if…..the KZ AS24 could be turned into a masterpiece of an IEM, with just some added note-weight? In truth I wish I would have ordered the switch version as mine has no switches. Reviewers seemed to have luck adding a style of authority to the AS24 by changing switches. And while the RENATA does bring some warmth and spaciousness into play, the IEM itself still remains containing what it has. Meaning whatever magic was bestowed upon the above IEMs seemed to be a full miss-out here? Sure part of this could be me? Sure, I’ve only spent two days with the RENATA/AS24 combo……but I don’t think things will change? While yes, the stage is big, maybe I’ve simply been listening to too many Planar IEMs or DDs….or Hybrids, as the midrange here sounds a little dry, dry and lifeless? Sorry?

Ergonomics:
The interesting part of this review is yes, the cable is big, but not wild in how it acts. It actually goes where it is directed, so much so that I forgot to even write a part about it in this review. That is exactly how it is, you don't fret over what is not a problem, then someone commented as to size, and I was like...oh ya, people are going to see the pictures and be concerned with that. It's actually a little big, yet the ear-hooks do wonders, plus really it goes where you tell it, and I didn't notice microphonics happening, so in many ways it has the same magic as the ISN CS02 cable.




Conclusion:
I don’t know how the Penon RENATA was made, nor do I even know the determined price, yet all that stuff will be disclosed at a future date. That stuff is secondary to what benefits take place to a few IEMs in use. While this whole reborn thing was surprising, as I didn’t have a clue to what the name meant when I started this review. And truly names only have so much value, yet ultimately more when they explain what you have in your hands……right?

Look, this review has been a little long-winded, but more than that, this review has been filled with truths that border on the unbelievable. Which is fine. Remember in history most things that were different were not taken as fact when they first arrived. People didn’t believe the car existed when first told about it. They thought the car was a mechanical bull when they first saw it, little did they know it was something you could actually ride inside of!

And if anything, you can buy the RENATA as it will work with the brighter and more forward IEMs in your collection. It will give you longer listening times, and as a side benefit make the sound more cohesive and real. Timbre will somehow be affected with Hybrids.........resulting to transform the sound into more naturalness, when mellowed-down. The RENATA effect is real and one-of-a-kind over here at Redcarmoose Labs. And while the RENATA doesn’t make everything it touches better, a colored cable is like that, it picks and chooses who it wants to play friendly with.

All I can say is due to its uniqueness and politeness of character, the RENATA will stay in use with me......maybe daily, becoming a very special cable. Penon has a cable that does things no other cable in the world can do, and that quality makes it valuable, and even rare. You can partake of this phenomena once you get it into your sweaty audiophile hands too!

https://penonaudio.com

Disclaimer:
I want to thank Penon Audio for the love and for the RENATA (Beta) Cable 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

The Kiwi ears Melody Planar Magnetic IEM


Truth to be told Kiwi ears has been on a roll for 2023. The business of IEMs is kinda like that, where an IEM manufacturer will come out of nowhere and surprise everyone with not one but a few good releases, all in a short time. I mean, what better way to show-off your stuff? And in my experience I have been lucky enough to review a few. I reviewed the Orchestra Lite, the Cadenza, the Quintet, and the Dolce. Pretty much all of them except the original Kiwi ears Orchestra, and the Quartet……I even have the brand new Kiwi ears 1BAX2DD Forteza showing up for review any day!

Why am I saying all this? Because the Melody is way different, it’s Kiwi ears' very first Planar Driver IEM, and what is different from many other Planar IEMs is the driver is only 12mm. But more than that it sounds cool, better than many Planar Magnetic IEMs and probably the very best under $100.00 Planar IEM!



Comparisons:
I know of no better way to both have a blast, and find out the true sound of an IEM through contrasts. Yep, trying a few IEMs out is one of the best ways to approach the subjective reality of playback. Why? Because if you just go by old memories, those very memories can be misleading. Reason being is that old IEM that was in your ears six months ago is judged by even older past IEMs in playback. So there is nothing relevant to go by. We as listeners are moved by the very emotions of the music, which in and of itself can be incredibly subjective and fickle. Now you say that this is a science and we can go by graphs……yes and no. Reason being......I'm sure you can measure two IEMs and learn a lot, but things like decay, timbre, transients and stage are not included with graph measurements. Still there is more, a graph doesn’t tell you how an IEM sounds at different volumes, graphs don’t show how different ear shapes and canal resonances affect tone. And the kind of maniac I am, I can even gain a massive level of quality change from ear-tips, cables and sources. Yet graphs can be a useful tool especially in understanding differences between IEMs, and more critically.......the differences between ear-gains and their effect on tonal balance. So to keep this simple, graphs can show balance of bass, to midrange, to treble energies and show how those differ from one IEM to another. Yet what we are doing today with comparisons is way more simple. Yep, we are going and learning about the Kiwi ears Melody by interfacing it with different IEMs. Showing how if you are already familiar with a few IEMs, how the Melody differs in contrast.

How I chose the test vehicles:
I use instinct as part of the plan, as often I will just grab a comparably priced IEM and say this I will throw in. Then I start to analyze the reasons why I chose it……backwards I know. But take for example the 7Hz Salnotes Dioko. Why on earth would I choose that one? Because I thought when I reviewed it that the low-end needed some better authority and overall the Dioko needed note-weight. Guess what, yep we are describing the sound of the Kiwi ears Melody…..so a perfect side-by-side. Sure I chose others like the Orchestra Lite because it was a more expensive Kiwi ears model. I chose the Quintet because it was a Kiwi ears model, but also because it is very different from the Melody. More expensive too, but the Quintet is a Hybrid and also goes ahead and has those Hybrid attributes which are different and unique in comparison to the Melody. Plus you have brand groupies who fear they will make a redundant purchase if they get all the Kiwi ears IEMs. I will say this right now, that so far (from what I have heard) there is no sonic overlapping going on. Yet, the box opening experience is always limited, so I just say they spent their money on tuning personnel and put the cost to where it will be used the most…..in the sound of the darn IEM thing.

Letshuoer S12PRO:
The Letshuoer S12PRO is a 14.8mm Planar Driver which now comes in normally at $169.00. The big difference though is it also comes with a 3-in-1 Modular Cable. In our photograph it is the purple top right IEM that says Letshuoer S12PRO on the side………..sorry. Anyway I’m starting these comparisons with this one as I was asked to try them out side-by-side. And let me tell you, I’m glad as the results were flooring. It seems if you already have the S12PRO it would still be incredibly advantageous to get the Melody. Why? The first thing you may notice is the pure stage size difference. Where the Melody is farther out to the sides, up and down and back-to-back. Where the frequency of bass is almost comparable, yet the Melody sounds like more because it takes up more space (bass imaging) in the stage. There is a nice lower midrange to the Melody, that makes it very different from a recessed lower midrange with sub-bass. But the truly biggest thing, once you get to it, is the vocal size difference here between the two. The S12PRO is like a 42 inch TV in vocal display, where the Melody size and stature of vocals is way, way bigger…..in every direction, putting out the effect of size, like an 85 inch TV.

All this is very perplexing as the S12PRO sports a 14.8mm driver and our Melody has a 12mm driver? All and all the Melody is airier, bigger and seems faster to musical changes than the S12PRO, and lastly there is an intensity due to this forwardness that almost makes the S12PRO seem sleepy. Truly they do share almost the same physical size, the S12Pro weighs 6 grams and the Melody weighs 5 grams. They both have great fit, and while the S12PRO is more expensive, it also has a more involved box opening experience, still if you care about sound, the Melody is the clear winner.

7Hz Salnotes Dioko: 2nd row, last one to the right.
The Crinacle tuned Dioko is a Planar IEM from the first wave of Planars. And also the Letshuoer S12 was too, along with the 7HZ Timeless and Hook-X rounded out the popularity. Moments later came the TINHIFI P1 Max, the TANGZU Zetian Wu, and a few others which generated much sales and talk. While the Dioko did generate some sales, it may have been the very different shape which had a glass weight faceplate which made ergonomics a little off, I mean the weight is supposed to be inside the ear, not the farthest out of the IEM? Weighing in at a full 9 grams…..the Diako is on the heavy (and big) side of Planar examples. But my biggest issue with the Dioko is note-weight and lower midrange authority? Sure the Dioko has great mids, but the rest could use some work. Even when Crinacle put out his Zero at the exact same time…..I felt the $19.99 Salnotes Zero was really the better IEM, and better way to go, regardless of the original $99.00 Dioko price. So you can only imagine my festive mood here when the Melody goes ahead to offer a smaller, more low-weight and more balanced (in ergonomics) Planar IEM design! Then Kiwi ears moves ahead to bestow it with a thick lower midrange and hefty note-weight. I may be a reviewer and I might be critical at times, but get me what I want and watch me purr.

The Kiwi ears Orchestra Lite: Top row, 1st IEM on the left.
This is a good example of the total opposite in sound. Really these two could be considered opposite IEMs in so many ways. Probably the Lite is for classical listeners the most, meaning the way BAs will separate the signal, it is like having literally 8 miniature speakers playing every stratification of sound. And yes, that stage IS big from simply a midrange going full tilt. But get some music into play with an electronic drum and watch the Orchestra make a slapping sound, that can be at times what BAs do.....and they will sound different. And that same slapping sound will actually be heard as more natural with the Melody. Where the Lite has great deep bass, only with the Melody there is this faster yet deeper and more provocative bass that is somehow more evenly connected? Even if I was only a Rock listener, I would find the extra lower midrange girth that the Melody put out to be simply easier to digest? You make trades as the Lite is fantastic at a big stage, and while the stage is enormous too with the Melody, it is not quite as itemized or as populated with contrasts.

The Kiwi ears Quintet: 2nd row, 1st IEM on the left.
First off, really I didn’t want to bring the Quintet into this battle. Except maybe people are curious as to how the two IEMs are anyway.........the same or different? 1st off note the size difference. The Quintet is long and looks to almost have a longer nozzle. But hold tight, both are world-class examples of really perfect fit, they both really are. Both weigh in at 5 grams each…....though priced at $219.00 the Quintet is considerably more money. And to answer your question about why I didn’t want to compare them in ways, is because the Quintet is precious to me. What can happen is when you start to compare IEMs often you will start to see one that you thought was close to perfect, as slightly lesser than. Now of course there are no perfect IEMs in this world, just better and lesser examples of the art form, each with special sauce at times, doing different renditions of the same song you have heard over and over again.

The Quintet is better.....maybe?
First off I will say that the Quintet is better, but I say this subjectively as I like Hybrids the best, There is just a lot to go over with what the Quintet does. Big wide staging, wider than the Melody. And there are all these parts to the display of music..............to try and select out different textures and themes.

1 Diamond-Like Carbon 10mm (DLC) dynamic driver
2 balanced armature (BA) drivers
1 planar magnetic driver
1 piezoelectric (PZT) bone conduction driver

So what I’m trying to say is that there is a dynamic authority to how everything is presented, it isn’t exactly all thicker note-weight but most of it is. Meaning since it’s a hybrid made up of 4 different driver methodologies, there is a deep bass, and a rumble, that while not as connected as the Melody and probably not as thick, it’s satisfying. That electronic drum I was talking about earlier has a nice tone and not a slapping sound like the Orchestra Lite. Due to such easygoingness the Quintet goes with all styles of music too. But that Quintet bass is slightly separated and doesn’t have this funny familiar connection being it is a full-on separate driver sitting off to the side, and sounds as such. But the other aspect is the treble, where the Quintet has this fully formed and actualized treble itemization experience. This takes place with a few new listeners hearing a slight unnatural timbre maybe, but later after a few hours of brain-burn-in……..they normally understand where the tones are coming from and learn to accept it as real life sounding. Except there is this wild card the Melody has in its back pocket………..and this is why I didn’t want to compare the two. There is something…..they way the output is connected and displayed. That while we don’t have the separations of Quintet playback, we have something more, and something different. Bigger more forward bass which is traveling outward to the sides to make stage. Then there is a deep lower midrange that adds warmth to everything, then the actual midrange which is smooth and textured and detailed in its own way, totally keeping up with what the Quintet does, but not showcasing the treble itemizations as delineated or as separated?

While yes, the Melody is slightly intense, that intensity is filled with wonderful balance and connectivity. All is one so to speak. Now the other main difference is the size of display, in that in no way is this like a DD. None of that congestion DDs have. Here there are wonderful Planar sounding textures and fast transients that only Planar IEMs can do. Only they got the total tone balance right with this one, so it’s fun and not boring, warm and friendly, yet detailed musically just enough. And of course note-weight…….we have more note-weight in places that out maneuvers the Quintet! Where that section of BAs in the Quintet don’t have it, but that is only a section of playback.


Build:
Solid two piece build with a metal, maybe aluminum faceplate. 3D printed back areas, no driver flex? Great noise occlusion and close fit. The perfect nozzle length that holds my regularly used clear silicone ear-tips on fine. Note lip on nozzle. Flush 2Pin cable mounts, and no smudge faceplates. The actual shell back has a very warm feel, not hot.........but is so very comfortable, I’ve never seen an IEM like it? You can kind of get a feel for how comfortable they would be by looking at the pictures, maybe?


Cable:
The Melody comes standard with a detachable cable featuring 0.78mm 2pin connectors. The supplied cable is nice, while needing to access 4.4mm amplification I did put on other cables, though I kept coming back to the included cable, and used it the most for this review. I know this sounds crazy, but there was a special synergy which the cable added to the sound, maybe it was the lower mid-bass warmth, the stage maybe, whatever it was.......it was good and useable. As far as cable build it was fine, with metal hardware, in the form of 2Pin barrels and plug, chin-cinch and splitter. The only small issue I had was the chin-cinch was a little loose and would travel up the cable when not desired.

Packaging:

Drivability:
Interestingly normally when an IEM is underpowered the bass suffers which gives off a more midrange and treble tone positioning. And while yes, these are on the more difficult side to find drivability, they just work from a Samsung Phone. Meaning yes, the volume is almost maxed out, yet the sound is full and fun. Big staging, and correct timbre, large amazingly robust texture of phone output. A DAP or Dongle will allow you to experience deeper blacker backgrounds and fuller tone and better separated vocal and instrument replay.



Graph:
You can see by the graph the lower midrange hump, yet really 2.5kHz to 5kHz is what is getting the forward vocals, and the presence region of 5.8 kHz is adding presence at just the best side of sibilance…….meaning there is none. The other treble peaks may be there, but this is a fully balanced style of playback, where the treble energies are simply balancing out the lows, to bring about fantastic tonality and a well rounded tune that goes with all music, but maybe best with rock, metal and EDM? There is also a very careful and correctly done midrange which allows for surprisingly fast imaging and spatial clues. Yet that midrange is also holding a smoothness which becomes endearing. As you can see, treble activity only goes to the same levels as the bass, and really nothing is too bright or forward, as it seems just right. The decline at 2.5kHz down to 5kHz enables a firm, yet big and robust style of Pinna Gain. Such displays go forward to give the vocal forward character, yet because of the bass balance, vocals never seem wrong or two intense, yet it is on the border of intense at times, yet what this does in the end is create clarity……..a balanced clarity along with the bass action. What you end-up with is a subtle V shape response that actually has character, as a robust departure from the Harman Tune. But more than that it is the Planar Bass personality, a personality that Kiwi ears are exploiting to make the Planar Bass special and of value due to the low-end detail, textures and speed. It is in-fact transients that enable amazing imaging in the lower sections of response, allowing there to become a new and different relationship with music you have heard before.



Conclusion:
There you have it. Really the best priced, best performing sub $90.00 IEM on earth. Sure there is a part of this decision that’s subjective, except the Kiwi ears Melody is so safely tuned, and so correctly tuned that I don’t see anyone having an issue with it. Sure there may be the old-school ruler flat listener who could care less about Planar Bass technicalities, yet still even that listener may be persuaded once the Melody is in his or her ears? There is just so much to love here, and very little (if anything) that Kiwi ears have done wrong. At times a lower midrange boost can alter pace with the notes smearing together, but not here. Maybe it’s the basic technicalities of the Planar Driver, but this style of replay does not come off muddy or lacking clarity due to excessive lower mid bass? It’s the ultimate fun IEM, that still delivers vocals for those vocal lovers out there. Often tuned vocal IEMs and tuned Bass IEMs don’t go together; you have to choose one or the other, but it’s rare to get both, yet that’s what we have here. Go ahead and find your best vocal album and you tell me if anything is missing, same with deep bass music like electronic or rock……go ahead and engage in that style of replay and you tell me if anything is left out, or if there were sonic compromises made to enable such success using opposing musical genres? Yet, it is all here, that is why they get the full 5 stars, as how can you even find fault with something that does so much for so little money? Truly if you were waiting for that one under $100 IEM that will rock your world, you have found it, now don’t let it go!

$89.00
https://www.linsoul.com/products/kiwi-ears-melody

Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?i=merchant-items&me=A267P2DT104U3C

Disclaimer:
I want to thank Kareena from Linsoul for the Kiwi ears Melody review sample.

Disclaimer:
These are one person's ideas and concepts, your results may vary.

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 3.5mm and 4.4mm
Sony WM1A Walkman DAP MrWalkman Firmware 3.5mm and 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
Shanling UA3 Dongle DAC/Amplifier 3.5mm and 4.4mm
Samsung phone 3.5mm
HiBy R3 II in 4.4mm and 3.5mm

AUDIO SPECIFICATIONS

The Penon ASOS
Taking everything to the next level!


The ASOS has a funny thing it does where it convinces you (while listening) that it’s the best cable for the job 90% of the time? Strange and a first in my experience?

The new Penon ASOS is a OCC Silver-Plated, Copper Litz cable. Such cable is an 8 wire, 24 AWG configuration. You get a technicalities boost over your included IEM cable, while adding heft and clarity to the midrange. Literally to me it was like a slight clean-up down-low, adding bass texture and adding size to the stage, while enhancing imaging and details up-top. This review comes in two parts, where I first describe my usage with 5 IEMs, then tell a tale about using the ASOS Cable along with 7 other cables. So the way this review unfolded was easier than I thought. The new $349.00 Penon DOME 1DD X3BA Hybrid arrived at Redcarmoose Labs, only it also came with a new cable on the side........can you guess which cable that was? Yep, it’s only natural that a person would at least try this new cable. Sure it looks more Hollywood than the regular included DOME cable. But also the ASOS seemed almost like it was made for the DOME IEM. And while the retail price of the ASOS is $169.90, I’m told the ASOS is a lot like the same 8 wire, 24 AWG Cadmus cable made by Effect Audio, though the difference is it doesn’t cost $199.00 like the Cadmus does.

A huge part of the Cadmus Cable expense comes from the additional Gucci hardware. It doesn’t really come from Gucci, but it resembles the stuff. So if you’re into that look, then maybe it’s a good deal? Except the additional hardware size makes a big cable even bigger and adds unnecessary weight, without truly adding any actual sound benefits.

So now I find myself writing this cable review, yet it has been weeks and weeks since the ASOS Cable arrived. Any (new-toy-phenomenon) psychological-boost in favor of the ASOS surely has worn-off by now? Also I have tested the ASOS along with 7 other cable choices to try and get an understanding of both the ASOS sound, and the relative value.


Top to bottom:
ISN G4 (Graphene) $99.50
Penon ASOS $169.00
Penon Bass $79.00
Penon OSG (Graphene) $299.00
Penon Vocal $69.00
Penon Leo Plus $249.00
Penon Mix with Rhodium Plug $149.00/$29.00
Penon Space $99.90

The Penon DOME IEM:
Most of the cable side-by-sides were done with the Penon DOME. So keep in mind that the Penon DOME, while even and correct, still it may still show favoritism to a certain cable? And in fact in this test the DOME was better with the ASOS cable than the Penon Bass Cable, in my humble opinion. Yet in prior testing the Bass Cable was quite the cable during my Penon 10th Anniversary Edition testing. So this phenomenon is simply cable matching and mixing. Where often synergy is found due to the IEM blending with the cable personality. At times cables can be fixer-uppers too, which means there may be a slight attribute in playback that a cable enhances or suppresses, which we want. Also remember this is just one guy's findings, and while here at Redcarmoose Labs these results are repeatable, you on the other hand may want a different sonic outcome. Meaning there are variables like the tone of your DAP, the ear-tips you are using, if narrow bore or wide bore…..etc, etc. But to generalize here, the actual IEM tests were way more easy to understand and process. Why? Well we were simply joining the ASOS Cable and interpreting the results. If you are wondering how the IEMs were chosen, they are simply IEMs I like…..really that’s it. To over generalize here, the only IEM that was borderline was the Noble Audio Encore K-10. Meaning the ASOS has a slight boost in the midrange, where often we are looking for more silky and smooth demeanors to kind-of subdue the midrange/treble shelf of the Encore.


Noble Audio Encore K-10 Universal IEM: Top: $1850.00

Second row, left to right:
Penon Volt Universal IEM:$799.00
Penon 10th Anniversary Universal IEM: $499.00
ISN EST50 Universal IEM: $449.00

So imagine with me those same features which took the K-10 Encore over the top in playback, went and cleaned-up the ISN EST50. Where in many ways these two IEMs can be looked at as opposites. The Encore offers a neutral bass response, where it’s safe to say the EST50 is more L-shaped. So while in use the ASOS Cable actually made the Encore bass still clear and clean, we never had a problem in the low-end. In fact the Encore lows were totally special in that there was clarity which enhanced bass detail and texture. The only issue was the midrange and treble which have this total shelf which most of the time needs smoothing, combined with the aluminum enclosure which again seems to resonate those brighter frequencies? Where the response from the EST50 is a mesmerizing feature. Where we are finding clarity into how the mids are positioned, that and the bass response is actually clear and clean…….adding pace and texture to the lows……..but more than that…..adding bounce to rock and improved pace to pretty much everything. Most of us who have spent a while with ISN EST50 frequencies either are bass-heads, or like myself looking for slight attenuation? Here I found a home with the EST50, a place that with the ASOS aboard, I could stay all day in infatuation.


ISN EST50 Universal IEM and Penon ASOS Cable:

2 Sonion Electrostatic driver for ultra-high frequency
1BA Knowles for high frequency
1BA Sonion for middle frequency
10mm dynamic for bass

So, remember we were talking about midrange boost? And we were talking about a slight addition of bass definition? So that is what the ASOS brings to the table. Yet the reason this works out so well is we still have the sonic thickness and bigness with the ISN EST50. To me using the Penon ASOS Cable is more balanced than with the included ISN EST50 S8 cable or with a few aftermarket cables. Probably my real infatuation with this set-up is due to me not always hearing this much bass on a regular basis, except here I would say it’s AAA quality, especially now with what clarity the ASOS brings. Big wide staging of authority and dimension. Dimension because the bass is “clear”.............it’s there with the frequency response, except in no way protruding into our pace......or too much into other frequency zones........which is surprising in and of itself? When I reviewed the ISN EST50 I liked it, but I didn’t know my relationship with it would be so long and drawn-out. Drawn-out in a good way. You see, I didn't know about wide-bore tips when I reviewed the EST50. I also was new to cables and didn’t quite understand how they could tailor the bass to a better place. So if you’re with me, still reading this diary of a madman…………………..The ISN EST50 is now maybe the best it has ever been. I’m using the very mid centric WM1A with MrWalkman’s firmware, no EQ and find it totally satisfying. Satisfying because I’m not bored with the sound, and it has been weeks now with the ASOS. Another reason I’m not bored is due to pace, the fact that this example of an IEM and playback that really has it all. The ISN EST50 didn’t quite have this style of midrange when I reviewed it, because if it did I would have talked about it.......more than the regular EST50 midrange. Also as far as my daily listening.........normally I don’t regularly listen to exactly this much bass, so it’s a thrill, a thrill to behold and one of my alternative sound signatures. Truly we are dealing with the basics still, the EST drivers adding a smoothness and level of detail that is special in comparison to BAs. There is nothing wrong with BAs, except (when done right) EST drivers can approach the signal with slightly better timbre. But here and now we are experiencing even better midrange due to the gifts the ASOS is up to. That enhances the interpretation of the bass too, making the low-end just that much more even and satisfying. I know this may sound dumb, but this is exactly how I always wanted the EST50 to sound. It has extra transparency from the ASOS, that and it’s just dialed-in?


Penon Volt Universal IEM and Penon ASOS Cable:

Sonion 4 electrostatic
Sonion 2 Balanced Armature
10mm dynamic driver

Same-exact-same audio set-up as above, except we changed to the Penon Volt. If you were here (listening) with me you would understand this well roundedness that is going on, we just went from a more bass centric IEM to a mid-centric IEM using the same cable, and it is also bringing out the very best. Well, not maybe the very best but what $169.90 would get you. I mean that. There is word on the street that Penon is planning to bring about a VOLT II. If you could hear this set-up right now you may understand as to why I could care less about it. Yep, same as cars and motorcycles, once you reach a certain level it’s all (in the end) personal taste. Meaning sure more expensive does this or that, except this is singularly one of the best IEMs I’ve ever heard. Now I haven’t heard them all, but I have heard a few. It’s just that the ASOS is doing its midrange magic again………that and it is tailoring the bass, making it slightly become into better definition. Now those two things sound simple, but not every cable has this exact personality this way. Think of it as being slightly closer to your source, that's all. Bass has added clarity and texture, and the Volt is not renowned for bass replay, yet this is really fine. The mids……the mids are lush……lush and full. And the treble is a perfect example of EST treble balance, really the whole signature is dove-tailed together. And of course the effect is synergy just like the EST50. You are reading this and you may think I chose these IEMs, that I picked them to go with the ASOS, just so I could write about it, and it would make a happy story in the end? A fairy-tale of audio with a happy ending…….maybe? And that is just not so. I chose these IEMs because I like them, what better reason to find a cable to work-out? I mean right at this point I don’t want to continue writing the review, I want to stop and take-in the music. Why? Primarily because this is my idea of correct, that and there is a magic to it all, one I don’t know how to put into words……..and maybe don’t need to?


Penon 10th Anniversary Universal and the Penon ASOS Cable:

2x Sonion EST for ultra-high frequency
1x Knowles BA for high frequency
1x Sonion BA for middle frequency
2x 6mm crystalline plated biofilm dynamic driver for low frequency

At times I’m a little confused, as typically in life you always get better quality from spending more money. Except IEM audio is different. Sure this is a subjective game. But also it is a game of basics, meaning take care of the basics, and do a good job and more people will find positive subjective ideas from listening to your products. That still will not make everyone happy, but if there is a music realism found (in-the-end) more people will be able to relate and a connection will be made. In truth the 10th Anniversary is a grand departure for Penon Audio. With all the IEMs they make and have made in the past this new idea of sound design is welcome. But to me it’s possibly my very favorite PENON IEM. I wrote a ridiculously long review simply explaining my love for what it does. And just like the IEMs above, we are not really changing the sound too much. Again maybe a few mild basics are enhanced, but this is a perfect example of how the ASOS goes with almost everything. Now later I will go into the (above) cable comparisons, yet I will try and keep it short. Except often we choose cables because they offer a solution of sorts. A way to make an IEM better to the point of keeping it.....and not selling it off. Or just using the same old IEM more........... listening to it more, and there is nothing wrong with that as a concept. Only today we are simply pin-pointing the subtle extras the Penon ASOS does. With our selected IEM group here we are enhancing each IEM natural attribute, but except for the ISN EST50, we really are not putting out fires. Simply what the ASOS did naturally was the key (to me personally) to arrive at a special EST50/ASOS success. What I’m trying to say is the midrange boost of the ASOS really works wonders on most of today's IEM……..except for the Noble Audio K-10 Encore. Yep, what the ASOS does as far as adding slight energy to the mids/treble doesn’t seem to make the Encore better, for me anyway? I will get to the Encore next. But for now...........what are we getting with the 10th Anniversary Model?

First off, the 10th is a little bit chunky in size. Look at the pictures, as it fits me fine, except really the size of the ASOS has met its match maybe? I mean the ASOS size is large and the 10th is on the big side. The results…you ask. Smooth, smooth and balanced. There is this bass and lower midrange which separates the 10th from the Volt. Now remember with different ideas of sound design, we may never ever reach a sound like what the Volt has by trying to add the extra bass to the inventive sound design? You see part of the very reason the Volt midrange takes front and center position is due to the way the bass is subtly formed. I mean if there ever is a Volt II, I know Penon will keep those mids, they have to…..it is what the Volt is famous for. And just like how the ASOS made the midrange of the Volt milky smooth, the ASOS is adding the traits to our lower midrange. Yep, we find the extra lower frequencies to be of notice with the 10th. Except maybe, just maybe the ASOS is also putting out another fire like the ISN EST50? I mean this is where the 10th gets controversial……..it is all about what midrange and vocal abilities you come to the 10th expecting. Expectations..................For me the 10th Anniversary is fine, but I can understand why some may want more? And possibly the ASOS Cable brings a slight vocal forwardness to the 10th sound? Maybe? Though in truth what I hear more about the ASOS playback with the 10th is careful and calculated bass replay. Meaning we had room for bass sculpting with the 10th, and you know what, it’s perfect really, I love this style of bass.

So in-fact it is possibly the refinement of bass character that is letting the 10th midrange show through?

Home:
So once again I’m home with the ASOS Cable and 10th IEM. Also the ESTs are in-fact smooth and detailed.........reserved, and just right too. Flowing freely outwards into the stage we are witnessing basic clarity at hand……..I mean why else would you spend $169.90 of your hard earned money on a silly piece of wire? Well, of course looks too, sure the ASOS is a looker! Look at it!


Noble Audio Encore K-10 Universal IEM and the Penon ASOS Cable:

10X Balanced Armatures of unspecified make:

The Encore is a strange bird. Really I read a review and the review (with-out going out and saying it) reminded me that maybe the Encore could sound like the AKG k701 full-size headphone? Maybe it does, maybe not, really it doesn’t matter, but one thing for certain is the Encore is bright in a way. Showcasing an almost neutral lower midrange and bass, the Encore lights fireworks off in the upper midrange and lower treble. Add to that and there is this kind of halo effect to the treble where it travels into 3D formation and never lets go. So strange of a bird that many a reviewer simply doesn’t understand what the Encore is going after as far as sound design. Then of course there are the followers like myself…….I’ll never sell it because nothing sounds like it. And while I also have smoother cables, smoother than the ASOS to make the Encore work-out, not everyone is going to be willing to invest in this style of sound. The Penon Totem is spectacular, the ISN Solar again....ultimately amazing, and are the stuff of dreams with the Encore. Yet, what the ASOS cable brings to the table may not be what every Encore owner wants. Don’t get me wrong, I’m sure there is a group of crazies that are game for this level of brightness, it’s just not me, or anyone I know. This particular test today will utilize two DAPs (the WM1A and WM1Z) as a way to try and find a way in…….a way into acceptable sound replay.

The Noble Audio K-10 Encore Universal with Penon Solar Cable

Kinda-fun?:
It’s kind-a fun for a while with primarily the vocals being way, way forward. Big, in-your-face and not taking any prisoners. Bigger than life with what the stage is doing. Yet, the ASOS is leaving the bass energy alone and really enhancing the bass clarity. With the neutral midrange and neutral lower midrange, we are left with what could be described as a window looking down into the bass areas. What can be found down there is tight, firm and well-paced bass action, really it is quite fun and refreshingly new from all the big DDs that have been bestowed upon me here at Redcarmoose Labs. What could this possibly mean for you? Well, upper midrange heat is subjective, so some like their drinks straight and some like girly cocktails. There is nothing wrong with cocktails........as many have found they can prolong their enjoyment, without getting in a car accident. Yet, back to the subject at hand, basically there are time limits and volume limits to how much the human can take of this potion. And while entertaining, after a while too much is simply too much. So imagine with me that we have a personality with the ASOS………….that for the most part, and with maybe 90% of IEMs out there on the street you’re going to be fine. And even with the Encore there is a lot of win here, really more win than I am disclosing to you. So let’s try a darker source, the WM1Z.

WM1Z:
This was a wild coincidence. While I haven’t listened to the WM1Z for days, the exact same song was in place as the WM1A. In fact I had to make sure I didn’t get confused and use the WM1Z already? Nope, the same song, all ready to go, I have to get into more test music, that may be the message? Actually it’s borderline workable now…..maybe not something I would choose, but not bad, not really that awful?

Top to bottom:
ISN G4 (Graphene) $99.50
Penon ASOS $169.90
Penon Bass $79.00
Penon OSG (Graphene) $299.00
Penon Vocal $69.00
Penon Leo Plus $249.00
Penon Mix with Rhodium Plug $149.00/$29.00
Penon Space $99.90

Cable tests:
These were done for my recent review of the new Penon DOME IEM. Coincidentally the DOME came as a package with the ASOS to review. Quickly as I can I will go down the list and make a summary of what I experienced in my DOME review. The wild part was I didn’t even think this grouping test would be relevant to a future ASOS review until the cable's sonic personality started to reveal itself. So just like using different IEMs to test a cable, using different cables back-to-back can go ahead and offer insight into a cable's personality. This is even a more vibrant truth once you get into the middle of testing. If you’re like me, you made the DOME and ASOS a team.............which was used for weeks on end.

Each cable has a personality with the IEM you are testing, and at times that personality is wanted and other times it’s not so great. Also having a long term relationship with the cables on the list gives you prior ideas as to how they may sound. But of course it is the DAP (WM1A)…the Cable and the IEM…..all coming together to realize a particular sound. Some may find parallel experiences, maybe not………….but it is what it is.



The ISN G4:
The G4 is a standard cable used often, here we are awarded with the Graphene tone. Such personality is slightly subtle to induce a midrange boost, which comes with a warmer tone than pure silver. Yet along with that there is a slight blackness to the background where the bass is delineated. Where the ASOS is more open and airy, taking advantage of technicalities and clarity slightly ahead of the G4. Though the G4 has its uses........aside from what the ASOS does. This is a more ASOS straightforward style of playback, with enhancement in stage size above and beyond what the G4 does on a regular basis.

Penon Bass:
With the DOME it was slightly less clear, where yes the DOME had a slight extra sub-bass, the overall technicalities were not as good as the ASOS. The ASOS cost more, so in this case, you get what you pay for.

Penon OSG:
Using Graphene to the fullest extent, here we probably experience a blacker background than the ASOS offers, and while the OSG goes ahead to itemize the bass, it is almost done with a distinct personality. You would need to hear Graphene cables to understand this specific personality? The Graphene personality enhances the mids and spreads them out into the stage, while intensifying the imaging and tone of different instruments and vocals. In the end the ASOS offers a fuller more straightforward rendition, not exactly better, but different. It just depends what sound you are after.

Penon Vocal:
Imagine the DOME having forward vocals…too forward. In many ways this emulated our ASOS/Encore replay, in that here the midrange in way, way, way forward, and at the expense of everything else. The DOME and Vocal Cable are not maybe recommended, unless of course you really want a dramatic midrange boost, and know what you're signing-up for before hand.

Penon Leo Plus:
One of the unexpectedly warmer styles of cables in use with the DOME. Analogue and more laid-back than the ASOS is capable of. Yet, total quality here, just the way the DOME came alive and offered a more relaxed and smoother rendition of all the music. Great imaging despite being warmer, and truly a full and correct way to go, one of the very best with the DOME in replay.

Penon SPACE Cable and Penon Mix cable with Rhodium Plug:
Surprisingly the MIX and SPACE added that size, or should I say stage shape perceived as an equal brother to the ASOS. Both the SPACE and Penon Mix offered an increase in stage size, except the Mix with Rhodium Plug jumped ahead (in treble and midrange imaging) due to silver in usage……sticking imaging slightly farther out to the sides in physical distance. Pure silver will go ahead and add that separation between imaging in the stage, as well as create contrast due to such polarizations of frequencies. Yet in many ways the ASOS was clearer in that the bass was more defined than the SPACE, things just had finer details, where the SPACE offered a warmer wall of sound? There have been (other) times when I thought the SPACE was slightly bright, but in comparison to both the ASOS and Penon Mix, the SPACE seemed very neutral, with just a hint of that natural warmth? So while I could hear the pure silver imaging inside of the Mix stage, those items were boosted and imaged (through frequency) farther out than any cable. Yet remember too, the Mix has the Rhodium plug (in use) which sound changing traits do the same with the signal, making it slightly brighter and tighter. In the end the ASOS was just slightly clearer than both the SPACE, and even the Mix, except the Mix offered wider clearer treble items. It’s funny here as each cable sounded (kind-of) the way like they look. The Mix offered bright edges due to the pure silver stands, and warm bass due to the pure copper components………..and sounded very separated. Where the SPACE was just big, due to 2X the material than its prior little brother, the Penon OS133 cable inspiration, it was designed after. So the SPACE is simply big in size of stage, but less detailed inside and more warm due to less silver.

Cable side-by-side conclusion:
So in many ways this becomes a path to truth. First choosing the Penon DOME IEM and going about weeks of listening, then attempting to mix things up, by trying different cables in place of the Penon ASOS. While what was apparent was the DOME was incredibly forgiving allowing us leeway as to all the possible sonic changes. Finally it became noticeable that each cable had slightly different ideas (as to what they will do) to influence the transference of signal. While I was asked (personally) which was better, the better cable (for the DOME) could be a matter of taste? Except there were a few winners here, and a few not best in the combinations. Most of all I could see people accessing the ASOS as a low-cost way to introduce a transparent signal carrier which added a small amount of midrange energy, and had the character of focusing the bass. Such ASOS demeanor slowly became more obvious the more cables I used with the DOME, thus truth. Of course this was only the specific truth for the DOME, then I parlayed that knowledge to go to the next level just seeing how the Penon ASOS would go ahead and bestow those same delineated character traits to other IEMs.


Penon ASOS Cable with SIMGOT EA1000

Conclusion:
Well there you have it, a wonderful new Penon cable. And while I have more expensive cables, the Penon ASOS has a personality which sets it apart from all the cables I have. Such personality is clarity and transparency, that and a very natural and critical positioning of musical information inside the stage. And while I spent weeks with the ASOS Cable, it wasn’t till I really started comparing DOME back-to back (cable tests) that this laundry list of attributes started to show-up. Then I grabbed a handful of my favorite IEMs to see if in fact those same attributes could be supplied just as before with the DOME test vehicle? And sure enough that there was a commingling of both characters inside of the IEM response and fortifications of transfer into the wire of what was going into the IEM from the DAP. Simply the ASOS is great at transparency and any midrange heft and note-weight was a wanted effect.

The bass relay was always improved across the board, and I suggest looking for that truth as one of the first realizations that your getting somewhere with this cable. And while treble space was in-fact increased, they didn’t add the energy typically found with a pure silver conductor. So yes, there is a slight focusing of bass, yet really the ASOS is having fun all the time with its daily jobs. It’s only when you put the ASOS to work helping dial in the ISN EST50, that you realize that the ASOS does have a job to do. While most usages will encounter a smooth yet detailed images closer to the reality of your music, it’s the fact that all this fun takes place at a reasonable price!

What else could you possibly ask for…..huh? Looks?....the ASOS is a looker too. And while the ASOS is slightly big in size, it's incredibly flexible due to the smaller diameter of each of the 8 strands. If you don't want a 3-in-1 system, simply order an ASOS Cable with a single permanent plug. Really the ASOS Cable goes with 80-90% of IEMs out there, seemingly always convincing you that it's the best cable for the job!

Just buy it, you have nothing in the world to lose! Unless you have only one single bright IEM in your collection, then you wouldn’t be reading this review in the first place.

$169.90
https://penonaudio.com/Penon-ASOS.html

Penon ASOS 8 Shares Alloy copper Silver-plated & OCC Silver-plated Mixed HiFi Audiophile IEMs Cable wth 3-in-1 Modular Plugs

Description
Penon ASOS Audiophile IEM Cable

Brand: PENON
Model: ASOS
Materials: 8 strands, 25 cores alloy copper silver-plated + 99 cores single crystal copper silver-plated wire mixed
High transparent imported PVC wire sheath
Carbon fiber silver shell
3-in-1 modular plug

Package includes:
Penon ASOS cable
3.5mm audio plug
2.5mm balanced plug
4.4mm balanced plug

Disclaimer:
I want to thank Penon Audio for the love and for the ASOS Cable 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 4.4mm

Summery:
The new 2023 Penon DOME is a new generation of IEM. Added sound tubes and driver BA and DD qualities have raised the bar of what was previously understood and acceptable…….even from Penon themselves. Priced near the same as the $329.00 Penon Globe, the $349.00 Penon DOME has one extra Sonion BA for the midrange than the Globe. But more than that, everything is bigger as far as stage footprint. More midrange quality than the new Penon 10th Anniversary and maybe even more sonic balance and even-correctness than anything (maybe) ever made from Penon/ISN? Yep, the results are real here, providing an enhanced musical involvement that simply won’t let up. Combining those facts with an uncanny well-roundedness means you can access any file quality and any genre of music to Fsssssssst…….win. Yep, total win here. In fact you don’t even need to read this long review, why read it really, all you need to know is above in this short description. Just buy the darn thing and move on with whatever you were doing……seriously! Yep, just like that!

$349.00
https://penonaudio.com/PENON-DOME

Penon DOME Universal IEM:

• Resin shell, comfortable to wear.
• Handmade, solid and more durable.
• 2 Sonion BA for medium frequency
• 1 Knowles BA for high frequency
• 1 10mm PET diaphragm for low frequency
• Impedance: 19 ohm
• Sensitivity: 107dB
• Frequency response range :20-20kHz
• Passive noise reduction: 26dB

Music Testing:
Test equipment is the DOME IEM, the Penon ASOS cable and the Sony WM1A with MrWalkman’s firmware. My usual wide-bore ear-tips are used.


Lorne Balfe and Andrew Kawczynski
Grand Turismo OST
Academy Race
44.1 kHz - 24 bit
At the 00:11 mark the deepness of the bass is intoxicating. This ASOS cable is bringing clarity and involvement to our listening session. In fact I tried 7 other cables besides the ASOS and stock. The coincidental thing is the ASOS came as an added cable to review with the DOME? Anyways what is happening is we are getting spacial clues as to the positioning. The song has so many added features and accents that having this specific level of DOME replay makes it a joy. At exactly 00:16 a drum hit takes place as an introduction, with these sound effects which are moving. The sound effects may have Doppler processing as every sound is moving across our hearing with speed……and I have to say if you wanted to give the feeling of motion to a listener, then this movie OST takes the cake!



Kaveh Cohen, Michael Nielsen
Forza Motorsport OST
Brotherhood
44.1 kHz - 24 bit
One of my most favorite aspects of this song starts at the beginning. Yet even though the bass is at the start, it continues throughout the song (until the end) and is in many ways the backbone of the song. At 00:08 this syncopated bass rhythm takes place. And being that this is a racing video game OST you can kinda guess the importance of such a bass synth additive. And of course there are sections of remission of this device use, brake-downs that need the silence for a moment. Yet this deep throb really makes the song for me. It’s the foundation to which all else is added. But more than that the way the DOME plays it back is with both finesse and charm. The charm is just how clear yet separated it eventually becomes. Separated into its own channel. So the bass is tight, fast and delineated, and really more emotional than the Globe before it. Emotional due to both texture and size, the Globe did other things, and while both the Orb and the Globe were known for their bass replay, we are now on a whole different level of perception. What I would call this bass is in the pocket. The pocket is both a rhythm and a bounce, a frequency display that while notable, is still leaving so much headroom for all the other activities to go on. Now prior I left a small part out of the 00:08 feature as it is not just bass but at that exact time is also the arrival of the beat. So it’s almost like this heartbeat and instantly there is also the main theme of keys being played on top. These keys are panned to the left and right as an effect, they also have echo and reverberation. Yet what is special is how the echo is aligned with the beat, which is also aligned with the bass throbs. Now this may sound interesting or maybe not, to you? But what is fabulous is the way each element has their section, but not only their section but there is a sparkle to the cleanness here that just makes it all the more interesting. So it comes off simple and in many ways it is a simple number, except there are slight accents in all the best of places. But I have left one single super important feature here that is the key.

The key is the DOME imaging placement. You see, each IEM driver methodology has a character of positioning. Yep, this often will get played back in more of an up-down style of layering. Such effects would be from single full-range dynamic drivers….only here we have a Hybrid set-up. So just imagine with me that bass I was talking about earlier…..yes it is in its own zone. Then the best part is how the keys are way out to the side, but then there is a middle synth which is in a frequency between the keys and the bass. Yet the surprising thing is how that even has a farther reach into the soundstage distance. I mean this Brotherhood song is only 02:13 total in length, yet there is a lot here. At 44:00 the middle synth shows up and has the effect of showcasing a totally new area of the stage, one that you didn’t even realize existed up until the 44:00 mark. You see this is what Hybrids are about, they are the best (widest) stage possible. Except the final feature is that everything sounds exactly the way it should. I’m talking about timbre. You see we are miles away from what all BA IEMs were like in 2019. We now have a woofer, our 10mm PET diaphragm has decays and natural abilities the BAs just can’t quite reach. But also there are 2 Sonion BAs in the middle, and one Knowles tweeter. Each component has its own channel, its very own sound transfer tube within the IEM. Yet almost as important is what timbre is like now with this new generation of BAs. It’s simply more dialed in, more natural and more life-like. Sonion and Knowles both are making this metallic tone a thing of the past. Part of it is the tune, meaning making the BAs put out a certain quality, part of it is having a DD woofer…..but the main thing I’m guessing is these are new generations of BAs, BAs that just sound realistic?

Kaveh Cohen, Michael Nielsen
Forza Motorsport OST
Head Down
44.1 kHz - 24 bit
Here we are provided with a kind of backdrop, you see this is not a racing movie like the very first song described with the Grand Turismo OST. Here who knows as this theme may get used over and over as the cars race across the virtual reality race track. And that is kind of how the song presents itself, as a kind of circling and repetitious additive. That here maybe we don’t necessarily have any one thing which stands out, I mean they don’t want to distract you from your race here. So as far as events they are subtle and encouraging to play along with the video game. As an OST listener yet we still have enough information to go ahead and enjoy what’s going on. And the DOME makes it all the more friendly here. As we are experiencing an even and complete replay to where there is just enough bass support, just enough separation going on and sumptuous treble itemizations flowing freely. This is the kind of song that like the above is also a construction of layers and layers to become a multitrack specimen of music art, yet there are no vocals and no real forms of musical leads or a center for improvisations or virtuosos to take place, yet we are OK here with that, in that the overall artistic statement is one of support and utility.



Gdanian
Induction
Shield Emitter (feat. Tineidae)
44.1 kHz - 24 bit
Wow, I’m going to do this song here? Wow! Yep, a spectacle of entertainment unto itself. Especially how the DOME takes this apart and makes it both fun and digestible? There are a few backwards cymbals or something? I mean they’re backwards…….so what do you want me to do to describe them to you? I could play the song in reverse then identify the musical instruments, but I’m lazy! It doesn’t matter what sounds they are, they are simply an additive yet subtle addition to the start of the song. What’s important is the bass drop at 00:13! Yep, all of it. This is also the part where they add a soaring synth theme. Sure it’s right away, except this is the third song on the album and the first two songs were really the introduction to this third number. Anyway the bass is found full and out to the side, out to both sides of the stage. Even at 00:46 we understand that the musicians were taught in school to fill-out the sonic frequency spectrum here, and they are doing what they are taught. And sure I’ve heard this with even better separation of layers (up-and-down) with the SIMGOT EA1000, yet not in this style of wideness which is taking place. There is simply more room out to the outskirts of the head-stage to be able to identify each and every facet of this playback. The song is still going somewhere as far as coming up with new sonic interests. There is a clock ticking at 01:20 and I get the feeling this music is in reality some kind of activist global warming statement. Which is fine as I’m OK with any message they want to include with our music. At 01:32 all heck breaks loose as we are now experiencing that power of the music. All the layers are taking place and there becomes an increase in drama unfolding. What’s funny is I just used this song on another IEM review, but failed to hear into it as much, as somehow the messages from the instrumentation is that much clearer and more involved? At 02:24 there is a break in the intensity. Surely there is a limit as to how many tracks of overboard synthesizer tracks they can bombard us with. We are given a single beat as a clue as to the change, and of course the bass is once again provided in all its provocativeness.

The cable explorations:
The included cable. While nothing is wrong with what Penon gives you in the box, keep in mind Penon was a cable builder first, so there is no way that they would go wrong with a style of included cable. As such the included cable is exactly like the one that came with the Penon Orb and Penon Globe. Only nowadays Penon gives you a choice of plug when you order any of the 3, Globe, Orb or DOME. It’s just personally I would want an adequate cable provided and that’s what you get. The cable tests today provide a window view into what would happen if you chose to upgrade your cable…..even then there are a few price ranges of the tested cables with the top being the Penon OSG at $299.00. But this included cable means Penon is balancing out the quality and giving you the most they can with-in reason. I am happy they have kept the DOME price at relatively low cost for the sound provided. Sure they actually could have provided the $169.00 ASOS in the box with the DOME, except that would have raised the cost of the DOME from the current price of $349.00 to probably around $500.00. Now there is nothing wrong with that as the DOME/ASOS configuration absolutely sounds like $500.00. It’s just the IEM probably does more for the total sound…………..which means they are giving people an adequate cable and allowing them to upgrade if they desire.

https://www.head-fi.org/showcase/penon-asos.26795/

The included cable:


Some may think the coming cable (side-by-side) list is overly enthusiastic, some may think it's insane. But the DOME is so well rounded that this is not a cable battle, but rather cable wine tasting.



Top to bottom:
ISN G4 (Graphene)
Penon ASOS
Penon Bass
Penon OSG (Graphene)
Penon Vocal
Penon Leo Plus
Penon Mix with Rhodium Plug
Penon Space



ISN G4 (Graphene)
This has become my go to cable for a long while since I got it. Simply correct imaging and tonal responses while still offering the Graphene tone. Graphene offers a boost into which midrange expands out into the stage, except it’s more toned down than the expansion into the stage you get from a pure silver additive. Where it’s basically warmer. The ISN G4 still offers an added blackness of background over many cables, but not to the extreme of the blackness found with the Penon OSG we are testing today. Sure it’s basically 1/3 of the money of the Penon OSG while still delivering the overall Graphene qualities on hand. Where the G4 offers great separation into the stage and a warm fluid style of treble, even lowering the brightness in regards to some treble found with other cables. The bass is well formed and round, even balanced………but does not offer quite the separation and bass itemization that we find with a cable like the new Penon ASOS. So for other IEMs than the DOME, a cable like the ISN G4 may be putting out fires, or aligning the tone to a place where someone is wanting to go. Where the DOME is so well rounded here that different cables are simply a slightly different way to experience the DOME. With how balanced the DOME is there is room to add bass authority or midrange boost, even the treble additions of the Penon Mix find a place in DOME playback. You see, while cables will give a feature tone to an IEM, that feature tone is always mixed with the tone of the IEM. Though after testing many cables at once with an IEM we can slowly learn by contrast what tonal features are from the cable and which tonal features are from the IEM. Yet here today the DOME never gets grumpy or uneven really, which was very different in an IEM?



Penon ASOS:
I like this cable….such favoritism can affect the outcome of tests. If any cable has been my DOME cable the ASOS has been the included cable. In a way this is fair as the ASOS has an uncanny way it relays the sound passages. Everything is itemized and clean. Clear would also be a word I would use. It’s just there is this extra ounce of bass definition here and clarity down below that the Penon Bass cable can’t quite reach. It’s like someone cleaned the windows. Everything takes on both separation, bigness and vividness, and what that brings along with it is emotional interaction. There is a middle ground here, a satisfying way that nothing is too much or too little, better separated than the SPACE and more sculpted, to where you can look down and see things are round then look out to the side and view a beautiful midrange way outside your head. The bass is both clean and controlled yet almost not holding the extra warmth, to where it’s all business here in the bass department, clean. The treble is smooth and paced just right, and there is a section to the midrange which is like a separate area in that the ASOS is offering this clean and correctness that just goes with the DOME in so many ways? Sure I’m going to go on with more cables in this review of cable ads, and each one has a specific value, it’s just that ASOS is incredibly special for what it is. The thing is maybe that the ASOS has an effortlessness that combines with the DOME effortless to make synergy? The fascinating thing is I still have to write a Penon ASOS review about the cable, yet unknowingly have generated much of the needed testing with today's cable side-by-sides. After all the tests were complete, probably the separation and size of stage were the two main features of the ASOS cable, and there was an added clarity to where you were hearing the texture of the instruments, like there was less in the way between the IEM and the source?



Penon Bass:
You know it has been a while since I’ve done the Bass Cable review. And I do kinda hear maybe a little more bass than when I first review it. Still my opinion remains the same about what this cable does. There is a sub-bass that it does enhance yet the lower midrange is lifted. That and there is a wide broad expanse of midrange imaging that has always been what I felt the Bass cable offered. Still in this test today the SPACE is a little more all frequency forward and offering a bigger footprint overall? Where there are a few ways the Bass makes the imaging separated and delineated, but in a slightly downplayed way? Yes, I do hear the bass……the more I listen to this cable I hear surprising amounts of bass? Still though it’s sub-bass? Keep in mind the Bass Cable has a huge following with many members, myself included finding how it goes with the Penon 10th Anniversary IEM. It’s just here today there are better choices?



Penon OSG (Graphene):
This is one of the highlights of my day.

https://www.head-fi.org/showcase/pe...sed-spc-iem-cables.24554/reviews#review-30754

Amazingly the OSG is a $299.00 cable all by itself. Yes, it is a lot of money, except what it does is special. It’s like the ISN G4 in many ways but one step further into Graphene tone. It has a Rhodium plug stock, which may change the sound too…….a little? Except I’m more concentrating on how it’s a departure from the Graphene G4, in that it has many of the sonic similarities, where the stage is improved, but not with the brighter energy of pure silver. Where here there is a subtle displacement of low-end, actually lower midrange and bass focus into a blacker deeper background. This bringing of elements subdued then is leaving room for the midrange to own a splendor of sorts. A smoother midrange yet owning this Graphene tone, that is hard to describe, though after you get a taste of the G4 and OSG you will realize how they are birds of a feather. Where bass is sculpted and refined giving it somehow more depth and that depth gives the imaging better focus. Same as the midrange and treble which access this smoothness yet are better imaged to me than many cables. The effect is like turning up the saturation of your TV. You are given deeper colors as well as better sculpted 3D creations across the board. I love this cable with the Dome, and if you wanted what is described above, I would suggest maybe order it, though keep in mind it only comes with one style of plug, so you need to choose if you want 3.5mm, 2.5mm or 4.4mm.



Penon Vocal:
Bigger pinna gain segments to your listening. This is where the heart of the vocals sit. So if you have vocal music such presence will be enhanced. Yet what if you are listening to instrumental music? It is in fact enhancing that same pinna gain area, only it is what presence the instrumentation is in that area. See the thing is there are two Sonion BAs maximizing this frequency band anyway, so it can come off a little intense but it’s right on the border of too much. Maximum midrange clarity and all the forwardness that you would think arrives there too. Still there is kinda an idea that where you can have too much bass and too much treble, can you ever have too much midrange, especially if it is done right? Here with the DOME and Vocal we have a giant stage as you would guess the stage is fortified by this extra midrange enhancement, bass is still there and provocative, but not as enhanced as with other cables on this test today. And the treble, it is super nice, following a slight backseat to maybe what a pure silver would do, but it is in the pocket here, simply doing its job and neither pronounced or set back…..just super nice. The DOME has such a way about it that it is clean and balanced so that I can hear the personality of these cables, yet through the eyes of the DOME. Meaning I hear the personality of the Vocal cable, as I heard the personality of the OSG, where the OSG still has a sculpted midrange, it’s not being pushed into the forwardness, like the vocal, and there is a section of deepness that the Graphene does for the OSG, that is not present with the Vocal. In that aspect you get what you pay for when ordering a level of cable, yet there are combinations where the forwardness of the Vocal cable really takes the cake. Here it’s not in any way bad, in fact it is enjoyable with this exhilarating forwardness, especially right after hearing the OSG, and in a way this forwardness of mids is like a microscope, yet not showing the deeper levels of focus into the bass regions like the OSG.



Penon Leo Plus:

https://www.head-fi.org/showcase/penon-leo-plus-iem-cable-from-penon.24270/reviews#review-30398

Kind-of one of the pricer cables in today's testing, yet you may ask where the money went, what would happen to your DOME if you got the Leo Plus? Gold Alloy, Silver Alloy and Palladium Alloy….these are part of the expense to make such a cable. But obviously there are construction ideas put in place too. I can’t help but compare this Leo Plus to the OSG and Penon Vocal cable I just heard, I know you understand this. The Leo Plus offers a warmer, more inviting low-end that you can't help but notice. Smoother maybe than the OSG, but over-all there is a hint of warmth that is relaxing. And really the upper frequencies also grab hold of that warmth to help parley a style of continuation. Where we are sitting in an easy chair with-out the extreme vocal forwardness of the Penon Vocal cable, sitting slightly back to where stuff is more relaxed, and this warmth of the bass is like a fireplace to where it’s comfy. I promise anyone who chooses to join the DOME with the Leo Plus will find these qualities to be true. Where there isn’t quite the separation of the Graphene of the G4, and what comes out the other end is a subtle more natural and smooth while quite detailed rendition of the DOME. Yet it is all more together in stance, less drastically separated than what the OSG is attempting. The Dome is so well rounded that each of these cable tests are simply another wonderful flavor of fun.



Penon Mix with Rhodium Plug:
A little bit cleaner than the Leo Plus. More contrasty and inside of a bigger stage. A quickness and a responsiveness that could just slightly make the Leo Plus sound sleepy? Here there is a style of separation that comes from mixing copper and silver cables together, that and the Rhodium plug, taking it all over the top. I’m more inside of a world, like a musical aquarium of sorts, which has a level of immersion that has yet to be found from the OSG, Vocal or Leo Plus Cable. Kind-a the way Head-Fi is and with what people are looking for this could maybe pass as the most successful pairing of the day, especially if you are looking for separation. I’m also thinking modern, this has an incredibly modern and new sound. I don’t want to really say better than the Leo Plus because there was a warm romance that made the Leo Plus one of a kind, where here we are basking in imaging and a style of separation which holds each song element into a separate positioning, and being the stage is so very big, it accommodates such positioning.



Penon Space:
After hearing the Penon Mix with Rhodium Plug this was offering a slightly smoother take. But remember when I tap into this smoothness it is incredibly subtle and quite possibly just the difference from getting away from that pure silver cable additive with the Mix? I mean this cable has a reputation for size, and size is here on display. While slightly more cohesive than the spatial clues given off by the Mix? A tad warmer and fuller where the Mix had this separation as its main feature. Here we are more smooth and big, big deep layers and imaging going out the edges of the stage. More filled in like with a subtle warmth that the Leo Plus had, but not as much, not as drastic of warmth, but bigger in size than the Leo Plus. Really though the mids and treble are very Even Steven, with the DOME, like the 10mm driver and 2X Sonion mid BAs are all coming alive, that and the Knowles tweeter is dialed in, dialed in to the place it is meant to be, to make this whole signature work out.


Side by sides:
Here I will use a few Penon creations to understand the character and quality of the DOME:

Left to right:
1) The Penon ORB: $249.00- X1 BA, X1 10mm DD:
2) The Penon GLOBE: $329.00- 1X Knowles treble BA, X1 Sonion BA mids and X1 10mm DD:
3) The Penon Volt: $799.00- 4X Sonion EST, 2X Sonion BAs mids, 1X 10mm DD:

Next row, left to right:
4) The Penon 10th Anniversary: $499.00- 2X Sonion ESTs, 1X Knowles BA High, 1X Sonion BA mids and 2X 6mm biofilm DDs:
5) The Penon DOME: 349.00- 2X Sonion mids, 1X Knowles treble and 1X 10mm PET DD:

The Penon ORB:
This little guy is many a Penon listener’s favorite. And while I personally was a little late to the ORB party, I eventually reviewed it. It could be said the ORB is the start of the Penon House Sound. And while relatively simple in make-up, the ORB never fails to impress. Today we are using the Sony WM1A with MrWalkman’s firmware and the new Penon ASOS cable as well as my regular wide-bore clear silicone ear-tips. Obviously with some makers IEMs, they may require special ear-tips to extend the nozzle length, but somehow all the Penon IEMs in this test today go great with my preferred ear-tips, as well as the ASOS cable? The ASOS cable is great for its technicalities, but also the balance at hand makes it the perfect match for all the test IEMs today. Wow, this ASOS cable may be doing some kind of magic? As the ORB is fully better than I ever remember it today? Maybe the wax has fallen out of my ears? Just big, warm and beautiful? The mystery is just how much performance they (Penon) get out of this single BA? What I could throw rocks at is the fact that there is a slight better separation to the DOME? Where the sound is breathtaking with the little ORB, it’s just slightly more together? But if I was at an IEM show today and someone blindfolded me and placed the ORB in my ears, I would not believe it was the ORB……..must be this new cable? The bass is slightly both out front and clear as day here, then the midrange and treble are very well done for a single BA? I’m astounded here? But to get down to it, yes there is better separation and delineation of events with the DOME, a new level of entertainment.

The Penon GLOBE:
Look, I have a long and convoluted history with the GLOBE. And the crazy part is that it really started after my review? So I did a review and did maybe an adequate job of reviewing it, but then life happened. You know the realities of having the GLOBE around to continuously keep bringing it back to the forefront of testing. But more than that was the fact that even with the limited BAs in use, and a single DD, the Globe kept proving itself over and over again. And while the limited sound of the GLOBE is not perfect, it has something. Something to me in my opinion is a realism, that due to very specific drivers doing their job, it emits a very realistic sound which is harmonically honest. It’s just not as big of a wide-screen TV in immersion power. Yep, a smaller yet quality style of playback. So in many ways Penon is following the book, in that there is an addition of a single driver more and due to inflation it’s probably priced the same? But due to one more driver there is an extra sound tube which helps separate the experience and they did the one thing (else) to add the romance…….they made the stage bigger! So the DOME holds slightly better contrasts and there is a better low-end. I mean sure there are also next level Knowles and Sonion BAs inside the DOME which promote better realism, but you already knew that from my previous writing. This all comes down to a slightly clearer playback, more note realism and slightly less blur while keeping the magic of the GLOBE alive! The GLOBE now lives onward to make new friends, being called the DOME!

The Penon VOLT:
Really, really I get to listen to the VOLT today? I’m like a puppy dog seeing or hearing a treat bag open. My Audiophile tail is wagging silently and internally. Yes, the VOLT is more realistic in presentation. More equipment up-top! In many ways this isn’t fair to do………..though.........throw the $349.00 DOME IEM up against the $799.00 VOLT? Still there is a lot to learn by this match-up. What is surprising is that they offer a relationship of sorts. They are from the same home town, have the same interests, heck the two have the same taste in music, yep……..all of it. You see the VOLT is one of the singularly most well rounded IEM I have ever come across, that and the 10th Anniversary. But to put the pedal to the metal here and get on with this review, because we don’t have all day here. The VOLT is more lush, yet covering many of the same frequency ranges. There is just this silky midrange that sounds like 5 IEMs at once going off outside your ears. Not loud but refined in its existence. Smooth and poised, so very much a quality of display……really the VOLT needs to be put away again.



The PENON 10th Anniversary:
HECK…..this is my favorite, where before the 10th arrived there was only three real favorite IEMs in my lifetime. I only had a true position for three. But the bass smoothness of the 10th somehow won out over the VOLT. Now keep in mind the VOLT is not going anywhere. There are 4 IEMs which are my favorites now and the VOLT and 10th inhabit half of that list. This story will of course go on for years. But if you ask where the 10th is showcasing the skills to make it so, it is while it doesn’t have the romantic midrange of the VOLT it has extra love sitting in the lower regions, a place, a place I can go and be content with how sound takes place. Sure the DOME is more tuned like the VOLT than the 10th, where it just doesn’t have the symphony of midrange that the VOLT contains……..nothing on earth does. But where the DOME and 10th differ is that the stage in the 10th is bigger, yet the 10th doesn’t quite have the cleanness and clearness of the DOME. Sure you have already read my descriptions of what is special about the DOME, and in some ways the 10th can’t reach what the DOME does? Where the 10th is slightly slower in change-ups……..yet bigger, deeper and broader.

Build:
Really as you can see from the comparison photos the build is the perfect size. Truly what else could you possibly be looking for as far as build? 3D medical grade resin shells and complex universal custom design means you are offered great noise occlusion and all day comfort abilities. This testing took place with a lot of cable change outs, only to be continuously met with firm 2Pin grips. There is absolutely no way a regular listener would do as many cable change outs as I?




Packaging and kit:

Conclusion:
Well there you have it, another PENON review in the books. What can I say, Penon are on a roll here. Continuing to make new ideas of sound reproduction which always become fresh and new. To be honest with you I didn’t think Penon could add another winner into their stable of horses? I kind-of thought that they didn’t have it in them to make a $349.00 IEM so interesting and different? I thought that due to the price being less than the recent IEMs they have produced that performance would have to take its toll too. But Penon proved me wrong, what they did was stick to good old-fashioned know how and concepts. Meaning in ways the DOME does take a leap ahead due to driver technology, except that alone would maybe not get us all we have. That’s right, Penon have used good old-fashioned footwork and dialed in a form factor which will fit most (if not all) listeners. They used their basic understanding to utilize the tricks that seem to work. What I mean by working is getting realistic and detailed sound replay. Then they folded in this new generation of BAs and DDs……..to take the DOME to the next level.

$349.00
https://penonaudio.com/PENON-DOME

Disclaimer:
I want to thank Penon Audio for the love and for the DOME Universal IEM 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
Samsung Phone 3.5mm
Shanling UA3 Dongle 4.4mm
HiBy R3 II DAP 4.4mm

The New SIMGOT EA1000 Flagship IEM



Introduction:
You’ll have to excuse this review, that while informative, it is incredibly long. It’s just when IEMs are this good for the money and so groundbreaking in what they offer, there is no choice but to talk a lot about them. In fact even if the EA1000 was 1/4 less as good it would still get the full 5 stars from me. Yep.

SIMGOT as a company is on a roll. The two prior major releases which have amazed the community have been the EA500 and the EW200. I will get into both of them in a few.

https://www.head-fi.org/showcase/simgot-em2r-roltion.26084/reviews#review-29526

Even though SIMGOT has been around for a while, they have never gained the popularity they have now, and it seems they are going from strength to more strength? Back in early November of 2022 I reviewed my first SIMGOT, the Roltion EM2R and I only gave it 3 stars. The issue for me was that it didn’t have enough note-weight. But more than that, the IEMs SIMGOT puts out now almost don’t even seem like they are from the same company? Improved ergonomics in fit is one reason….still with the EA1000 being 11 grams each, the sheer weight makes you wonder? The past EM2R was almost too small and too low weight. But this EA1000 is really perfect, though maybe getting better ergonomics with the supplied cable, due to the included ear-hooks?

Meaning as far as fit and comfort goes, the correct cable ergonomic movements, the weight and just how they sit inside your ear.......plus the nozzle length……it is actually surprising to a jaded reviewer like myself just how well these fit and stay in place? If you look there are a series of air-vents which inhabit the rear (ear-facing) area? Three vents and one giant one, something about this device being a passive radiator? There is a gold screen for it, yet all three vents never get blocked.........somehow?

The EA1000 Technology:

1) SDPGD technology
This added process uses Sputter Deposition to create a more rigid and lightweight diaphragm. In terminology, the SD stands for Sputter Deposition, and the PGD stands for Purple Gold Diaphragm.

2) DMDC Dynamic Driver
This is a dual chamber created for the driver.

3) 1DD + 1PR
This is a combination of an active 10mm driver with a 6mm passive radiator

4) The EA1000 changeable nozzle technology
Here three nozzles are included as a way to generate three specific tuning curve directions, using both stainless steel and brass materials.

SIMGOT EA1000 first impressions:
For me the addition of DD and Passive Radiator seems most important, as there really is this natural ambiance to the bass which stands out different than any IEM in this price category? There are truly added dimensions of texture and ambiance to the bass quality? They say this is the direct result of increased air-flow and that is really what it sounds like, you can hear this technology in action? For me I listened first then read about the technology later, and this was part of my first impressions, noticing how the bass was effortless and agile? But obviously there needs to be special attention to the mids and highs, yet on first listening both the mids offered a nice smooth midrange and treble offered great itemization of imaging outwards into the stage. Though prior to burn-in I noted a slight lack of low-end punch that kept the EA1000 as a recommendation to a rock or EDM listener. Though the most rewarding sentence in this introduction is the EA1000 completely changed upon 130 hours of burn-in. While it basically still had its personality, except added smoothness took place, and added bass authority which allowed for a fantastic IEM inclusion with rock and EDM. To try and put this into perspective, the EA1000 was so good right-off-the-bat........that I was still fully enamored with its abilities, and continued to find stuff it played well. But after 130 hours of burn-in really it was way more well rounded and played all genres.


The filter system:
It’s best that I briefly go over what SIMGOT is attempting to do with this new filter system. Graphic representation of what each filter does is represented on the box.

1) The new Golden SIMGOT target (brass filter system)
2) The way they came with the red rubber rings. The 2019 Harman Target, my favorite no doubt.
3) The black ring filter, SIMGOT Classic target.



I listened first to try and get a handle as to what they are up-to with the filter system. You can’t help but note the black foam on the underside of both the black and red ring filters, with the Golden brass nozzle having only a white sticker with a small hole in the center? The Golden curve is slightly more clean, less thick.

Comparisons:
These comparisons are a way to understand an IEM due to contrasts of abilities and tone. Of the eight comparisons provided here four of them are previous SIMGOT products. I added the four SIMGOT products as a gateway to help in understanding the EA1000, especially if you already had made a SIMGOT purchase in the past. Also I added them to try and document just how far SIMGOT has progressed with the new EA1000 too. The other four products are used to kind of delineate the differences and abilities by direct side-by-side comparisons. All tests with Sony WM1A with MrWalkman’s firmware, my typical wide-bore silicone ear-tips and White Whale Cable in 4.4mm. I in no way want to be-little the included cable because it’s really nice, except it comes only as 3.5mm, yet I often referred back to the included cable, if not only to make sure I was not missing anything in 3.5mm.



Test 1:
I simply chose the IMR BC 2023 and 7Hz Legato test subjects as I thought the contrasting bass (to the EA1000) would be fun? Both the IMR BC 2023 and 7Hz Legato are considered bass cannons, and while that is true there is still a wonderful balance that the IMR BC 2023 is renowned for. Such a forward IMR midrange that has many simply smitten with the produced frequency outcome, including myself.

IMR BC 2023: $369.00
One 6mm ADLC (amorphous diamond like carbon) driver and one (size undocumented) ADLC driver:
Here we are reminded that the IMR BC 2023 isn’t really that much of a Bass Cannon after all? Its name is maybe a marketing tool? And while yes, it does designate the BC 2023 into a curiosity of listening, I can’t help but wonder if true Bass Cannon listeners will not be let down? After taking some time off from the BC 2023 what really hits me first is the warm midrange it holds, that and the a wonderful separation contained. Such imaging of elements out into the stage really, maybe due to it being 2 DDs, come across even more technical than the EA1000 hoped for. Way more money than our EA1000 and rightly so, as this style of replay has its own charm, yet probably when it comes down to it the EA1000 has a more (maybe) together timbre in the end, not as separated of imaging. The EA1000 has a slightly cohesive and natural tone, despite being overall brighter and more juiced-out up-top. Still in our testing today there is only one Bass Canon and that’s the 7Hz Legato! Still what seems like a less dampened IMR response goes ahead to provide slightly more volume at the same level, inside that volume we are gifted with a bigger stage and further-out larger imaging of elements, better crafted inside that stage. Where the EA1000 is more straightforward, the IMR is kind-of a character, in holding a darker wider positioning which promotes less brightness up-top, but creates a smoother treble all its own.

7Hz Legato: $109.00
Large 12mm Dynamic Driver with Multi-Layer Composite Diaphragm and 6mm Micro Dynamic Driver With Composite Diaphragm:

Bass focused is really the word on the street here. Even with my mid-centric WM1A and wide-bore silicone ear-tips, I can’t help but realize that this is some of the most bass I’ve ever heard from an IEM. Though if you note closely you can still hear the top-end treble balance, as they had to do something to make this style of replay digestible. In essence this treble is the magic that helps this very unorthodox tune seem to work out. Still for this replay to be enjoyed there needs to be a subtle acclimation period as typically the L shape tone will come as a surprise from any style of playback you’re accustomed to. Where here if there was any proof as to the deep bass emphasis contained deep down into the song structure, it is truly there……..all of it! Though in contrast to the EA1000 we also get some extra baggage in the form of bass bleed into the midrange. Yet to top the Legato off, or yet to bottom the Legato off……….there is added bass emphasis to somehow add pace on-top of what would be considered a deep and thoroughly displayed rendition of bass. If anything at all, it shows how our EA1000 can arrive at better well roundedness in daily use. Also we come to realize that some music simply doesn’t go so low in range, that there are albums and even whole genres of music that don’t have a need for such extremes in Hz playback. Yet there is a time and a place for what the 7Hz Legato does. It actually may end up complementary (to the EA1000) for many listeners, being the Legato playback is special and one-of-a-kind. But in contrast......the EA1000 is way, way more mid forward offering a faster yet still authoritative bass response……added to that due to the bass balance differences from the Legato, a treble that’s there as well as the boost that’s offered with the EA1000 at 14kHz.......which ends up taking the whole signature into more clarity and imaging expansion.



Test 2:
The Kiwi ears Orchestra Lite: $249.00
8 Custom BAs:
The Kiwi ears offer lean and faster itemization of sonic elements. Bass is way less visceral and slightly set back in comparison to the EA1000. Even though tuned slightly the same, the Lite’s midrange here shows a more metallic tone. Where our money here is in more EA1000 note density, more note weight from the EA1000. In fact it’s the overall weight of the signature which goes to make the EA1000 special, more special than I thought after this test was complete?

The Kiwi ears Quintet: $219.00
1 Diamond-Like Carbon 10mm (DLC) dynamic driver
2 balanced armature (BA) drivers
1 planar magnetic driver
1 piezoelectric (PZT) bone conduction driver

Bigger separation into the stage, as this is our first Hybrid today. Yep, all those different driver methodologies doing something. Just amazingly separated imaging here with the Quintet. Also the low-end is kicking its rightfully so authority! The Quintet replay today is simply amazing here? The way each element is in its own area of the stage, like each element is free to act how it wants? The EA1000 has slightly better bass, and interestingly enough bigger imaging into the stage, with more weight and size than the Quintet? This was one amazing side-by-side, as the EA1000 can keep-up in its own way with the Hybrid of the Quintet. Bigger size of midrange out into the sides, where the Quintet is grand, but lacking in note density and girth? There is a slightly faster attack and decay that comes with the Quintets top-end, yet the EA1000 has better note decay.



Test 3:
SIMGOT EA500: $79.00
10mm Dynamic Driver:
The moment of truth. While at this early point in time it’s safe to say the EA500 is more popular, as it has had more of a chance to become popular. Where the issues for some were they just didn’t find the signature as accessible as others. That once again just proves how subjective this whole business is. Where I found the bass fine, graph readers saw issues, and some simply found the midrange to be on the hot side. Where probably much of that came from (again) the lack of lows for some listeners to balance out the highs? Still in my book the EA500 can do no wrong, in fact I hear bass detail in the bass department. Also I feel the EA500 is one of the single best imaging IEMs for the money, just the technicalities it does on a regular basis. Though-out this year that fact has been confirmed and reconfirmed as the SIMGOT EA500 has been re-introduced into side-by-side tests, over and over again. Such is life when a major value is tried again and again to see if it still holds value in relation to other competitors. The first thing you notice is how the bass of the EA1000 has its own area of life, there is more of it, but also better quality as it’s defined and tailored to be dressed more for success. Combine that with a more filled out midrange of better imaging and detail, and finally the treble gets imaged further out into resolution. Hands down across the board the EA1000 is better at everything…..and even more so when they are tested back-to-back.


SIMGOT EA500 with filter nozzle system:



SIMGOT EW200: $39.99
10mm Dynamic Driver:
For many the EW200 was a success over the EA500. SIMGOT shifted gears from a EA500 2016 Harman Target to the 2019 EW200 Harman Target. For many the EW200 showcased just what 2023 was about as far as IEM value. And I have to agree, that single handedly the EW200 showed the world how much IEM was obtainable for under $40.00. For those wanting the extra low-end SIMGOT went ahead and added the goods, making many happy in the end. And that’s not to say the EW200 is any kind of Basshead IEM, because it’s not, it is well balanced, yet with more satisfying bass (for some) than the EA500. But that is also combined with a slight dip at 3.5kHz which helped to smooth things out even farther. And guess where else that 3.5kHz dip is? In fact the graph at 3.5kHz all the way to 5kHz is very similar in nature between the EA1000 and EW200. And if anyone knows that area of the Pinna Gain is very much a place where our hearing is most sensitive, meaning combine that Pinna Gain with a low-end that is similar and we have two IEMs that sound very close to the same. Though where the two IEMs start to differ is the EA1000 has about 4Hz less bass, That, and they are complete opposites at 14kHz. Where the EW200 peaks at 12kHz then again at 16kHz. Though again due to close proximity in the Pinna Gain area and similar in bass, they both offer FR signatures that are very close. The differences come with the quality of EA1000 bass technicalities that really separates the two to my ears, and the imaging in the midrange, which is noticeable better with the EA1000. Still if you were to listen to them back-to-back, they are birds of a feather.



Test 4:
SIMGOT EM6L: $109.99
1DD + 4BA Hybrid Drivers:
Laughably SIMGOT went hog wild with their Hybrid ideas here. Yep, you can study the graph here, except no way will the graph truly explain what is going on with bass extension. Sure the graph represents it, but you also have to take into account what the 4 BAs are doing to balance out what is all going on up-top. Laughably this is a Hybrid and the total opposite of what we have with the EA1000. One zigs where the other zags. But one look at that EM6L bass extension would have you believe the bass is maybe out of control, or sloppy……and that is just not the case here. The bass goes low, but it is clean and in control.

The BAs are more (slightly) metallic and not holding the density/girth (note-weight) of the EA1000’s treble or midrange, the EA1000’s bass is more refined and over-all this single DD means that while stage is nice, it doesn’t quite have the total (side-to-side) positioning of the EM6L. What we get are the (plain and simple) regularly understood methodology differences here, where the EA1000 is more cohesive and together and the EM6L more dislocated and fragmented in response. Does it make one better than the other, hmmmm I guess it would depend on what you are after? Normally I like Hybrids the best, but the way they did the EA1000 it almost doesn’t sound like a DD, it almost sounds like a Hybrid? I know I sound like I just contradicted myself, only if you're wondering what the best part of the EA1000 is, it doesn’t really sound like a single full-range DD?

https://www.head-fi.org/showcase/simgot-em6-l.26639/reviews#review-31512

In the EM6L review I go into more about the graphs and the various targets SIMGOT has focused on. And while it’s safe to say the EA500 (red nozzles filters), and EW100P were more are less focused on the 2016 Harman and the EW200 and EM6L were more in line with the 2019 Harman, still these summaries could be considered over generalizations. Still whatever Harman (2016/2019) your direction is, it does give an overall characteristic to the sound, as such these generalizations are applicable.

SIMGOT EW100P: $19.99
10mm Dynamic Driver:

This IEM didn’t get the best review from me. It’s not because of price, as I gave the 7Hz Salnotes Zero a great score, I just thought the missing low-end combined with the forward midrange was just not a good combination, plus the overall sound was boring and had no personality?

Cables:
Once again there is absolutely nothing wrong with the included cable, only using these aftermarket cables enabled the use of 4.4mm balanced amplifiers which at times are better suited for playback.


ISN G4 Cable:
To tell you the truth, this is one of my absolute favorites with the EA1000 IEM. Why? Added is note-weight……..even bigger than is found naturally with the EA1000. So much of this could in-fact be partially due to favoritism, which I’m not immune to. I use this cable all this time. But what it gets you in the case of the EA1000 is separation, and a tone-down of treble. There is a resulting smoother 14kHz peak, and a more sculpted low-end, like from a blacker background. So it totally makes the sound slightly smoother yet with an added stage expansion that is totally different from the HiSenior White Whale. Where there is a lower midrange added thickness to the White Whale, where the G4 makes the lower midrange cleaner and clearer. What this gives you in the end is increased imaging into the stage, all the while a slight overall smoothness that is rarely found together with the expanded mids into the stage. I would suggest this to those that want to access 4.4mm balanced.....simply get the G4 for the EA1000!


Penon ASOS Cable:
A more natural idea of a cable response, not to say that the G4 colors the sound, except the G4 is maximizing the Graphene tone and character to the fullest extent. Where here we are enjoying a bigger more straight forward size of stage increase and evenness of demeanor. None of that drop in low-end through sculpuring and added thickness or (better yet) contrasts as found with Graphene. Big imaging size, grander stage……….of course there is no way of truly knowing as we have switched over from 3.5mm to 4.4mm.....thus a totally different amplifier in the WM1A player. Offering faster note attacks and note fall-offs into which the EA1000 has the room for, while still maintaining the overall sound signature and over-all EA1000 personality. Maybe slightly the most energetic of cable tests today?



HiSenior White Whale Cable:
Thicker, meatier than the regular cable, how much of that is the different amplifier in the Sony WM1A is debatable. A fuller lower bass than the ASOS and slightly more forward than the G4. Part of what the ISN G4 is doing is setting some lower frequencies back, into the backseat, to enhance the feeling of a darker yet more forward midrange, with more note-weight and a wider girth of expansion. Here we are more like the ASOS, except slightly thicker in the lower midrange. The ear-hooks make the White Whale a joy to use.

Included Cable:
The silver plated Litz Structure is amazing. Having all metal hardware it includes the perfect ear-hooks which are not too aggressive or weak in daily use. The way the EA1000 sits with the included cable is something to behold. Even the sound with the included cable was something that I couldn’t get enough of, always going back to check on it. Pre-burn-in the sound was great with every genre except rock and EDM, though after about 130 hours of burn-in the supplied cable with the EA1000 had a certain sound that went with all music and all file types? I was especially taken with how the included cable acted in that it could be coiled into a small form and always laid where it was told. Also there were very little microphonic properties in daily use, which I found surprisingly good. A nice touch was the all chrome hardware and gold chin-cinch.




With regular phone use:
Due to the enhanced note-weight of the EA1000 it was totally enjoyable in regular phone use. While definition and stage were not quite as dramatic as with a dedicated Audiophile DAP, the differences were small, and may not be a big deal to some. There was better perceived darkness of background with a DAP also often the phone use was 75-80% of full volume. So the AE1000 are not hard to drive but does scale up with better equipment.

Out-and-about:
Normally I would not advise jogging with such an IEM, I mean most will have TWS for sports, except fitment here is incredibly special, at least I would have no worries with these ever coming loose in public? Even the solid metal design adds to the noise occlusion, meaning you see all these vents on the back and think they would be open sounding to let outside noise in, when in fact they offer really good sound occlusion. I would even suggest jogging if you so wished, as they simply fit that good and never move out of place with the supplied cable.

Packaging:

Build:
Coming in at 11 grams a piece, the EA1000 is one of the heavier IEMs on the market, though lucky the form factor is also on the medium size. This accomplishes a really important aspect to ergonomics, in that most of the actual IEM weight sits inside your ears. There are no sharp edges so they simply glide into place and stay put. The outer surface is glass but somehow they fail to ever show fingerprints? So counting the glass you have four basic pieces in that the nozzles are removable for sound design. The cable plugs are ever so slightly recessed and the actual nozzle length seems just right? The passive radiator really adds to the feeling of openness and bass texture? At least this was my very first impression of how the EA1000 was different in its IEM price category. My regular go to ear-tips were fine as well as the included SIMGOT tips worked well. This is always a good thing when you can get fitment with a wide range of ear-tips, and the fact that the IEMs themselves never seem to move to where you lose the air-tight fit? Surprisingly the bare metal shell of the EA500 was a fingerprint magnet, yet here even the sides don't show smudges, and I don’t have an answer as to why? This is an IEM I never polish-up or feel the need to?



Music:
Here I will take a few albums to help describe what the SIMGOT AE1000 does.


Gdanian
Induction
Arrival
44.1 kHz - 24 bit
Here we are met with an electronic soundscape. Often music like this can be scathing or unlistenable on the wrong set-up. Here I’m using a MacBook Air hooked-up to the Shanling UA3 and have met with an enjoyable soundscape. Here even though the signal in the bass frequency department seems uneventful or even with-out consequence, in fact it is the essence that is showcasing our beautiful bass transients. That even though small in changes........the bass texture is enveloping and unique…….at 02:16 a single drum beat introduces us to the rhythm. At 02:43 a symphony of electronic effects and additives takes place. Yet at 04:00 all is back to normal again, yet there is a background of white noise that is fascinating. I chose this song because the themes it introduces are subtle and provocative. Being it would be the immersion taking place which is at the price of everything else. Just this big towering bass drone, not really going anywhere and helping us find the moment in which we are spellbound by the minimalism of it all. In fact there was a dog barking and I had to check if it was in the song, of course it was not, but it went with this style of tune! There is the use of only a single drum beat, only a one hit………yet it is complete, yet still sounding like more of a sketch than a song…..but that’s OK as I have found complete entertainment, possibly due to the transducers used?

Gdanian
Induction
Veins of the Planet
44.1 kHz - 24 bit
Now the previous first song makes total sense here, as it had to exist as a gateway to where we were going. Any ideas of sketches were then fully formed into life in the next song, which is really a continuation of the first song. Now instead of dogs barking I hear what sounds like water dropping? And……I’m sure this time it is in the music. This is the kind of music that will remain at the absolute minimal process and border on boring for a moment until that one part hits to make it all make sense, even to the prior song section. These are very light and inconsequential forms of sound design, yet enchanting when you can enjoy simply the tones they are reaching for. There is nothing more or nothing less, as this experience is captivating yet it is what it is.

Gdanian
Induction
Shield Emitter (feat. Tineidae)
44.1 kHz - 24 bit
HA, this is all starting to make more sense as the prior songs are the perfect set-up to what’s going on now. And yes, it was all totally worth it (to be) here, to be dragged along up to this point in time. And in-fact I am hearing the greatest synth-bass here even at the start……….at 00:13 hahah. This is where we were going all along. At 01:35 there is a climax of sorts, where we have entered the message of the album. At 02:34 the bass drones are provocative and entertaining to say the least. At even the 03:30 you can tell there is going to be 01:40 more minutes of this minimalism, and that’s OK, it is like the end of a day as the sun has just set over the ocean and the beginning of night approaches.

Gdanian Induction conclusion:
This was an interesting first three songs. Many times I will use instinct to try and discover how new music goes with a new IEM. I mean you normally know right off if something is working out, that there is value to be found. And the crazy part was I really didn’t become blown-away until the third song, yet it all seemed to work. The fact that this recording is absolute in the minimalism it used to drive at success. That in many ways the music had you lusting for slightly more (especially) bass and provided only just the amount needed to move the songs along, up till the third song which provided the sonics in ample amounts. Such a trick is the very opposite of too much, that they are stingy to give you what you want, which in-turn makes you want it that much more, when it all finally hits home. That in-fact the EA1000 was along for the ride, simply relying what it had (to work with) in the best of form, that when the third song hit those layers of bass and effects made for a profound and emotionally moving experience. That this minimalism has brought me back to my original audiophile roots, that it is with-in sound design that we can take a form of realization inside the beauty of an individual series of tones. Just hearing these tones come across can show us the complete imagination of creation and poised positioning to only include what is needed at the very basic level to make it work out.

Intermission:
The remaining 4 songs were all played using the included cable and my regular wide-bore tips with the Sony WM1A with MrWalkmans software. No EQ was used.

Lorne Balfe and Andrew Kawczynski
Grand Turismo OST
Jann’s Journey
44.1 kHz - 24 bit
Here I must admit was my favorite song upon first getting the EA1000 in my ears. And now hearing it once more allows me to partake of such a musical experience in full form. At a full length of only 02:47 this number packs a punch. Even at the very start right at 00:16 the deepness of the reverb found surrounding the drums and the fall-off into the stage makes the song fun. Though it’s the deep layered violin samples which exist at the 00:30 mark that once again begin to move the emotions. Such violin stabs are found to be transfixing in their attainment in the stage? Does listening even get any better with any other IEM? Those are the style of questions we are forced to ask ourselves. At 00:43 the sampled chorus is all I need to become enamored with this song, and it doesn’t matter how many times I hear it played back. For here the layers and the intrinsic relationship between each and every facet of this song makes my day….I’m moved? At 01:21 there are added rhythm accents which seem to show us the distance of our stage size, and inside their display I have all the stage I wish for, seemingly coming to life, these samples from the very farthest reaches of the stage. At 01:40 there is a syncopated sequence of lower bass throbs that while not the lowest I’ve ever heard, are still clean and fast……making the song for myself at this single point in time.

Lorne Balfe and Andrew Kawczynski
Grand Turismo OST
Academy Race
44.1 kHz - 24 bit
Ahh the lows at the start? Now we are getting somewhere? HAHA? What? Even at 00:14 the depth and airiness achieved is with-out competition. This, this is why we are here, and the very reason we have ear-monitors in our ears. All the work SIMGOT has accomplished to get us here at this exact place in time, the transients held with-in how the bass notes are attacking……..pure gold. If you end-up purchasing the EA1000 definitely try this music out as it’s a perfect example of just how good this IEM can be. At 00:23 just the way the lows are imaged into the stage, taking form into an element all itself. The shape, the size, the timbre……it’s all so very good, need I say perfect? Part of this comes from the layers of bass, that it is created as a layer upon layer of bass tone, and the EA1000 takes such tones apart. Such a display of texture is not able to be shown with the 7Hz Legato, it’s just not this clean and precise in the bass department for this level of extraction. At 01:01 the strings show-up to add to the instrumentation, seemingly going along and just another additive to our musical involvement. At 01:17 the chorus comes in and again I have basic chills……here. Yep, cheap thrills over at Redcarmoose Labs…………….What can I say? At 01:27 there is a threshold to how the bass interacts with the rest of the song, seemingly dropping out of frequency range, and that lowness, that extreme point of playback, we are here right in the moment with the EA1000, going places, places never thought of being a part of? Laughingly at 02:22 there doesn’t seem like there are any more sounds to throw at us, but they take this whole affair to the next level? Where in many ways the next game soundtrack (Forza Motorsport) in this series of tests is not at this epic level. Where Forza Motorsport almost doesn't have enough to exist on its own as an involving piece of music. Yet this Grand Turismo goes to the farthest place to let you know it can exist as music all by itself, becoming entertaining and moving just by sheer amount of information overload. This song ends as my favorite in testing, showing the extreme abilities of the EA1000 to go the extra mile when the music calls for it.


Kaveh Cohen, Michael Nielsen
Forza Motorsport OST
Brotherhood
44.1 kHz - 24 bit
Such a song promotes this wildly enchanting low end, which seems to go even lower in areas. Added to that big synth embellishments which are totally fun and enveloping the ear-stage. Ahh what else do you really want that this song doesn’t provide? Huh? Even though the song is on the shorter side of songs, there is a lot to chew on, as a sound example there is nothing wrong with playing it over and over again, as so much is going on here. The warmth of the song writing, the full-on execution of recording it……perfect really.

Kaveh Cohen, Michael Nielsen
Forza Motorsport OST
Head Down
44.1 kHz - 24 bit
Taking us home on our investigation of music today is a dramatic digital soundscape offering a straight up and forward, simple display of characteristics. A simple yet complex display of theme music offering clear and precise tones which when done correctly fully show how the EA1000 acts. At 00:18 a keyboard harmony is yet simplistic and effective showing us just how the EA1000 displays tone. Here we can also judge the bass line in that it’s tight and controlled in perfect focus, yet we don’t need anything more, we don’t need anything else here. The sound is fresh, exhilarating and complete. Probably the best feature here are the layers, that while our stage is not the very biggest in the IEM world, we are gifted with incredibly precise layers which are in perfect contrast to one another. That in fact each element here has correct relationships to how the song was performed and arranged. Such display of performance focuses on the areas of contrast and the correct mix within itself. Just the fact that the reverbs are natural and vivid for how they are utilized. At 01:21 the keys again take precedence, in that this is the song’s highlight, being this is an instrumental theme song. But more than that, the keys have a specific reverberation into the mix, a fall-off that is very specific and heard for how it’s done here. It’s the balance of bass emphasis and the fact that we can hear everything in order, the way the producers want us to, I hope? In a way this music is cheesy except it serves a purpose in that it is supposed to be background music while the video game is played, so in hearing the OST, it’s really only part of the total experience. Still the style of music holds enough interest that there is a lot going on here, with the fact that new elements are continually added in. At the 02:20 mark there is a style of breakdown as to where there is both drum and bass accents. All of a sudden we can notice every part of the song structure being laid-out and layered in place. At 02:43 there is literally just bass for a moment and yet the EA1000 is showcasing just how well this section is done. At this single place the sub-bass exists all by itself for a moment and we are at one with it. But of course nothing stays the same and the song enters into full-effect once more at the 02:44 mark. This style of music performs a kind of guilty pleasure in that it’s nothing more than background music for a video game, yet so well done and so complete that it makes for a memorable listening experience when played back well.




Conclusion:
To me, SIMGOT is one of the most successful manufacturers of the year. Why? They simply make good IEMs. And of the six different SIMGOT IEMs I’ve heard I like the EA1000 the very best. Sure it’s the most expensive model I have heard, but I also feel they have introduced new technology which has moved the sound forward into a new dimension, at least that’s my opinion when I put them in my ears. Quite simply a quality of tightness and evenness that I feel SIMGOT was going for and achieved remarkably well. Yet what is the most remarkable is the fact that anyone can purchase and obtain this sound for $219.99. The fact that there is a basic build that is exceptional, that they fit with-out moving anywhere else, and stay in one place. The fact that while slightly heavy they fit inside your ear, so the weight may be part of the key to the sound, absorbing any unwanted vibration? The fact that the extra box accessories are usable and nice at this price-bracket. The cable is truly gorgeous and was used though-out the music testing process to achieve great results. The extra nozzles are there if you choose to use them, where if anything they do actually work to dial-in the sound to various target curves. The box opening experience is very different and shows how SIMGOT is trying their very best to guarantee your satisfaction in the box opening experience. But to me most of all the important thing is the realization of a specific tone. That SIMGOT has a style of playback that is both clear and balanced, the playback asks for personal involvement. The playback draws you in possibly due to the layers and note-weight? The fact that the bass is truly unique here, really unique at any price. Offering exceptional texture and a style of airy-agileness that just won’t quit. The way the bass forms into a place in the stage simply warms my heart, and adds a thrill in my daily use. All this is slightly different sounding than out of the box, I mean the SIMGOT EA1000 changed after 130 hours of burn-in, I can’t leave that part out? To where at first they were amazing, but became so much better IEMs at playing all genres and file types after burn-in. The fact that the mids are full and accessible exists to showcase layers of detail, all coming across seemingly totally correct and never too hot. The treble is also nice being it has a charm in that there is enough sparkle and pizzaz, yet still total cohesiveness that is the hallmark of single full range playback. With-in this cohesiveness exists a fully natural and correct timbre, that again is the very reason full-range dynamic drivers are even a thing nowadays to begin with. That this level of quality is offered at $219.99 is by far one of the best audio deals of the year. That finally we are not really at a place of subjectivity here, that anyone and their Mom couldn’t help but find value here. That even if the SIMGOT EA1000 was 1/4 less as great (in sound reproduction) it would still gain my full five stars review, and that simply goes to show how over-the-top SIMGOT have taken things for 2023……….to a place previously unforeseen, into the realm of science fiction. It’s this science fiction realm made into reality that has made this review so much fun to write, that in 2023 there is a product that simply outshines the competition on every level……..that is what Head-Fi is about!

$219.99
https://www.linsoul.com/products/simgot-ea1000-fermat

Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?i=merchant-items&me=A267P2DT104U3C

Disclaimer:
I want to thank Fia Lam from SIMGOT for the EA1000 review sample.

Disclaimer:
These are one person's ideas and concepts, your results may vary.

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 3.5mm and 4.4mm
Sony WM1A Walkman DAP MrWalkman Firmware 3.5mm and 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
Shanling UA3 Dongle DAC/Amplifier 3.5mm and 4.4mm
Samsung phone 3.5mm
HiBy R3 II in 4.4mm and 3.5mm

The HiBy Company:
So in case you don’t know HiBy makes a bunch of stuff. Currently they offer 9 different DAPs, 8 IEMs, 8 portable amplifiers, 5 cables and 14 different cases, amongst other things. HiBy is best known around these parts for their DAPs. HiBy got their start in 2011, the HiBy Music (software) has 2 million users around the globe. There is even a program called HiBy link developed by HiBy, that takes the music on your cell phone and shows it on the Hiby DAPs allowing replay at better than BT quality. Using all their experience they are offering a new midrange IEM to the market.


The HiBy Yvain Universal IEM
Redcarmoose Labs October 24th, 2023

We don’t need to go into the actual Yvain name too much, except realize it comes from a French Poem written somewhere between 1178 and 1181.

Yvain ou le Chevalier au Lion
Though truly our Yvain here does not show many wild Lion traits? Though the idea of a lion as a symbol for an IEM is very cool. The etched lion relief emblazoned across the faceplate is unique in my experience. I think of lions as a force of nature and unpredictable, where the Yvain is nothing of the sort. Domesticated, careful and polite............would be my take on the Yvain sound. Though it is big sounding, and despite what you may guess, it has a full and satisfying bass? The best part of the Yvain though is the midrange……just even, complete and correct.



Yvain description:
“As one of the first Arthurian tales, Yvain is widely admired for its colorful action, drama, and wit; its structure and pacing anticipate the romantic literature that followed. Though less well known than De Troyes’s stories about Lancelot and Percival, Yvain stands as an archetype of the knights-in-armor stories still popular today.”

Comparisons:
Right up-front we will try to use direct side-by-sides to obtain both a quantification of sound value and describe the HiBy Yvain’s style of sound. Though keep in mind side-by-sides will have the most value to the reader if the IEMs you're using in your test are commonly used and understood. Meaning no-one will understand if you compare the Yvain to some expensive and rarely used IEM from the long past. There is little reference found, except of course our own sonic history in IEM usage always has underpinnings relating to prior IEM use.

For comparisons:
Part of reviews is a thought-out calculated effort, but also I have found going with instinct is also one of the best ways to gain personal enlightenment into comparing sound signatures. Meaning you don’t always know why you pick the comparison IEMs, but you do, and at the end there really are questions answered. The trick here is to try and be as straightforward and simple as possible, making the points as concise and basic as possible.

Shown left to right: Top row: HiBy Yvain and Kiwi ears Quintet
Bottom row: Kiwi ears Orchestra lite

The test subjects:
The qdc Anole V3 Universal IEM (tuning Dip-switches set to off/down position)
https://www.head-fi.org/showcase/qdc-anole-v3.23655/reviews#review-21830

The Kiwi ears Quintet Universal IEM:
https://www.head-fi.org/showcase/kiwiears-quintet.26582/reviews#review-31155

The Kiwi ears Orchestra Lite:
https://www.head-fi.org/showcase/ki...-universal-8ba-iem.26387/reviews#review-30372

Introduction to comparisons:
This is both competitive (by IEM maker) and personally subjective. Meaning everyone is out for your discretionary IEM dollar, yet you want to spend wisely. At the same time you basically have two camps of listeners, the overly musical and the analytical, if you will forgive my oversimplification? Of course there are also the form factors involved, as many IEM listeners can prefer bigger IEMs, and some gravitate towards smaller examples of the art form. Sure there are even ideas as to build affecting the use out of the house with noise occlusion. But again it’s all really individual preference, hence knowing yourself and being true to your wants and needs seems to be the key to success here?

Right to left, the HiBy Yvain and qdc Anole V3

The qdc Anole V3:
This is a relatively obscure IEM, especially concerning driver to cost ratio, it may even be considered a hold over, representing simpler times when a company could get away with such a strange value. Yep, it’s a $549 3 BA IEM. Except I love it, and I love it due to the intrinsic completeness to the sound, that and it was the very first semi-custom IEM I ever purchased. So imagine with me a smooth and realistic tone, that while not offering the biggest soundstage, was still involving and exciting, then combine that with a form factor that lends itself to all-night listening, well into sleeping. Just enough detail and just enough pizzaz to get me…….in-fact I purchased a back-up pair just in case the first pair were lost or broken, that’s how much I love the Anole V3. Of course I have heard most of the past qdc line-up, this was all prior to the $2,556.00 qdc Anole VX. The all BA, 10 driver VX that put qdc on the map here in the USA. Still this V3 relic shows qdc’s understanding of sound making devices, that they know how to respectively put an IEM together. Probably the reason I’m using this for comparison is due to both the Yvain and the V3 being all BA IEMs and of lesser (BA) count than can be found out there in the market. Finally hearing the Anole VX showed me what is possible with those added 7 drivers helping to delineate imaging especially in the midrange and treble region in comparison to the V3. And while less bright than the VX, the V3 still has detail, just not as technical or big of a stage.

Yvain v Anole V3:
The Yvain will probably come-in at under $300.00 in the $2XX.00 range, and also it’s roughly 6 years newer than the V3.

HiBy Yvain:
Knowles damperless high power CI-30120 x1 bass
Sonion 2389D x2 mids
Knowles WBFK33518 x1 highs
The IEMs are fully sealed for high isolation.

There are independent tubings for the 3 ways as well as a 3 way electronic crossover.
Nominal impedance 23 ohms, sensitivity 116dB/mW.

The pin connectors are 0.78mm.
CNC as well as 3D printing is employed in making the shells.

qdc Anole V3
Description
Brand: QDC
Model: Anole V3
Input sensitivity: 105-108dB SPL/mW
Frequency response range: 10 Hz - 20000 Hz
Impedance: 27-33 ohms
Drive unit: 3 miniature balanced armature units
Noise reduction: 26dB

• Anole V3 is the latest model of the Chameleon series. The V3 and V6 also have 4 stereo basic tunings. The V3 is designed to be miniaturized as much as possible, and the size is basically the same as that of Neptune.
• Using the new version of the customized low-frequency unit, there is a stronger low-frequency indicator in the balanced armature unit, the low-frequency can be down to 10Hz.
• The basic tuning is dominated by pop music and ACG, and the low frequency enhancement is more suitable for the needs of electro-acoustic music as well as drum and bass music.Of course, we have not forgotten the pursuit of medium and high frequency details by vocals and classical music. Smooth Vocal is for you.
• Multi-tone Changes To Find The Fun Of Tuning, Four tone switchers (Tuning switch): Standard Mode, Strong Bass, High Sensitivity, Smooth Vocal.
• Qdc uses the shape of the custom ear canal to enhance the sound insulation more comfortably.

The Yvain v Anole V3:
Using the Sony WM1A with MrWalkman’s firmware, my regular wide-bore silicone ear-tips and the ISN G4 cable with both IEMs. Upon first noticing there are two totally standout features here. The qdc is offering slightly more bass, thicker, slower and even aggressive to the lower midrange which is a rarity in BA reactions. Still none of that matters because there is something way more standout-ish, it’s the midrange, yep the Yvain is obtaining a grip on simply more forward vocals and imaging into the mid-range stage. This style of forwardness is not wrong, only much different in contrast to the V3 and noticeable. Where qdc really promotes a subtle V response with the Anole V3, such a tune was a singularly different sounding IEM for the qdc company at the time. HiBy here is offering simple clarity without any drawbacks. As I progress onward in my IEM journey I learn that new signatures to be found can also be my preferred sound, as I don’t own a target curve. Here the Yvain is kind-of a doorway into a new uncharted land, even for this jaded and weather-worn audiophile. The sound is both exotic and new, bringing with it the basic fundamentals of balance and evenness, even the bass while a little more subdued than my regular drink of choice………..becomes satisfying and complete. Complete in a way I always thought was possible, but rarely found. And even the vocals, that there must be something wrong you say........you know like those too forward of vocal (Chinese) IEMs that center their vocal focus……but no not here, here we walk the line, if there is even such a line to walk? Don’t get me wrong, the V3 I’ll never sell, as it is part of my history and almost who I am as a Head-Fi member as one of my first really special IEMs. With the V3 I have switched more cables than I can count, and have given countless hours of ear-time to. Yet here is an opportunity to fly off with the Yvain……a refreshing dose of both clarity and balance. All this takes place (maybe) due to the use of name brand BAs…..the fact that HiBy knew what they wanted in a design, and utilized what technology was available to bring it all to the next level. Also remember this is written by someone whose exact sound signature listening.........regularly is in a different part of town……..where this part of town has no trash on the ground, everything is sparkling clean, and even the store windows are washed.

The Yvain v the Quintet:
Yep, everyone and their mom knows of this one, the talk of the town. And rightfully so, the price point is similar, yet the Quintet is more experimental, a hodgepodge of 5 drivers……..4 driver methodologies. So in many ways the Yvain in basic design seems more conservative, where the Quintet may be more hit or miss, depending on what you are after. Right off the bat I can relay a sense of coherence that simply comes from the Yvain using 4 name band drivers, but more than that…they are all BAs, so they blend, and can be blended. Where the Quintet gets its thrills through separation and dislocation of sorts. To be frank, I feel the Quintet is one of 2023’s stand-out products, one that will still be referred to in 2024, and not forgotten.

The Quintet:
1 Diamond-Like Carbon 10mm (DLC) dynamic driver
2 balanced armature (BA) drivers
1 planar magnetic driver
1 piezoelectric (PZT) bone conduction driver

The Quintet offers a darker universe, especially delineated by the 10mm DD. Where there are so many ways while I have always represented the Quintet as balanced, now after spending nearly 4 weeks with the HiBy Yvain…………..the Quintet comes across more separated..........yet at a loss for some of the connection glue that holds everything together? The biggest difference (as you may have already guessed) is the midrange here………yep.

One is the midrange Yin to the other midrange Yang.

Where the Quintet excels at a fun bass and dynamic bass, that same removal of bass energy helps focus the Yvain’s midrange intensity. I’m not sure if intensity is the best word to use here, but I’m rolling with it anyway? Where the Yvain offers what appears to be a better pieced-together rendition, with added itemizations of instrumentation (in closer proximity) as its forte. The Yvain is more upfront and of purer intent of direction, and focus!

The Yvain v the Orchestra Lite:
Come-on now? Can truly 2X the BAs per side be better? Yep the difference is 4 BAs to 8 BAs. And while the Yvain’s bass unit is the single Knowles damperless high power CI-30120 x1 bass, the Lite uses two Knowles CI-22955 units. Where the money here is instead of quantity, the Yvain is going ahead with quality. Yep where sure the Orchestra Lite is going for a big sound, the Yvain instead is attempting more polish and sophistication arranging one Knowles for the lows, one Knowles for the super highs, and 2 Sonion 2389D combined for those mids. The results you ask? Maybe a slightly dry midrange from the Lite? Where the Yvain has its vocals more present and polished, maybe even more real midrange to offer-up? Bass is less pronounced with the Yvain, which goes to re-substantiate the mids even more.............to bring them forward into luster and detail. And finally the outcome of simply less drivers to commadear…….not as much cannon fodder to control, or to try to align. Not only is the Lite 2X the size……the Lite weighs 8 grams and the Yvain only 4 grams! Please don’t get me wrong here, I’m looking for critical differences that could be important to a prospective buyer, the Lite offers a slightly bigger display of more girth and grandeur, the Yvain is ever so slightly more natural but without the filler. When all this boils down to it, it means someone who values vocals despite the huge stage girth of the Lite, and really wants pureness in tone, would be better off with the Yvain…………due to no worries of the Lite's midrange dryness….......mostly.

Conclusion:
This was tough to do. Why? Because each IEM is really good at each style of perspective IEM methodology. Each has good and bad points, as we know nothing is perfect. And the only IEM that is really publicly unknown in the test group is the qdc Anole V3……….also it’s from a different time and holds a different price bracket. In fact I wasn’t going to even include the V3 in today's testing, except I’m really glad I did as it helped to describe (by character) the HiBy Yvain, if not only to me personally. One of the stand-out points is how even though the Kiwi ears Orchestra Lite is wonderful, there is still room for improvement into how the (slightly dry) midrange is presented. And that goes for the Kiwi ears Quintet too, as far as having a less vivid vocal presentation. Rumor has it that I like Hybrids the best and due to such affinity the Quintet may still be my way to go in this realm of choices, except there may be areas of the Quintet treble which also emits a slightly unnatural tone?

Conclusion:
Our success here today is from quality ingredients! When Hiby decided to use name brand drivers, that single thing (for one) changed the results.

2 Sonion mids BAs
1 Knowles bass BA
1 super treble Knowles BA

The Yvain sonic outcome couldn’t be more real and top-notch. They combined premium ingredients with a more vocal centric (upper midrange) tuning and the results were devastating, at least to this competition today.

The complete Package:

Build:
The top plate is metal with a 3D printed undercarriage. Probably one of the most fascinating aspects of this IEM is the form. Where sure it is following the semi-custom data base for shell design, except it goes one step further? It’s like an extreme custom semi-custom design. All that means is a super comfortable and wearable fit, along with noise occlusion. So just like the Kiwi ears Orchestra Lite, this is a port-less design, yet because they are hollow and not pure resin, the air-tightness has a different feel, a not so drastic feel. This is probably the only IEM I’ve ever come in contact with that I could use as ear-plugs by taking the cable off? Really they fit that well. The grooves and curves all come together to show this shell form factor is truly a new thing now? Just look at it? Prefect nozzle length, as well as flush 2Pin positioning allow for simple daily use. Now I know why I chose the Anole V3, or at least another reason I chose it. The Anole V3 and the Yvain are very close to exactly the same shape. These are the size and comfort abilities which can be arrived at when internal components don’t have to be accounted for. The medical grade resin feels wonderful as does the fact that everything is the perfect size. In fact while writing this review I placed the Yvain in my ears without their cable and forgot about them, until my Wife walked into the room and sprung-up a conversation.




Cable:
In the weeks and weeks of testing I tried all kinds of aftermarket cables, yet upon returning to the included cable, found it suited the signature just fine. I mean sure I tested the Yvain with the ISN G4 Graphene cable, and sure it made a slight difference but never was there a chance of creating an issue with the Yvain. What’s super nice is the plug system they have implemented for the Yvain stock cable. But do you see those white triangle marks? This cable has a design that if you are not paying attention to those marks, the terminals can be placed off, to where the sound will be out-of-phase. Where some brands have a forced pin to align the contact terminals, here you have to rely on the triangles. While the cable won’t go together wrong in all four ways............it can be placed together in one wrong way, if it was dark and you were not paying attention. No worries though, it’s not like you’re going to blow-up an amp or anything, only resulting in inferior sound...........a noticeably different sound. The other cool thing I have never seen before is a locking screw down ring to fasten the cable together. So the great part is that once a plug is chosen with this 3 in 1 system, the plug is unified into a single never moving device, it can never be pulled-out, until the lock-ring is unfastened. Also everything as far as cable accessories are metal, everything. Even the black material that is nearest the plug may look like it’s not metal, but it is, as the plug is two-tone.



Music:
Here is a list of songs that help introduce the Yvain’s ideas of correct replay. And while nothing is perfect, there are examples of better and lesser ideas of sound reproduction. As you can guess vocals are going to be special, that and orchestra strings to the fullest extent. I mean………if you are left with memories of what is truly possible with Yvain replay, probably those two items take the cake? Yet after weeks of use, the restraints.....…(even personal ideas) of what is right and wrong can bend a little, giving a more bass centered listener like myself an exquisite break from the pounding……….opening up (new to the listener) spaces and alternative vistas of sound interpretation.

Equipment used:
WM1A and WM1Z with Mrwalkman’s firmware, included cable and my go to wide-bore ear-tips.



Hans Zimmer & Benjamin Wallfisch
Blade Runner 2049 OST
Mesa
44.1 kHz - 16 bit
Using the midcentric WM1A I was reassured to the fact that the bass response was more than adequate for this number. The thrill comes fast in the drop at 00:08. The prior piano keys falling into reverberations at the very start let us know that while extended and clear, the treble is not problematic in any way. And while of course I have heard this played with DDs that seem to accentuate the decay in the bass action……and send home a kind of home theater experience, here we are offered a microscope. That micro-world is just as provocative and detailed, actually probably more detailed. Where due to layering here, each song element is given its share of space, arrival and departure times. Often as listeners we think of loud as emotional, and while this gets just as loud as you want to go…….there is more cerebral emotional experience? Why? Simply more detail here, creating inside textures and outside textures. At 00:45 when the main Blade Runner synth theme takes place it is of a digital quality and not analogue, as a faster and glossy……..shined-up affair, that resides on just the correct side of bright. The layers I’ve never heard like this, strange? The chorus, the bass drops, the main theme synth are all around the stage, bringing home the entertainment, in more of an upscale imaged living-room experience than a public theater. And you all know how many audiophiles dislike going to hear bad public theater sound…......this is more their style of ticket.



DCD
Within The Realm Of A Dying Sun
Cantara
88.2 kHz - 24 bit
This guitar tone section at the very beginning is the Roland D-50 synthesizer, I’m about 90% certain of that? I know because I had one, and this tone was part of factory presets. Such a tone is actually a PCM sample of an actual recording of a guitar (in the attack) then blended with the digital synth tail-off of the note. What is cool about using such a musical tool is it can be of a slightly different vibe than an actual guitar……the playback is more even and linear…..it can be circled around and layers can be created…......it sounds almost robotic today in 2023? But once again I’m fully distracted, distracted just by the separation at hand, where the stage is big, but not the very biggest, but it doesn’t need to be (any bigger) because the Yvain replay is now responsible for realization of sounds in height, depth, front to back and from side to side. Being that this song has a lot of synth elements seems to even enhance that single (stage) quality………………but that was not why this song was chosen, nope. Vocals!

Vocals!
But……but before we get there……..at 01:54 the rhythm begins! And once again, this is truly the Yvain being in its element, as far as separation and being able due to fantastic BA audio transients taking place. You see, imaging is directly created from an IEMs ability to do transients……the better the transients, the better the imaging, and name brand BAs do that better than DDs ever thought they could. You know all the talk of DD driver coatings and strong/thinness..........part of that is trying to do transients better, or at least near what BAs can do. It’s just easier to stop and start a little microscopic reed of metal than a giant DD. At 02:19 Lisa Gerrard makes her entrance, and yes it’s just on the best side of brilliance. Such an effect shows the listener that we can also pinpoint the reverberations and echos added to the signal. At the magical 03.14 point we enter the realization of PI, as nothing to DCD is not planned. We are bombarded with big chunky violins, way out to each side and larger than life. But the fact that these strings are so very provocative, just clear and correct and holding an energy that becomes endearing and memorable.



Hans Zimmer & Junkie XL
Batman v Supman OST
New Rules
96 kHz - 24 bit
This is the song in which I first understood the Yvain. I mean this IEM is special, but in so many ways different from what I’m used to. Often upon first listen that difference can be attributed to wrongs or drawbacks. Yet often there will be a song on the first day of listening that a reason for the IEM to exist (in your personal opinion) will occur, and this was that song. The big reverberated orchestral kettle drums/timpani arriving at 00:39………..the strings dark and brooding. Those same kettle drums now sound like they are played by a group of angry Indians going to war. At 01:38 a bass drop that I always use to judge IEMs, and here it also delineates a style of personality. This in fact is a test of technicalities because the sound (the drop) can be either more clear, more standout, or less. But here going with the program it’s warm and nice, but a subdued tone that has only so much reverberation to it. Probably right on point for this style of money?



Hans Zimmer
The Dark Knight Rises OST
On Thin Ice/Gotham’s Reckoning
192 kHz - 24 bit
Here we are gifted with a very accessible and genuine timbre. This is a joining of two back to back songs which go together super well. The strings offer a new idea of the central main musical theme. Obviously one of the main values here comes from having the BAs replay a cohesive and tonally correct idea of the strings. The simple fall-off and texture found occurring with-in the notes. I mean even at the 02:00 mark of “On Thin Ice” we know that this is where the money was spent, that this world we can visit whenever we want and find satisfaction in the replay display. This reproduction of atmosphere and spacial abilities seems very close to life, seemingly careful and correct? But probably the layering and credible positioning is what gets to me? At 02:16 the first major bass hit takes place, but it’s the second at 02:20 that really sends a message that this style of BA bass, that this single Knowles BA knows what its up to. Firm, clean, in-focus but not over done or blocking anything. I mean sure I’ve heard it as more, more substantial bass action, and this very replay is probably at the very limit of how careful and correct you could call great bass replay……….great, and still have it be adequate here at Redcarmoose Labs?

Gothem’s Reckoning:
The orchestra toms……..everything up to the 00:20 mark shows the fast turnaround times of BA sound reproduction. The imaging into the stage that expands before us. Yet at 00:20 the rolling, beefy and exciting bass action reminds me that I can listen to this song over and over again and never get bored. It’s the full-on tone and texture of this bass replay that simply gets better and better and the song rolls on………as every note is formed and existing with-in its predesignated area into the stage, something DDs never have the technicalities to do well. It’s this BA bass clarity that’s the cat’s meow…….at any price. You think I’m joking, listen to how this is done, and get back to me. But upon closer inspection it’s the whole package here, the toms off to the very sides at 00:43……the strings in the fluffiness, and the deepness and roundness of the bass……it forms a package and that much more of a package when uniform driver methodology is taking place.

Conclusion:
Really the end results here are notable for an IEM in this price-point. Key ingredients resulted in a specific natural sound. The three-way crossover network combined with the three-way internal sound tube design left the frequencies to arrive at your ear canal in the purest form. One step further is the fact that there is cohesion due to parallel driver methodology. Basically all the drivers here get along well, never fighting for sonic space. The Knowles damperless high power CI-30120 x1 bass BA is a first in my experience, and in side-by-sides I was truly surprised how careful and complete the Knowles responded? Hearing the bass tones take on a sculpted and organic yet controlled form was key to success in the music section of the review. Hiby going ahead and joining up dual duty for the Sonion 2389D in place may be one reason the Yvain is so midcentric? 2X the midrange drivers means big imaging into the stage, but more than that, a natural and fluid broadcast of vocals…….seemingly holding detail well above this mid-fi price point? And finally the Knowles WBFK33518 x1 for highs, tipping-off the display of the top-end, never brittle or sharp. Hiby finished off this Yvain affair with a CNC faceplate, and a 3D printed super-semi-custom body, that just won’t quit.

Yep, I just said it’s an IEM body that won’t quit!

Such curves and gyrations of form mean the Yvain comes off original, both in noise occlusion and feel……the sound is simply more clear because the IEM sits closer to your ear, letting in less outside distractions. The fact that it’s vent-less takes these ideas one step further too. The seven pairs of ear-tips residing in their own case is not too shabby either. Name brand Hiby tips with three sets of foam each with a color coded center…….that helps with fit too, if that’s the route you want to take. And finally the 3 in 1 cable that has a locking plug, a first here at Redcarmoose Labs.

All and all it’s a carefully selected and complete package sure to impress the vocal lover in your life this holiday season. Great for the symphony buff or even the rock listener, except keep in mind rock may come-off a little too careful and reserved for some, yet still complete and totally enjoyable. The stage was surprisingly well orchestrated and imaged, forming a surprising thickness in front to back, up and down and side to side? If that stage is filled only with a female voice, the intimacy and polish is moving and has a trick in-store for you. The trick is that right now, at this single moment…………you may have all you’ll ever need or desire, in an IEM anyways.

Get yours for $239.00
https://store.hiby.com

Disclaimer:
I want to thank Joe Bloggs from HiBy for the Yvain review sample.

Disclaimer:
These are one person's ideas and concepts, your results may vary.

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm
Sony WM1A 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

The TINHIFI ELF


Another new release, another IEM to quantify? But wait where have I seen this before? Oh, it’s a copy of the TANGZU Princess Chang Le IEM I reviewed back in late July of 2023. So much of a copy that it has an open back same as the Princess, the attached cable nonsense. Oh, and the price…..yep they are priced in direct competition. As imitators go, TINHIFI has approximated the way the Princess IEM works……..I literally can almost visualize the office talk.

$15.00
https://www.linsoul.com/products/tangzu-princess-chang-le?variant=43945950707929

“We are losing market share!”
“That TANGZU company is beating us at our own game."
“What do we do?”
“Put that coffee down………seriously what plan of attack do you suggest?”
"Copy it?"
“Yes, that’s a good idea, copy that thing.” “Only we don’t have a single full range driver that small?”
“That’s OK, just make something, anything!”

Hence the ELF was born. Yet they offered even more choices.

“A DAC chip cable, a removable cable or a microphone. Heck, lets even offer a different color of the exact same IEM in blue, then offer that with different cables……..the nonsense will be almost endless…………..”

So to tell you the truth, I’m not 100% certain I can list all the permutations of the ELF design…….and does it really matter in the end? No. It really doesn’t matter, though it would matter if the ELF was something that was lovable, or likable. But as far as sound goes the ELF is something straight out of 2014. Yep, a retro sounding IEM. Now if you want to go back in time, to a way more less crowded environment, to a time with less technology and less competition, then that’s fine……..just don’t bring me along, as you are on your own.

“So let’s see, we can’t name it a Princess, but what else would work? An ELF, yep, that’s perfect as the folks who never saw how small the TANGZU Princess is will still think the ELF is small.”



Fit:
The ElF model I have (with cables attached) fits fine, but other reviewers are complaining about not finding fit. So what is confusing is keeping track of which models may fit, and what cables would maybe work. That’s what happens when a multitude of models are blasted-out…..that it’s hard to keep track of them all……..if we didn’t have enough regular single edition models put out already by respected manufactures….to keep track of. Then that leads to the questions about if they actually sound different, the USB Type-C edition, the cable permanent edition, the removable cable edition, the different blue editions.


Did you guess this could get any worse?

TANGZU Princess Chang Le IEM

What about the ear-tips? TANGZU also gives out a free set of super-cool Tang Sancai Tips free with your Princess order.



$12.00
https://www.linsoul.com/products/tangzu-tang-sancai?variant=43929461522649

$15.00
https://www.linsoul.com/products/tangzu-princess-chang-le?variant=43945950707929

OK, I’ll stop, sure it’s easy to trash an IEM……and I don’t mean to hurt the little ELF, except I just wanted you to know about possible choices just in case you were halfway landed on getting the ELF, and chose to reference Head-Fi to see what’s up.

Sound:
The Princess v the ELF:

Disclamer:
I used the Sony WM1Z with the regular wide-bore tips I always use. Somehow I was able to get great (wide-bore) fit with both models? I lied, that after a while going through different songs and different switch-outs of the two IEMs in question, I found a new pair of slightly longer ear-tips, that seemed to enhance fitment with both IEMs.

Click-itty clack……click-itty clack…..oh that’s the drums? OK, enough fun and games here. Yes, the TANGZU Princess wins out, but in truth the ELF isn’t really that bad once you really sit down and do side-by-sides. The difference you ask?

Conclusion:
The Princess is still super hard to drive, except when you get her the power she asks for she responds simply smoother, that and there is an un-canny cohesiveness to her. Where the ELF has this spike in the upper midrange that adds a cheapness to an already cheap sound, making it that much cheaper sounding. Sure these are both ultra-budget IEMs, but still they exist and are offered for sale to be experienced for what they are worth in the end. Sure the ELF is way better than those airplane free-Bs, except those IEMs are……..free. Next!

$13.99 to $17.99
https://www.linsoul.com/products/tinhifi-c0-1

Disclaimer:
I want to thank Kareena at Linsoul for the love and the ELF universal IEM review sample.

Disclaimer:
These are one person's ideas and concepts, your results may vary.

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 3.5mm
Sony WM1A Walkman DAP MrWalkman Firmware 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
HiBy R3II DAP 3.5mm

Packaging:

The HiSenior Mega5P



Specifications

Who is HiSenior?
They make the $549.00 Mega5EST a 2EST/2BA/1DD Hybrid, the $299.00 Okavango a 6BA/1DD Hybrid and the T4, a 4BA IEM.......just to name a few. In reality besides the $239.00 Mega5P..........they make 5 different audiophile cables and 5 other IEMs of coming-in at both greater and lesser cost………many of them also CIEMs.

Cables:
Air8S
Air4C
Mix2Dragon
Mix4G
WhiteWhale

IEMs:
T2
T2 CIE
T4
T4 CIEM
Okavango
Okavango CIEM
Mega5P
Mega5 EST
Fe8
Fe8 CIEM
Fe12 CIEM

Cases:
HiSenior 1010A 2 IEM case



In testing:
As an introduction I wanted to simply explain how I came to terms with the Mega5P. Due to the personal product introduction sequence I may review a $300.00 IEM or a $500.00 one. Discovering one of the tricks in this business can be to become fooled into believing the IEM you have in your ears is of a different value than the money asked. This phenomenon takes place because you are actually not judging the IEM in your ears…….nope, you are judging the sound by the few IEMs you have heard prior. This concept may even be only affecting a segment of replay, meaning you just reviewed a bass heavy IEM, then reviewed a lesser bass heavy IEM, which in-turn sounds bass lite? When it is anything but bass lite? So the cure for these illusions is time, simply taking time off. Or……….some members have a palate cleanser. Yep, the IEM in their collection that neutralizes the character effects of the prior IEMs, to realign their hearing to neutral.

Because all we are doing in the end is discovering personal musicality….......mostly. While nothing is perfect, often more expensive IEMs go about their day replaying a more realistic idea of music……..and we all know the realistic realm acts to generate (musical) involvement with the listener. Now one way to look at it is a sonic picture, one that is either drawn with more detail or less detail. Being audiophiles we can all agree that the IEMs they give you on the plane produce only a certain level of sound, that depending on how many Martinis you’ve had may sound good, or still not. The other aspect is exposure, meaning this reality in sound replay could be better than imagined simply because you have never heard such recreation of music before (in-your-life) between you ears. Also there is the aspect of personal tone preference. Part of this is not understood, but it simply means some lean towards a thicker warmer sound, or others valuing a thinner more analytical sound. No one way is wrong or right, it is just how it is. Though what inexperienced reviewers will do is judge an IEM wholly on how the tone aligns with their personal self-owned signature. Truth to be told, all reviews are subjective anyways, they all are…….except if many relate to what is in the review, and make purchases to find the review explained about an IEM to be true factually, then maybe there is some objectivity to be found. Yet typically you do get what you pay for. Meaning there is a cost to this musicality.

While more drivers often draw a more detailed rendition of music, less drivers also hold a charm in that at times the replay can come-off less busy and more clear with a focus of intent. Yet maybe all of us are here for immersion. How that is found seems to be in a number of ways. So to sum this up, we want to be immersed in a synthetic reproduction of a musical reality………..however that is found. And even though different people latch onto different audio hand-holds to gain perception into this illusion, often the same ideas of replay will be found to be effective. What I mean by this is actually pretty simple. Take a group of three IEMs to a total non-audiophile and try and get an idea (guessed) as to their value. You would be surprised at just how accurate their observations are. They as people may invest at a future date into personal audio, but as of this place in their life, they simply don’t care enough about it, that or they haven’t had any seeds planted until now. What does this have to do with the Mega5P you ask? Well at $239.00 the price is just starting to offer a threshold to really get into better sound. To many of these beginner listeners the HiSenior Mega5P will be all they need, maybe for years? But more than that...........the question arises if they spent (the new listener) just $60.00 more and made the upgrade to the $299.00 7 driver Okavango……..or even a bigger jump (don’t tell the Wife) to the Sound Rhyme SR7 for $369.00? What would happen then................


From left to right: HiSenior Mega5P, Sound Rhyme SR7 and HiSenior Okavango

The Sound Rhyme SR7 (6BA X 1DD Hybrid)
$369.00

The HiSenior Okavango (6BA X 1DD Hybrid)
$299.00

The HiSenior Mega5P (4BA X 1DD Hybrid)
$239.00

Maybe this team of test subjects is not comparable? I mean there is a $139.00 difference between the SR7 and the Mega5P. And I will tell you right now, before we even get started the SR7 stage is enormous! So………..what does that mean for the little Mega5P?

Let’s get started, shall we!

Equipment and settings used:
1) WM1Z DAP
2) A 4.4mm White Whale HiSenior aftermarket cable for both the Mega5P and Okavango.
3) The stock included 4.4mm used for SR7.
4) My regular wide-bore silicone ear-tips used on all three, because the three IEMs fit so very well.
5) Both SR7 and Okavango were used just like they came out-of-the-box, with Dip-switches set to UU.

The Sound Rhyme SR7 (6BA X 1DD Hybrid):
Well first off (this is crazy) the SR7 was way louder than the Mega5P………..maybe the biggest volume discrepancy in my listening history? So what this means is right off........I need to equalize volume, because at times more volume can be interpreted as better sound when it is (possibly) not. SR7 bass is slightly less controlled…….yet it is both more forward and more vibrant. Actually even with volumes adjusted the overall stance is just the SR7 is slightly more vivid than the Mega5P. But this is where it gets interesting……the Mega5P has an unexpected forward vocal stance, now maybe this is just due to tuning, as the SR7 (while bigger in stage) has also slightly less forward elements where it’s almost like a flatter imaging display in places, mixed with farther-out fall-off of stage elements. Where the Mega5P has an amazingly impactful bass, but not to the extent of the bass heavy SR7. But surprisingly the Mega5P bass was closer the SR7 from memory in the same in side-by-sides? Adding to an understanding about this bass replay, I went over to the Sony WM1A just to see what was up, and sure enough, the Mega5P was still fully resilient to any source and delivering the bass goods as wanted.

Any source:
That is one of the single greatest finds I found in many of these 2023 releases (Not sure if the Mega5P was a 2022 release?) that the series of recent IEMs seem very good from any source and hold onto their musicality regardless of signal? Later we will investigate how good the Mega5P bass is from a simple cellphone.

SR7 v Mega5P:
So yes, you can kinda hear that there are 2 less Mega5P BAs, plus the SR7 is supplied with name-brand BAs, and the Mega5P is not. Still both IEMs are really very close to the same, with the SR7 actual physical IEM size difference being totally different. Where you do notice the size difference in the ear. But the other surprise was the Mega5P is 6 grams in weight and the SR7 is only 5 grams. I had to check this twice as I was going to use my previously recorded weight for the SR7, but due to the differences I had to weigh them (again) side-by-side! So just look at the pictures here and wonder, the small IEM is the heaviest!

As far as sound goes really they are approaching music in much of the same fashion, more so than you would guess from memory, but in side-by-sides they are birds feather. Still the SR7 is on the smoother side of the street with upper midrange additives not showing so stand-outish and separated from the mix, even vocals show a more integrated stance, smoother and slightly more refined except not as clean? At the end it gives the Mega5P almost a feeling of better technicalities in general, even though instrument and vocal replay (individually) is slightly more realistic with the SR7. Still, I can’t see someone having both? They are just too much the same. But the Mega5P does offer a comparable stance into basically the same overall vibe as the SR7, where at first and out-of-the-box I would have thought they would be worlds apart. Same response to source too, so it wasn’t a change of source that made them closer or farther away in character, as they sound wonderful from the WM1A or the WM1Z………..holding onto their personal IEM intrinsic attributes. The vocals between the two are probably of the most different, as the HiSenior Mega5P has a great forward vocal positioning that in side-by-sides goes to really put-the-pants-on the SR7. Reason being is the Mega5P vibrancy and forwardness almost winning-out on the SR7………and the SR7 is kinda known for doing great vocals………….and while the SR7 vocals sit back slightly, they are toned-down………except (more realistically) filled in. This same SR7 demeanor was found in the midrange imaging too, where it fell farther outside in the stage (then the Mega5P) and was of a slightly smoother creation.


So to sum this up, the SR7 is slightly more lush….and that single trait is across the board in tone and demeanor. You are getting extra lushness for your money, that and some extra realism.


The HiSenior Okavango (6BA X 1DD Hybrid):
This is really where some crucial small differences are found. And curiosity got the best of me. I mean how could you not write a review about the HiSenior Mega5P and not do a side-by-side with the Okavango? You have to, no matter what. My Okavango review was placed on Head-Fi October 4th, and this review is put on-line on October 16th. Just enough time to try and get over the Okavango. I’m trying to find both similarities and differences…….but most of all I will truly conclude right at the start that you can totally tell both IEMs were made at the same company. They both offer a warm take on Harman and have this image sculpturing thing that they do which is different from the SR7. Where images are clearer and cleaner, and that single trait is endearing. The part where I explain how the Okavango was named after a Jungle, the biggest Jungle region in the world, except the Okavango doesn’t remind me of a Jungle at all. Nope, it reminds me of a household where everything is in its place, refinement and composure in stance. While we do have added bass authority on both the Okavango and Mega5P, it is truly kept in line, and seems to not ever interfere with the mids. Yet with both IEMs that bass is both adequate and satisfying? That 10mm Dynamic Driver is the single thing that can offer a quality pure BA sets just don’t have. The best way to describe this bass would be having the correct density, and there is a slight decay difference that BA bass just can’t do. Inside of that decay is a little loss of detail, but it’s up to you which ideas you were to enjoy, as both ways have their benefits.



Okavango v Mega5P:
Let’s start off showing the weight difference. Even though the Mega5P is smaller it is 1 gram heavier. That’s right, Mega5P comes in at 6 grams and the Okavango is 5 grams. As seen by the photos here there is definitely a size difference, and the Mega5P doesn’t have the switches. When trying both side by side again the Mega5P is harder to drive (by a lot) though the Okavango is bigger in imaging placement, wider and more forward. The Okavango bass is more yet holding what seems like less detail, maybe just because it’s bigger? The Okavango bass is giant now, and lumbering forward, possibly not as controlled? But when the Okavango vocals come in we now realize that everything is bigger, and even slightly more vibrant? When from memory the SR7 was the odd man out, yet in these side-by-sides the Mega5P with its size of stage and imaging realization is to the Okavango…….what the Okavango is to the SR7.

So they really do follow the pricing in stage size.
Size of stage:

1) SR7 = biggest
2) Okavango = bigger
3) Mega5P = big

Yet I don’t want to ever sell the Mega5P short, as if that was what you had, its world offers (still) big size and vivid involvement. In fact after burn-in and mental acclimation the Mega5P was truly a full and (fun) entertaining experience. Where it's different here is the Mega5P bass is slightly more controlled when volume is lowered with the Okavango to match. But the real standout feature here, above everything else is the vocal forwardness, Yep, the Okavango and Mega5P have many similarities being made by the same company except if you wanted a more forward and clear vocal stance you would (in the end) choose the Mega5P! And while (yes) you can kinda hear that there are 2 less BAs in action, that action means the performance of the 4 BAs is actually more clear and less distorted. Yep, there is truly a clearer intent of purpose to this show of music, and while slightly stripped-down in comparison to the Okavango, there is a finite value that comes from getting the feeling that you’re not missing a thing. So really in the end I found an understanding and a realization of why both IEMs exist to offer a slightly different take on the HiSenior tone. When at the start of this test, and going by memory……..the two seemed very much the same and the Mega5P having lesser respect, but not now. I now realize that (before) I was hearing a more forward vocal stance, yet failed to pinpoint the differences, which now I will always note. It’s one of those things that hindsight is 20/20.



Side-by-side conclusions:
So in conclusion of these comparisons, it’s like the added drivers of the SR7 and stage make it the most fluid, yet still with great vocals, except the Okavango is to the SR7 what the Mega5P is to the Okavango. Stages go in order of magnitude 1)SR7 2)Okavango 3)Mega5p. But if that was the only quality of life, the world would be simple. Except the Okavango shows a more sculpted imaging over the SR7 and the Mega5P is showing even more sculpturing than the Okavango, and within that sculptor the vocals are presented more forward and cleaner. Does this make the Mega5P the best? It’s simply doing a lot with 5 drivers in that those 5 drivers seem to be placed perfectly to generate a full tone. Except the SR7 offers a slightly more filled-out and detailed experience with the business that comes with extra drivers. As time passed I started to truly cherish the Okavango for what it was, even more than when I wrote the review. I thought that the Mega5P would be less of an IEM, due to costing less and having less drivers, but in the end it held its own……..showing just how correct and complete you can be with only 5 drivers used…………..and in the end showed itself to be sonically original.

Package:

Extra Foams:
2 sets in medium.

Penon product shot below:


Build:
Understated really. What else would you call the look? In so many ways its the opposite of the Okavango. Though when it truly comes down to it, size and shape mean a lot, and while both the SR7 and Okavango would be looked at as medium, the Mega5P could be looked at as almost small. Really if anything the Mega5P is the perfect shape being designed with semi-custom curves and fitment. Only a single vent off to the side, means you never have to worry about the vent being occluded. The steal nozzle goes about its daily ways of holding tips perfectly. And the nozzle length is just right, really if you were to choose an optimal size and weight, this would be it, feeling like a million. Due to the limited venting and snug-fit the was world-class sound occlusion is found……the size, fit and sound blocking makes the Mega5P the perfect out and about IEM!



Cable:
As shown the White Whale to the right, and included 3-in-1 to the left. An 8 core silver plated OCC included cable with ear-hooks. While truly I do have issues with recommending an aftermarket cable that's $96.00 by itself with a $239.00 IEM, except that it did offer noticeable improvements? Stage was slightly bigger and bass was of a darker fuller tone. Still to try and be realistic, White Whale improvements were in the range of 10% over stock. While the Okavango IEM also showed more White Whale improvements........there was potential for more improvements to be found there.

Music highlights:
During the music demo listening part of the week, I often will not have the test music readily available on one of my DAPs. So both DAPs will share the playback duties.........often reconfirming the IEM in question will work with both sound signatures. Meaning this describes the Mega5P playback, where even though the WM1A and WM1Z are opposite in playback style, listenability could be found with both DAPs replay. That while different, a magic was still found in both ways of interpreting music playback.



Delain
Chemical Redemption
Apocalypse & Chill
44.1 kHz - 24 bit
My first choice is to demonstrate timbre. Why? Because with less drivers (at times) timbre can be more noticeable. While trying to understand this playback, the guitars at 00:08 seem to be my guitar timbre test. And while showing a slight brightness over what is found with single full-range DDs, there is a style of walking-the-line. Where this single song is expressive of a tweaked-up and over-the-top tone that is a rarity in recorded music. The other noticeable thing here revolves around bass ability, where the throbs (at 00:00) could be heard better with both more expensive and lesser expensive IEMs…..there is once more a reminder that this tune is incredibly careful and tactful. What I’m trying to say is this is a very busy song and we are not finding every detail present? At 00:24 we come to realize it’s really the vocals that have emphasis, emphasis over the instrumentation.

At 00:40 the chorus hits and we are both relieved and slightly underwhelmed that this is all there is?

As much as I found simpler music somehow better and more of the Mega5P forte, this song ends in challenge. And while tonally it’s just right, I can’t help but hear tree-topping in the details? The issue is not pace, as I can hear the pace of the lows? In the end what this poses is a question. To answer such a question I simply switch IEMs, and go right over to the SR7. I also quickly switched over to the more mid-centric WM1Z and tried it. In the end here, probably not the very best song to use with the Mega5P, in that sure it was acceptable, but somehow the details and fullness harmonically was not as realized as with other IEMs……thus not as thrilling as other music choices. And while we know nothing is perfect, I was surprised to find such character……so much so that I broke-out the Okavango and had much better luck using both the 1A and 1Z? Next!



Hans Zimmer
The Dark Knight Rises OST
On Thin Ice
I92 kHz - 24 bit
Using the provided stock cable with the WM1Z was a treat, included were my standard wide-bore ear-tips. The prior song really must have been a fluke, like the worst possible song to choose? Also it’s a little of an enigma as I will with further listening try to understand why the last song took place like it did, as in my weeks of prior listening to writing this review, I had not encountered such effects? Back-in-the-saddle again………..totally! As the very first clue that we are inside the drama of such a song takes place at 00:00. Yep, the bass from held over in transition from the previous song! Big low-end…….at 00:53 the theme strings approach and hold a nice tone and texture……being as remembered and natural. At 02:06 the layering is appreciated and while the stage has nice left to right and really good up and down and truly good forward and back…………all the things we choose a Hybrid for! When the real bass hits it is careful and clear…….such a character goes to show what this IEM is about. And of course with a big song like the one chosen, a lot of the stage naturally comes from the recording. But more than that, we are fully in success at the layers of stings found at 01:43…….seemingly making our day here at Redcarmoose Labs. Attempting to find the bass at even the next level I have randomly switched to a more narrow bore ear-tip. Just for this single song, to learn if with different ear-tips there will be a found change? And sure enough, an added bass focus. Now that doesn’t mean my wide-bores are not the way to go, except if you want a little more bass focus and density………tips like the included red silicone ear-tips may be the way to go. This of course all depends on personal preference, and really it’s all good with either playback being great. To summarize this song, this was exactly how the song sounds.................with the Mega5P doing a coherent and complete rendition. While sure IEMs like the IER-Z1R will make the stage a little bigger and offer greater degree of layering and realness……..there is absolutely nothing to take offense to with this style of replay…………and when price is taken into account…….well you can read between the lines here.



Hans Zimmer & Benjamin Wallfisch
Blade Runner 2049 OST
Mesa
44.1 kHz - 16 bit
Laughably right this instance I’m going for it. I’m going for gold, you know why? Because you only live once, and I want to try and make this Mega5P live up to its fullest potential as an IEM. So I joined it with the optional $96.00 HiSenior White Whale cable add, that and my regular wide-bore ear-tips and the Sony WM1Z DAP. Also something that could be disputed is this is one of the biggest songs in my library, one that pull-off all that stage, and it is incredibly atmospheric and moody. At 00:00 the intro walks that line of timbre, where these piano notes could be interpreted and both slightly steely, or not? Lol Why, because they are out front and showing us that BA drivers are involved. All of a sudden this bass kicks in! And truthfully this is the very first time I’ve tried this song out with the WM1Z. The bass here is a tad more visceral and you can almost feel the physicality resonating in your ears………….and I don’t have it that loud? Still I’m not experiencing that edge of hearing phenomena that some IEMs do? Where bass kHz will at times seem to go lower than is humanly possible to perceive, with this song. Still, the outcome is dramatic and most of all fun ...and really big, the biggest I ever heard the Mega5P sound. And you may be mistaken to think I was talking about bass, but I’m not……..no it’s the giant Blade Runner synth washes at 01:29………….yep, they are positioned way out to the right and left, both thick and wide……oh and tall.....and low? Making this be all it can be, in my Mega5P history anyway………..as your history with the HiSenior Mega5P is yet to be discovered?




Conclusion:
Well, there you have it, my second HiSenior review. And to try to delineate how the Mega5P and Okavango are different means maybe primarily how your personal stance is on vocals? Maybe you are looking for a smaller fit.....that is not so big an IEM as the Okavango? And while the closeness and farthest imaging are just that with the Okavango, it offers a slightly bigger stage, but smaller than the SR7.

Talking about soundstage, the HiSenior Mega5P truly holds its own, and while being of less girth (than the other two in comparison)...........is in a way cleaner and somehow more direct. The bass is different too, than the Okavango, being a little tighter with composure, being tones slightly less wild in nature. Now this is not saying the Okavango is wild, because it’s not……not at all…..especially compared to the SR7. The Mega5P and Okavango show how they are very close to the same, same tuning and same overall vibe. To me I probably like the Okavango better, but that’s just because I like dramatic bigger stages and don’t put so much emphasis on vocals. That’s not to say the Okavango doesn’t do great vocals because it does……..they are just slightly less forward and clear due to such (lack of) forwardness.

This Mega5P standard idea is when you go about adding two less BAs, those BAs that are there with the Mega5P are simply more finite in their response, and hold slightly less harmonic fall-off. Such a lesser part of the tone turns-around to bring a cleaner more focused forwardness, even though it doesn’t (in imaging) sit as forward as the others in comparison. As in reality something about the Mega5P is more dampened in the end, the 1 gram more weight, yet smaller in size? Such a build means business as this is truly a lot of sound for the money……………but also an interesting sound, one that walks that line between boring and wild, between fun and careful. In the end such prowess holds a conservative musicality that is difficult to argue with........even though I’ve tried. With my personality I gravitate towards the Okavango, and even like the smoother, more playful, yet strange SR7. That doesn’t mean that what I have described here today wouldn’t work best for you in what the Mega5P offers. Truth to be told, the Mega5P was way, way more IEM than I gave it credit for at the start? With mental acclimation and burn-in the Mega5P started to smooth-out and coalesce into respectable replay ...finding all the charms that make it a favorite and top-dog in its price category. You see (nowadays) $239.00 buys you way more IEM than it did back in 2020, add too the fact that they have this fit thing down. Wild enough..........I took the Mega5P to the output of an old Samsung phone…..and yes, the Mega5P accessed 80% of its potential output power, yet what we were gifted with was 100% likable. Big separation and woody natural bass, nice vocals and an enchanting treble……..except I couldn’t get that dampening thing out of my head. Such dampening was responsible for an extra density and note weight, maybe.......like the Mega5P has something inside to make that extra gram of weight count? And that in-and-of-itself made the Mega5P unique and special, I know you will find it special too.

Such tone made the bass extra clear (and imaging while siting a little farther back) still wonderfully separated and imagined? Maybe I would hold the Mega5P as an addition to the SR7 and Okavango in a collection, and truly contradict what I wrote, saying it wasn’t needed in addition? As the more I get used to the stage and positioning.......the Mega5P has me spellbound? Why…….because it truly is different in a small way? Sure I like IEMs, and that makes me like all of them despite any drawbacks.


$239.00
https://penonaudio.com/hisenior-mega5p

$96.00
https://penonaudio.com/Hisenior-White-Whale-Cable

Disclaimer:
I want to thank Penon Audio for the love and for the HiSenior Mega5P Universal IEM review sample.

Disclaimer:
I want to thank Penon Audio for the love and for the White Whale 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
Samsung Phone 3.5mm
Shanling UA3 Dongle 4.4mm
HiBy R3 II DAP 4.4mm

HiBy R3 II
HiBy is primarily known for their DAPs around here, but truth to be told they are a well established manufacture of not only players, but IEMs, portable amps and accessories. HiBy, starting in 2011 has continued to innovate and imagine introducing the HiByMusic player software for Android and iOS. This is my first journey into a HiBy product. And while I have had experience with a number of sound making devices………as of the last 5 years my personal listening has centered around DAP use. I have used 90% exclusively the Sony WM1A and WM1Z. Now while the R3 II does not quite have the resolution or expanded soundstage of the WM1A, enhanced with MrWalkman’s firmware…..it’s also only a fraction of the cost. Where the WM1A sold for $1200.00 and the WM1Z sold for $3200.00……our HiBy R3 II is simply $179.00.

$179.00
https://store.hiby.com/products/hiby-r3-ii


Pictured from left to right, Sony WM1A, HiBy R3 II, Shanling UA3 and Apple Dongle.

In so many ways the R3 II finds its sound between the WM1A and Apple Dongle. But more than that, the R3 II is a blessing in use. I was going to name this review Ditch the Dongle. I really was…..then I got to thinking that I’ve only heard 3 Dongles, so I thought maybe I don’t have enough experience to make such a claim? Still remember the Apple Dongle and UA3 still need more equipment before they will make music. Where we find both the Sony WM1A and HiBy R3 II are fully self contained audio devices, yep…..just plug in and away you go. Still if you must complicate matters the R3 II is a Swiss Army Knife of functionality, it CAN act as a Dongle, it can send and receive BlueTooth 5.1. You can use it to read books or stream Tidal and Qobuz. The R3 II is super powerful and can drive many full-size headphones. Plus it’s easy to use and sounds fantastic.

• Model : R3 II
• Operating System : Hiby OS
• Screen : 3.2’’ Touch Screen (480×360pixel)
• DAC : Dual ES9219C
• CPU : Ingenic X1000E
• Wi-Fi Support : 2.4GHz with AirPlay, DLNA and Wireless Audio support
• Bluetooth : BT V5.1
• Bluetooth Codec Support : UAT, LDAC, aptX, SBC, AAC
• Phone Output : 3.5mm Single Ended
• Balanced Output : 4.4mm TRRRS
• USB In/Out : USB Type-C Charging / Data transfer / USB DAC / Coaxial
• SNR : 3.5mm SE – 119dB / 4.4mm Balanced – 119dB
• Min. THD : 3.5mm SE – 0.0005% / 4.4mm Balanced – 0.0005%
• Channel Separation : 3.5mm SE – 74dB / 4.4mm Balanced – 103dB
• Frequency Range : 20Hz – 90kHz (3.5mm SE & 4.4mm Balanced)
• Max Output Power @32Ω : 3.5mm SE – 112mW / 4.4mm Balanced – 380mW
• Storage : 1 x MicroSD Card Slot
• Battery Capacity : 2000mAH
• Dimensions : 86.9 x 60.6 x 14.5mm
• Weight : 118g

You can use the HiBy R3 II to listen to music from an on-board microSD card, stream from Tidal or Qobuz. Use the R3 II to access DLNA or Airplay, and read books.


Now I know the HiBy R3 II does a lot, but my favorite feature is the multifunction knob.

Such a little knob can turn-on the device, or will simply light-up the screen from sleeping…..of course pushing it and holding the knob completely shuts the device down after a few (screen counted) seconds. There are exactly 100 clicks from pushing +0 volume level to 100. And of course you can change volume on the 3.2” Touch Screen, except the (multifunction) knob is just easier, and causes the on-screen volume gauge to appear for just 2 seconds. Strangely there are about three different thumb positions which are both ergonomic and accurate to change volume levels. In each thumb-position you feel the clicks to tell you where you are……..which becomes totally satisfying? Also when inside the included case, the knob sticks out just exactly far enough to still safely be found. There is also a play/pause and physical buttons with track forward or track reverse. Such buttons are raised and can be operated by feel.

Device comparisons:
This section is primarily focused on comparative device sound quality, yet goes ahead to delineate just what the sound of the HiBy R3 II is in relation to the Sony WM1A, Shanling UA3 and Apple Dongle. Keep in mind there are other benefits to using DAPs over Dongles in that it frees up Phone batteries and wards-off interruptions too.

Sony WM1A v HiBy R3 II:
The WM1A weighs in at 267 grams compared to just 118 grams for the R3 II, and the size can be noted in the photograph here. Such differences maybe don’t seem like much, but I actually purchased the 1A as a way to leave the house with music, but never used it in such a fashion? Where truly the R3 II is portable….and the fact that it’s all-in-one makes it user friendly. After testing with the high-gain and 3/4 volume level I was able to get exactly 12 hours using the Sony TOTL MDR-Z1R full-size headphones at authoritative all-you-would-want volume levels. Regular IEMs at drastically lower (output needed) volume levels, and regular gain setting, enjoy the full 16 hours of playback (tested). You can start to understand the ease of use with the R3 II. Even being it charges from empty to full-charge in just 2 hours…….tested, where the Sony takes 7 hours to charge. To reiterate on other examples here (even in Dongle mode user experience) the HiBy R3 II just seems like an easier device to haul around, simply dropping it into a bag. Going into the menu and choosing USB device mode places the R3 II into Dongle Activation coming off a MacBook Air hooked-up via a USB Type-C cable. In such use the little R3 II screen will then fall back to saying only D.A.C. in big easy to read letters along with the kHz of file played. And don’t forget even in limited Dongle use, the R3 II is getting its charge topped-off for DAP use on the go.



Sound comparisons:
After 120 hours of burn-in on the R3 II and introduction of the Noble Audio Encore I was ready for sound comparisons. Sure as the week went by I tried various IEMs, and typically I gravitate towards the thicker sounding ones, to kinda add authority to the little R3 II. Now that’s not to say the signature of the R3 II is not well rounded because it is. In fact the Encore ends up my microscope to try and see thru the fog, looking for truth. This time matched with the ISN CS02 cable to smooth out the highs and promote warmth. Here the upper midrange of the Encore would show if there was any graininess, and if there was a lack of bass, the neutral bass of the Encore will delineate that too. Is marrying-up a past TOTL flagship IEM a waist of time with the R3 II? Not at all, especially if you’re into the form factor the R3 II offers. The bottom line in comparison to the WM1A was mostly with stage. There of course was some lack of resolution and realness the R3 II couldn’t perform in relation to the WM1A, still……when you compare the price differences and small size of the R3 II, well…..it is a well-calculated reduction in technicalities. While yes, with the WM1A/Encore imaging of elements were formed of greater detail and hovering further-out into the stage, there was maybe a blacker background even….but still though-out my week of listening I was always saying to myself…….I could live with this style of R3 II playback? And even though I have heard better replay, the R3 II walks that line of providing just enough detail and musicality to (in the end) make it work.

The Cheese comparison:
I know this is off on a tangent, except this proves my points here. Where if you ask people what their favorite cheese is, often you will get a variety of answers. None of them are wrong, folks just simply like what they like. You have your Swiss cheese fanatics, your Blue or Roquefort fans, or even folks who like a mixture of Cheddar blended with Blue cheese. If you ask them why they like what they like, often they can’t explain….it’s simply how they feel. Yet if you get to know an Artisan Cheese Retailer they will tell you they reject certain batches of cheese. Of course once again we are relying on the subjective preference of an individual, except that individual is in-charge of cheese retail. So there are factors at play that still make Audio Replay and Cheese Taste (quality) stay with-in boundaries of acceptability.

The Apple Dongle (A1749) v The HiBy R3 II:
With the introduction of the Apple Dongle in 2016 (with the iPhone7) the personal audio world was changed forever. Yep, Apple was doing away with the line-out of their phones and they needed a device to still enable wired headphone listening. While for many the device is simply all they need. Myself in trying to definitively (whatever that means) ascertain Apple Dongle quality, I played around with using the device as the DAC then to an amplifier……..then to TOTL Flagship headphones. And sure you can pair the Apple Dongle in sequence (of more equipment) in order to see into the sonic profile of the little guy. Still that doesn’t answer all the questions as to how and why there are still people who swear that the Dongle is endgame? Remember there are people living today, whole groups of listeners who believe that the Dongle is really all you need, that spending more money (on a DAP or Dongle) is getting you (at best) euphonic distortion.

While there is nothing wrong with the Apple Dongle, it’s relatively flat and clear, though it only supports a 48 kHz sampling rate. So that by itself limits the audiophile potential in some people's minds. Still just going by my basic perception, the Apple Dongle seems slightly lifeless and while not boring, it doesn’t have the realism found with other playback methods. If some would say that realism is warmer harmonic distortion, I wouldn’t argue one bit. But most of my preferred audio gear has some style of warm-up, be it the amp, or DAC or whatever? Musical notes seem to have more weight, stage seems expanded and smoother, and finally music seems to have more body to it. In the next paragraph we will get into more how the HiBy R3 II sounds, but to simply (in two words) compare it to the Apple Dongle it would be both thicker and clearer. Where the Apple Dongle would be the Kraft Cheddar Cheese where you can make a sandwich with it, but eating the sandwich is not really an event, as with some other cheeses.



The Shanling UA3 v The HiBy R3 II:
I performed this test by audibly matching volumes from the two devices. I did this by plugging the HiBy R3 II into the right USB output and the Shanling UA3 into the left USB output of a computer. I used Colibri 2.0.2 with an OST playing and listened to how both the ambiance was in the stage positioning, for one. Each time I would simply change my 3.5mm IEM plug and choose the output inside the Colibri software. Such changes of devices became very fast and effective in use. This test was crucial as in so many ways as the UA3 and R3 II are both contemporaries. And when it boils-down-to-it their output is very close to the same, with stages very comparable as well as tone. While at times the R3 II seemed clearer, the stage was slightly larger with the UA3; at least the stage for the lows? Both approached the OST style music much the same…….though the UA3 with its AKM AK4493SEQ chip, came off slightly smoother and held softer edges. The R3 II was subtly more direct and slightly more forward (and robust) in presentation. I could have guessed this about the UA3, but hearing them side-by-side simply reconfirmed the outcome. In truth the R3 II dual ES9219C chips get a different stance on sound, a more down to business stance offering up what clarity comes from being less warm, compared to the UA3. Even though the UA3 comes off warmer……….the HiBy comes across still overall warm but into a more M shape tonal response. Yet there was also a tinge of added top-end with the Shanling UA3? Still with-in the R3 II response, sub-bass has surprising kick and while treble is nicely smoothed out, there is none of that stridency or over emphasis looking for treble detail wrongly. What this ends up with is the HiBy R3 II coming-off surprisingly musical and forgiving but in no way dull or murky.

Conclusion of comparisons:
My first realization was just how good the Noble Audio K-10 Encore sounded. This has been my on-going relationship with an IEM, and I totally know and understand the tone. While out-of-the-box the HiBy R3 II sounded slightly pressed and rigid, yet after 120 hours of burn-in a style of smoothness was noted to have arrived. What does this have to do with the other Apple Dongle, Shanling UA3 or Sony WM1A you ask? The Encore can be critical to show playback imbalances, yet here was both the actual tone of the R3 II and Encore tone colliding into full-on acceptability. Later I will demonstrate 3 other IEMs, but this little test showed that we hit pay-dirt. The comparison test also showed just how close the Shanling UA3 and R3 II could be…….still remember the R3 II is fully self-contained, and the UA3 only a Dongle. In the end the R3 II was at the exact middle between the Apple Dongle and the Sony WM1A, yet where that landed was a surprisingly comfortable and musical, holding much of what I listen to a DAP for, with exactly enough oomph to generate authority with the Sony MDR-Z1R, with still 25% of volume going unused, on high gain.



Functionality:
Such a main music playback screen shows album artwork, and will momentarily show volume levels at the top, The included photograph was taken at 50% screen brightness. Such a screen will even show song lyrics if provided. Holding in your left hand a quick swipe to the right with your index finger will pull up (and take you back to) the “Home Screen”.



Media management:
The R3 II uses HiBy OS which in-turn acts in an unusual way to more or less guide you through operation. When in fact the screen art-work is where I keep the settings, but that’s just me, as I like album art-work. When tuning on the player you will be greeted with the “Home Screen”. From there you can choose various selections……..which makes total sense if you are going to be accessing features that don’t involve use of your on-board music library. Though while reading my 16 gig music card (the first time) it took all of about 3 seconds.



Besides the regular EQ set-up HiBy has brought in their own ideas of sound processing called MSEB. MSEB stands for MageSound 8-ball Equalizer. Such blending of regular EQ parameters end in new combinations using multiple algorithms to alter and fine-tune the sound. The R3 II also adds the ability to control your smartphone remotely with HiBy Link. Such feature allows you to gain access to viewing and using music stored on your smartphone (after HiBy Link installed there) and finding phone playback at higher quality than Bluetooth when using the R3 II as the receiver.



The System Menu:
Language
Brightness
Backlight time
Theme color
Font size
USB Working mode
USB device mode
Time setting
Idle timer
Sleep timer
Battery percentage display
In-line remote
LED Indicators
Double tap to wake up
Button operation when screen off
Volume operation when screen off
Shortcut menu
Screensaver setting
Screen rotation
Restore factory settings
Firmware update
Certification information

Now just in case you don’t want to get lost inside the R3 II labyrinth, a pull-down of six small quick-access symbols are provided.

Wifi File Transfer:
Having your R3 II and PC hooked to the same network allows the HiBy Music Application to drag and transfer songs.

Book Reader:
Often you can access CD rip information here, as well as books. I won’t go into it too much but this allows you to choose favorite books as well as recently read files.

Bluetooth:
While trying this out it was super easy to gain LDAC playback from the WM1Z, hooking-up to a phone or iPod touch needed me to choose the codec, though once chosen from a list, the player always knew what codec to use. The HiBy R3 II regularly uses BT 5.1 which it will send and receive. Receiving UAT, LDAC, aptX, SBC, AAC.

One Bluetooth feature I used a lot was to simply have BT streaming to the R3 II while watching a Youtube video on an iPod Touch. While there was a 1/8-1/16th second delay, it was exactly the same (style of delay) as while using the BT receiver feature with the Sony WM1A/WM1Z. And in fact one way around this is to have recorded movies played back and sync the dialogue with the video player software. Meaning you can adjust the time of dialogue to perfectly sync-up during movie watching. And while I know of no way to correct for YouTube, after 9 different videos, only one was severely out-of-synch and I’m pretty sure it was a delay from the video. Watching music videos was perfect with no delay noted. Though with speaking parts in videos such a delay can be noted, especially if you focus on the phenomena.



Tidal and Qobuz Applications:
Such access is provided for the player, yet I don’t have subscriptions to test.

Airplay/DLNA
Such abilities allow you to connect to media servers and stream directly.

Using the R3 II as a Dongle device:
As talked about briefly in my Dongle side-by-side tests, this is a simple function and works intuitively, showing kHz and sounds just like files read from your card.

USB-OTG:
Allows for songs to be transferred through USB-C to CoAxial cable or via USB to another decoder.

USB Digital Output:
An example of accessing the Type-C USB digital out, the R3 II will act as a file server to the new style of DSP IEM cables. This new style of IEMs don't use 3.5mm or 4.4mm plugs, but use a DSP processor and amplifier inside the plug of the cable. In use you simply make sure the R3 II has the USB output set for audio instead of USB storage, and away you go.

Another way yo use the R3 II is as a digital file server, with up to 2TB of access you can hook the USB Type-C to a Dongle or Amp. Hooking it directly to the Shanling UA3 took all of 3 seconds and became fully functional.

Build:
Built with a mixture of aluminum and glass we are greeted with a perfect size and weight. Glass on the top edge, glass on the back. Feels good man.

The microSD card reader is covered and easy to add cards or to change your card.


Such added features as a light bar will fully go ahead to explain visually both at what level Hi Res is in playback, also (red) if charge is taking place, or simply white if the unit is on.

Packaging:
Coming well protected in a medium box..........an extra set of screen protectors is found in addition to the already added screen and back protectors. A USB charge cable and paper work in included. Probably the highlight of the box-opening experience (for me) was finding a great case included for your DAP.





IEM sound comparisons tests:
Since starting off with non-burned-in R3 II, my first set of IEMs were on the extra bass side of the street. This was simply to use the actual personality in IEM playback to kind-of add authority. And that was fine, except later after 120 hours of burn-in the HiBy R3 II seemed to change its stance. Yep, it was warmer, smoother and even more well rounded. What that meant in daily use was that I could use whatever IEM I wanted. Meaning the additional authority was provided in the signature of the player. So even though the Noble Audio Encore is not photographed here, it was one of the standout IEMs in testing, providing a smooth yet detailed upper treble shelf! It also should be noted that this section was the most fun to do. Where the preceding information was a formality, here the pedal hit the metal. Here is what reviews are all about…..music replay!



The Sound Rhyme SR7 (6BA X 1DD Hybrid)
$369.00
The Sound Rhyme is a new IEM phenomena to hit the streets. And with my standard wide-bore silicone ear-tips and provided stock cable…….we will learn what’s up. Here the largest stage setting (Dip-switches both up) was chosen on the SR7. Using the more powerful R3 II 4.4mm output was not a total necessity, but preferred none-the-less. While reading about folks accessing the high-gain mode, I don’t ever see a reason to need it. Yes, these are super efficient IEMs, still loud is just a hair over middle volume position, in fact I can’t even go past that? This may be the best I have ever heard the R3 II? I mean I know I say that now, but I tested this combo earlier in the week, yet right now it’s fantastic. Big washes of sound, and cool embellishes of harmonic guitar tone finding the tone fully involved and interactive……..and that was just the guitar…lol. I know I am repeating myself, but here, this sound is a keeper………and makes me wonder why anyone would need anything else. Bass is tight and somehow in focus, vocals are to die for! Really the vividness of the SR7 is putting the shoes on this deal? Truly special! I don’t need anything else…….if you question this outcome, I challenge you to simply try it! It’s that good? The stage that the SR7 is doing naturally is creating synergy here.



The HiSenior Okavango (6BA X 1DD Hybrid)
$299.00
While coming off slightly more clear than the SR7, there was a stage that had me infatuated with the SR7, that and a wilder tone that was simply more over-the-top. Still this here is not a small stage, or in any way bad or compromised to tell the tale of this DAP. Nope, it’s again all here, if not showing a slightly reserved manner. I will let you know that this has been a combo that I have revisited often in the last few days……….finding the bass carefully constructed and offering a more Harman tune yet with a pizzaz of sorts. Just enough bottom end to make the pace and make this fun. The wonderful thing here is that the R3 II is making each and every IEM better than the next…………….finding a synergy that is noticeable and an experience. A little cleaner and of slightly better composure, yet a 100% winner nonetheless. Again, I know this sounds too good to be true, but try it and get back to me………..if you're curious!



The Penon 10th Anniversary (2EST X 2BA X 2DD)
$499.00
Finally my favorite IEM at the moment. And while in truth it’s not all that different from the two just tested. This is a hobby built on small differences, and to try and tell-the-tale of synergy here, it starts with the stage. The stage is perfectly separated with a slight harmonic aura of distortion in the guitars that has me smitten. And while the R3 II is not the most bass heavy in replay, it’s unarguable that the 10th is reintroducing the (bass) goods here, to bring it all in focus and authority. The ESTs are giving that tiny extra (tint) of clarity that comes off noticeable and separated into the stage…….. adding a sizable level of involvement on tap. Need I say, this is end-game……….it’s hard to believe such elements of replay could be found from such a device, except the IEMs are doing exactly what they are suppose to be doing, they are adding-in the extra tone.



Conclusion:
So there you have it, the HiBy R3 II. I have never experienced a Hiby product before, nor do I want to come-off as a DAP expert in any way. Though I do know what I like as far as features and tone. What I can read is that HiBy has ramped-up their features like a 25% bigger battery (from past models) and added an extra DAC chip to make two Dual ES9219C in daily use. Also functionality is streamlined, with absolutely no delays or lags…….everything as planned and going accordingly. In fact I must be jaded or have done way too many reviews, as I (unexpectedly) found a home here……with this silly little DAP. The overall size and menial cost may have you guess otherwise…....but this review ended in surprise. So much so that I had to take-out a few (test) IEMs once more to really be sure about what level of quality I was talking about. If you are wondering about possibly getting a new Dongle or wanted to get your feet wet in the DAP game, I can’t fathom a better starter DAP. And while the R3 II is not everything, it is on the best side of performance, performance to dollar ratio, that is. And I don’t want to allude to the R3 II being more than it is, except that a few IEMs I listened to all evening and the better part of a morning, simply had me wondering if this truly is all I need? Because the R3 II performs at a nice level of sonic passion, getting you the needed involvement to enjoy your music!

$179.00
https://store.hiby.com/products/hiby-r3-ii

Disclaimer:
I want to thank HiBy for the R3 II 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 TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudoQuest Carbon USB
Samsung Phone 3.5mm
Shanling UA3 Dongle 4.4mm
HiBy R3II 4 DAP 4.4mm and 3.5mm
MacBook Air
Apple IPod Touch

HiBy current product offerings:

DAPs:

• HiBy R3 II (Gen 2)
• HiBy R6 Pro II (Gen 2)
• HiBy R6 III (Gen 3)
• HiBy R5 II (Gen 2)
• R5 II + IE200 (20%OFF)
• HiBy R2 II (Gen 2)
• HiBy RS8 (Flagship)
• HiBy RS6
• HiBy RS2

IEMs:

• NEW: HiBy Zeta
• NEW: HiBy Crystal 6 II
• HiBy Hela
• HiBy Beans
• HiBy Thor
• HiBy Seeds II
• HiBy Lasya

AMPs:

• NEW: HiBy FC6
• HiBy FC4
• HiBy FC3
• HiBy FC1
• HiBy FD3
• HiBy FD1
• HiBy W3 Saber Bluetooth HiFi Amplifier
• HiBy WU1 Bluetooth earphone pendant

Cables:

• Coaxial Cable
• USB-C to Lightning Cable
• 3.5mm Short Cable
• 4.4mm Balanced Upgrade Cable
• 4.4mm to 2.5mm Adapter

Cases:

• RS2 leather case
• R2 II protect case
• R2 protect case
• R3 Pro leather case
• R5 gen 2 leather case
• R5 leather case
• R5 Dignis Leather Case
• R6 III Leather Case
• New R6 (R6 II) leather case
• R6 leather case
• R8 leather case
• RS6 green leather case
• RS8 leather case
• [R6 Pro II / RS8] Screen protector

The HiSenior Okavango Universal IEM
Named after one of the largest jungle regions in the world, the Okavango IEM has both a slightly unique sound while still offering HiSenior’s take on a HARMAN reference tune.

Who is HiSenior?
They make the $549.00 Mega5EST a 2EST/2BA/1DD Hybrid, the $239.00 Mega5P.........a 4BA/1DD Hybrid and the T4, a 4BA IEM.......just to name a few. In reality besides the Okavango..........they make 5 different audiophile cables and 5 other IEMs of coming-in at both greater and lesser cost………many of them also CIEMs.

Cables:
Air8S
Air4C
Mix2Dragon
Mix4G
WhiteWhale

IEMs:
T2
T2 CIEM
T4
T4 CIEM
Okavango
Okavango CIEM
Mega5P
Mega5 EST
Fe8
Fe8 CIEM
Fe12 CIEM

Cases:
HiSenior 1010A 2 IEM case

This review will be about the Okavango Universal IEM and the upgrade White Whale aftermarket cable.

Let's get going............

Comparisons:
Interestingly enough............side-by-sides can go at the end of one of my reviews, or the start. Comparisons are both a way to finalize an explanation of an IEM's tone, or introduce tuning ideas at the start.

The Penon Neo5 (4BA X 1DD Hybrid)
$279.00
https://penonaudio.com/isn-audio-neo-5.html

The Sound Rhyme SR7 (6BA X 1DD Hybrid)
$369.00
https://penonaudio.com/sound-rhyme-sr7.html

The HiSenior Okavango (6BA X 1DD Hybrid)
$299.00
https://penonaudio.com/Hisenior-Okavango

I chose these three (to compare) primarily based on price, that and the fact that the other two IEMs represent new 2023 build and tuning ideas. Such comparisons are important to explain subjective sound value and possibly construction/methodology ideas. The other fun part of comparing these three has to do with tuning, as both the Neo5 and the SR7 have way more bass. The SR7 has a tuning switch to lessen the bass presence, and yes it comes closer with that to the Okavango, but there are still many differences, which we will get into. So this introduction is slightly convoluted, yet still if you were on the fence as to which of these three IEMs to get, the preceding may help? Or of course if you were wanting differences and looking for complementary sound responses, this section helps explain that too. Here while wanting to use the aftermarket White Whale cable, I refrained............and used the included Okavango cable.

The Okavango v The Sound Rhyme SR7:
This test takes place with just how the switch settings are when they arrive. All up on both pairs. SR7 offered a bigger and more dynamic sound, seemingly spread-out farther into infinity, and while you know there was more bass, the SR7 still somehow sounded even, and correct, which may be due to balance with-in itself? The Okavango offers a crisper, more controlled stage, almost offering an exact imaging into performance, to make the SR7 seem unnaturally wide. Still, this makes me want to switch to the White Whale as the White Whale added bass and stage which made the SR7 and Okavango closer to the same. To try and get to the bottom of this comparison, the Okavango is less flamboyant and more universally correct, it is like the suit and tie guy, in comparison to the wild dress of an entertainer. The Okavango is more straight-laced, the SR7 more uncontrolled and wild. It’s super hard to critique both on the fact that they are different yet still entertaining to no end. The heavy bass of the SR7 and balancing highs, leave the listener not perturbed yet fulfilled, same as the more careful and in-the-end correct demeanor of the Okavango goes ahead to showcase that you can still be complete and correct with-out going overboard. Honestly I can’t choose, they are in a way complementary. I wish I could find fault here, with either one? I would probably have to go way back to the early days of Head-Fi and could maybe find a few (sound engineers) that would prefer the carefulness of the Okavango, and hold that as a value over the all-out flamboyance of the SR7?

The Penon Neo5 v The Okavango:
Laughingly as I was going over this list once more I realized that I was making my life harder rather than easier by choosing such a battle. Especially once I got into the side-by-sides…..I mean people who are reading this are out for blood, yet we are not going to find any. As it seems today, and with what market leaders that (being what they are) are found................that the battle is more about showing differences and not faults. Now it’s important to note that the Neo5 was introduced with a different cable. Yep, upon first release the Neo5 had the ISN S8 cable. After a week in the wild it was discovered that the Neo5 was way, way better with the ISN S4 cable, so that is what we are using. And a little bit of improvements can be viewed as parallel to upgrading the Okavango to the White Whale cable. Except the S4 brought about clarity in pace and imaging, seemingly moving the vocals forward, sculpturing the Neo5 bass and increasing imaging and pace. Later I will get (fully) into the White Whale cable, but it improves the stage of the Okavango and adds bass and lower midrange density among other things. Still the resulting White Whale is bringing-up Okavango clarity too, as an end result.

ISN Neo5:
In some ways reviewing the Neo5 has left me with a knowing, the Neo5 showing itself to be an old friend, even though it just came out. This is what happens when you go about the total effort to review an IEM. And even though I didn’t have the preferred ISN S4 cable to do the (Neo5) review, I did use a number of aftermarket cables during the review process. One thing of note is how the ISN S4 cable size physically appears exactly like the included Okavango cable. One is silvery grey and the other white. More Bass, that’s the first thing you notice, then the fact that the stage is bigger. But more than that (and of possibly a more important value here) is that there is an introduced spatialization here in where the vocals sit, it’s like someone moved the speakers in a room. Just way bigger in presentation. A floating spectacle of hovering forwardness in vocals and even splashy instrumentation out into the outskirts of our mind……ahhh….......I mean hearing? I’m going to tear-up here……I’m sorry, I can’t write, this is beautiful, though it’s probably the music not the IEMs?

Gosh, the Neo5? How do I ever compare these two?
I like the Neo5 better. So there? Remember when your parents said honesty is the best policy? Still let me find a way around this, at least something that reads as presentable on paper? This is the part where as reviewers we can try and take out subjectivity, out of the equation? I say this as I’m still going to give the Okavango a super score, I mean listen to it, how can you not? And there was a time when the S8 Neo5 could be perceived as bass heavy……..and it could still be perceived as having too much bass with ISN S4 use? Still with this S4 cable with the Neo 5....….is the cat’s meow, it really is!

Anyways:
To try and salvage this comparison, to try and get a slightly more objective viewpoint to come to terms with what the Okavango is and can be with a purchase………the Okavango is big sounding and has a sound which is both beautiful and correct. In fact there are many aspects that could in fact make the Neo5 sound sloppy. Because in many ways there is a better technicality to how the Okavango comes off? And the Okavango stage is still average, just not gigantic like the Neo5. And vocals while sitting really in the perfect place...........they don’t quite have the size of the Neo5, but are totally immersive nonetheless. I would have to say the feeling I get from the Okavango is not like a jungle at all, it is of a well taken care of household. Where the jungle is wild, filled with wild animals and uncontrolled growing plants of all styles. Really the Okavango belongs to the city, maybe Japan where everything is correctly placed and (what you see) is in controlled order? That’s the beauty in Okavango playback, and due to this carefulness, I can listen all day. It just doesn’t offer that uncontrolled wildness, that full-on emotion that pulls your heartstrings like the Neo5. And remember me saying there was no blood in this battle, well there is some bruising!



Okavango

Highlights:
1) Hybrid 7-Drivers/ 4-Ways Integrated Crossover

2) Tuning Switch with 4 sound profiles

3) Harman IEM Target Curve referred Tuning, Smooth Coherence from Bass to Treble,

4) Well-detailed and Clean Top Instrumental Definition

5) 10Hz-30KHz

6) Ergonomic Design, Small Ear friendly

7) New Custom Logo + CNC processed half wood and half pearl resin tech applied

Cable:
1.2m length OCC silver-plated Litz structure, black and silver mixed, provides 3-in-1 modular (2.5mm/3.5mm/4.4mm plugs).

Specifications:
Drivers : 1DD+6BAs
Tuning 4-Ways Integrated Crossover (Passive)
Frequency Response: 10Hzz-30Khz
Sensitivity:112db@1mW
Impedance: 20Ω±10%
Distortion: 0.5%±0.1%
Noise Isolation:-20db
Warranty: 1 Year (IEM only)

Package:
Okavango In-ear Monitor
HiSenior Carry Case
8Pairs Silicone Ear-tips (L/M/S)
2Pairs Foam Ear-tips (M)
Clean Cloth
Cable Clip
Switch Adjust Pin



Shown here is the White Whale cable and included cable to the right.


Cable Change-outs:
The HiSenior White Whale TOTL cable v The included cable, The ISN G4, and The Penon SPACE cable:
Such antics can occur here at Redcarmoose Labs due to curiosity? I mean you are supplied with a great cable. Really the ergonomics and build are top-notch. The included cable comes with an easy and confident 3-in1 Multi-plug. There is also a slight resemblance that can be noted that both cables are made by the same company. Where the included cable is not even thin, like some included cables are. In fact the included cable rides that perfect area where it’s robust in construction, yet not cumbersome in use.

I spent almost two solid weeks testing the Okavango, after 100 hours of burn-in, subsequent changes took place in regards to driver smoothness and cohesiveness. The stance was of slightly deeper bass, more real bass and a uniform yet exciting direction of Harman. The top-end also seemed to open-up and show an integrated (clearer) demeanor……also well integrated for a Hybrid. The Sony WM1A with MrWalkman’s aftermarket firmware was utilized. Most of my listening was via my standard wide-bore silicone ear-tips.

Included cable:
This may sound a little crazy but I took a long break from the Okavango; I did other reviews and heard a bunch of other stuff, just to get my ears right for this test. I also did a quick listen with the White Whale cable to get an approximation of its sound, beforehand. And surprisingly the White Whale is really an upgrade here. Truthfully I wanted this section to say the differences were not that drastic, yet that was not the case. The White Whale was slightly warmer and added a filled-up nature, it changed the size of the stage and bass additions, and even seemed slightly louder. Smoother, louder and more rich, what can I say….I just write down what I hear? My issue is of course that the White Whale is $96.00 by itself and that is 1/3 of our Okavango cost! Still I can’t help but relate my experiences here? Where stock (cable) the Okavango is fine, just slightly less open or filled-in, still if you had nothing else you probably wouldn’t be any the wiser? Meaning stock Okavango IEM with stock cable gets you 90% of the possible tone available.

https://penonaudio.com/Hisenior-White-Whale-Cable.html

But that extra 10% is the reason we’re here, right? That small 10% becomes an entire world once we start strangely focusing on it. And…..I must say, the White Whale is not necessarily designed for the Okavango, except it really did dial the Okavango into a better place adding all that was needed. Primarily you would call it thickness, for lack of a better word? This White Whale is HiSenior’s TOTL cable and designed for use with many of their products, except here with the Harman Tune provided the White Whale adds a slight authority and warm smoothness, where the included cable was slightly more digital sounding?

Lets see if we can out-do the White Whale?
Yep, there is more than one way to skin-a-cat here. We are choosing the Penon Space cable due to it being a Head-Fi favorite with the HiSenior Okavango. On paper the Penon Space is adding stage and opening the Okavango up, also the more time I spend with the Space the more I realize that it truly is adding a slight bit of treble energy too? This may read differently than my Penon Space Cable review, but that is the reality in cable testing, that more time goes by and with the more IEMs you interface with a cable, new realities are discovered.

The Penon SPACE cable v The White Whale cable:
My gosh, the SPACE is fantastic here. And….more so being that after 100 hours of burn-in and some mental acclimation, I’m in the zone. This zone is mesmerized, due to just how correct the Okavango is anyway, except this SPACE cable goes to add a quality. That SPACE quality is spatial imaging with a slight forwardness in difference from the included cable. Also strangely I was going to write about the SPACE ergonomics and the fact that the SPACE often responds with cable noise in regards to the stethoscope effect, but none of that is found with these IEMs, I don’t know why? I mean sure you can hear a little bit with the music paused, but there is no inclusion during playback?

Going back to the White Whale once more (with the sound off) there is zero microphonics. And while wonderfully expanded from the stock cable provided, the imaging is of a slightly lesser (in-size) stance. Not so up-front and in-your-face as the SPACE, I could even go so far as to call the White Whale as a degree more relaxed, except that gives the wrong impression also. In fact, this White Whale may be just the ticket here…….showing slightly less forward energy? Really I’m splitting hairs here, as both cables would be a grand advantage over stock, really coming down to maybe if you had other uses for the SPACE, then it would be advantageous to have, but still I can’t get over the White Whale? The fact that it may be slightly less energetic than the SPACE, and as a result showing a slight deepness in the bass? A kind-of profound smoothness that is charming, while still offering the stage expansion?

Next up The ISN G4 v The White Whale:
On paper the ISN G4 will bring the properties of Graphene to the table. Such metal attributes have their very own character……..which is both an expansion into the stage of imaging, yet of a more tame style than silver, offering-up a smoother, slightly less bright rendition. Truth to be stated, the ISN G4 is a regularly used cable power-house, one that is relied upon to deliver the goods on a regular basis here at Redcarmoose Labs. Having to go back and keep reintroducing the two cables in side-by-sides comparisons shows the differences are pretty slim if any? Meaning yes, we are still getting the separation of the G4, except this White Whale turns out to have its own special magic to deliver? While the White Whale is showcasing a more even and almost “normal” stage while adding lower midrange density, which the ISN G4 (slightly mixes-up) doing just what it does on a regular basis? It’s the G4 subtle repositioning of stage attributes, the fact that the White Whale has its own charm, yet both are so very equal in abilities, funny too, on second thought they are priced almost identical?

While both ISN G4 and The White Whale are improvements over the stock cable, I’m not sure I can recommend the ISN G4 as better than the White Whale in this test? And that ends with really being a complement to the White Whale, and remember too, the White Whale has the ear-hooks which could be a benefit in use with the Okavango? But to sum-up this test, both the White Whale and G4 were slightly less energetic than the SPACE, where this more forward imaging and also included with the outward “SPACING”...........could be a wanted thing with the Okavango, as all three were great, yet the SPACE was the most energetic, and in-your-face? Where probably the White Whale was a fraction more laid-back, but even that isn’t the word, but it had the best bass, and accentuated what bass there was with the Okavango.............and so forth made the Okavango special?

Cable conclusion:
Well it also can’t go overlooked that in fact the ISN G4 brought about a more tailored Bass in use with the Okavango. Such Bass personality is unique to the ISN G4, and often becomes what listeners are smitten with while listening to the G4. And while the White Whale didn’t bring such refined personalities to the Bass, what it did do was talked about at the start, a fuller sound and denser bass and lower midrange emphasis, offering an effortless wider-stage than what was encountered from the stock cable. I just realized where they got the name for the White Whale, due to maybe stage size? Still it wasn’t the biggest going up against the SPACE replay, and still that was fine? But to summarize this nonsense, it was really the feeling of how the White Whale was built, just the ergonomics in that it was silent in use (while not totally able to be coiled in place) was also effortless in use?




Sound:
After the side-by-sides, a new view of the Okavango was discovered. Yet, it’s all good. I’ve got one word for you. HARMAN, yep HARMAN. Except the word can mean many things……..like there is budget TINHIFI HARMAN, then there………well let’s concentrate on what HARMAN is. Because there are a few ways to do it. Mainly if it’s not boring I’m game for it. And the Okavango HARMAN is about as far from boring as you can get. Still it has a careful and controlled bass. I wasn’t going to include a graph but maybe it’s important here? As you can see there are two response curves for 3/4 of the graph, at least up to 3kHz. And that’s fine, we will eventually get to what the tuning switches do. But how can you do the sound section without talking about the tuning switches? Because I’m doing the sound section concentrating on the UU position. Why? Because it’s my review.

Back to other boring HARMAN tunes, here maybe it’s the bass, or the balance, or maybe just maybe it’s the realism from all the drivers (all 7 of them) in action that they are able to subvert any boredom?

Treble:
A few owners have remarked about the space held inside of the treble. And they say it’s fine, but they wish there was more? I mean you are posting after just dropping $299.00 and reporting in? And after my run of side-by-sides, I get that.....except the other aspect to what they are saying……..that the Okavango is fine. Now what is fascinating about that comment is in a way it describes HARMAN. Can you believe it? Meaning there is a balance and at times, that balance walks a line between a lot and a little boring. But most of all it kinda shows where we are at tone wise. Especially if we are on the not-boring side, where we are residing. One of the first things I do to analyze this phenomena is to access different playback devices. Meaning I want to know if there is a distribution of character about the WM1A that with MrWalkman’s firmware is making the stage for the treble to exist abnormally wide, or extra interesting.......or something. So a quick change over to my Shanling UA3 is a great comparison test tool. And nope, the treble is still the same, yet the bass and stage are still great, it is just totally entertaining.......but in a conservative and wholesome way…..HARMAN! Where itemization is not super bright or in-your-face, and nothing is too far back either. The Okavango is well rounded and balanced and performs great from a phone, a DAP or a Dongle. Yet at the same time is resolving enough that it will show you the character of your source, in a subtle and subdued way. Some could even call this a lack of detail, but I beg to argue that fact?



Midrange:
So…..do you see the peak at 2.4 kHz and the dip at 3 kHz, only to raise at 4 kHz? Careful and controlled and with just enough contrast (due to BAs) to make life fun. We can’t really do a midrange section without first describing the tuck at 80Hz all the way to 600Hz. That is what never ever interferes with our mids, that and the balance at the two upper midrange peaks, to go ahead and delineate our tone. All and all so carefully done, and such replay adds to our amazement in that the Okavango is both well rounded, and fun.

Kind-of like that subdued girl you knew in school, yes……..she was careful and nerdy, except still widely interesting once you started-up a conversation. She was sophisticated beyond her years…..that’s the Okavango! Oh…..I almost forgot to mention the timbre……super well done….in fact totally realistic with almost no metallic timbre tone. This year of 2023 has been the grouping of good BA timbre…..and the Okavango continues the quest in flying colors! It’s almost a given now that popular multi BA IEMs will have successful timbre, a far cry from what BAs were in 2019.

Bass:
Bass, what do you want me to say? It’s strangely satisfying without ruining the show. I mean I like bass, so if this was an example of anemic bass it would be an issue. Maybe the 4 way crossover delineates it? Because I can see how if you took (a few) dBs of bass out, the whole signature would offer a different stance. That is how careful this line the Okavango walks. But strangely it sounded great from any source?

Is Bass activated by source?
As kind of a new (Redcarmoose Labs) exploration into IEMs and sources, I will try and relay what bass differences I hear as different sources are put into place. This concept (of different sources used) really affects everything as far as tonal character, though at times (maybe) bass would be considered more important? Yet there is another aspect of replay that I want to emphasize here. It’s two fold, being that in my comparisons I noted how the bass was a little less than the Neo5 and SR7. Yet the important thing is how no matter what we do to the Okavango, the bass character remains roughly the same. This as a concept is super important, and goes to relay the fact that you can’t hurt the Okavango bass even by completely changing sources. So while it is a careful style of bass, its still not totally detailed, yet adequate as far as delivering the goods. Meaning the bass is not slow or fast or standout-ish? It’s crazy………..as it is utilitarian and satisfying, and just right. It’s tight and shows a form of detail, yet there could be an area where the whole bass is simply there and doing its job but not overly detailed? So you could imagine how this character of bass would send me off on tangents to learn just how much we could change the character by different sources. Yep!


Note the infamous silicone wide-bore ear-tips, eventually these were the tips I settled in use on. Lucky I got one photograph of them in action, as they were fantastic with the Okavango!

HiBy R3II with White Whale cable:
I spent half of the night as well as a good portion of the morning with this set-up. Such a set-up would have you guess slightly less bass than some following gear? Yet, once again the Okavango is resisting change and coming through with a great bass tone. Being that I have set myself-up for descriptions, the differences are yet, totally inconsequential to even deserve talking about. And that’s a good thing here, yep the bass is full, musical and satisfying….enough said.

The Sony TA-ZH1ES DAC/AMP Firmware 1.03 with White Whale cable:
Now the crazy thing is there is really no difference, between the HiBy R3II and the TA. That lends itself to speculation, as these IEMs nowadays are suppose to be transparent, and yes, some other IEMs made by other manufactures are wildly transparent enough to warrant a different amp to change the bass character. But I will level with you……the difference could even be phycological in nature? Meaning you hear an IEM from a different source and you have expectation bias as to the source personality, seemingly finding it when in fact it’s the same. This review isn’t about sources, so I will try and keep this short. I used the Okavango with lots of sources and it was always the same, which was a good thing.

A phone? What?
Finally, after trying to cause trouble with the Okavango I switched to 3.5mm, and brought my test subject to an old Samsung phone. Surely this can’t be good? And sure enough the stage was slightly compressed, itemizations were less spread-out and separated, yet the tone, and the bass character was (while smaller) remained pretty much the same. And this extreme proves my point, that the tone of the Okavango remains consistent. Now obviously after the contrast between players, I did learn that I liked the Shanling UA3 Dongle as well as the HiBy R3II as middle of the road examples of playback, but there was no way the small added stage and resolution from the TA would have me even value it as that much different. And I’m sure newer readers that own the new crop of modern IEMs will already understand this concept, as overall tone remains unmovable with different sources, but imaging and technicalities and far as stage change slightly…………..depending on source chosen.


The DIP-switches:
These switches remind me of the SR7 in placement and description? Let’s see what they do? The Okavango arrived with the switches in the UU position. I thought that just like the identical SR7 switch placement upon arrival, HiSenior wanted to suggest this as the best way to go, but offer options to those aspiring to other tones?

DIP-switches:
Your Okavango will come with both switches in the up position. I found this to be my favorite. And while I would like to report such switches were a success, because they were, the UU was the way to go. Also note (included) graph that changes were not always consistent across the four switches, that there was basically two sound profile to a certain point in the upper mids. After that point there was noticeable differences in treble, but it was never actualized farther out into the stage as a treble technicality.

All-up: Soundstage +
This must be manufacturer preferred as it offers the widest stage? I just went with it, getting to know the Okavango. Probably all-up was showing-off technicalities? Later going to the POP setting (all-down) was the total opposite, and the switches really do something here to control tone.

All-down: Balanced
Tell me, how do you even know the benefits of both-up until you try the opposite? Such as the stage deficit here, I would probably opt for more stage?

One-up/two-down: Bass +
Funny as I was expecting a lot of bass, but this setting is good too. Probably one I won’t be using, but nothing wrong with it, the reason I say this is that vocals are still really well maintained. Never is any one setting bad………

One-down/two-up: Vocal +
My gosh, they were not kidding when they described what is in-action here. Absolutely beautiful here. Man, this is great…..simply more vocals, but not too forward.

The Okavango faceplate and shell designs:
It should be noted the HiSenior offers a wide ranging aesthetic choices as far as build materials and colors. Such examples can offer a message of self-expression if you’re not game for the Okavango Jungle Motif. If anything the striking tones shown in contrast of wood and green sparkle seem to do it for me? Yet who knows, what dramatic or subdued color choices you can come up with? Still there is nothing wrong with the stock build, as I have gone out of my way to photograph here.

Build:
While part of the amazement seems that the build is incredibly like the SR7. Really the two even though made by different companies show more than one commonality? The driver configuration, the offering of a custom faceplate and shell. The switches? The way location and construction of the single air-vent? The nozzle material made of metal with the screen placement and wire material? Even the actual diameters of the nozzles circumferences seem identical? While each Okavango offers its own individual serial number the SR7 does not. Probably the biggest difference (as shown in photos) is the SR7 shows a longer length shell profile. Not only is it longer but shows to be ever so slightly taller when looked at from the side. When in reality the SR7 and Okavango medical grade resin construction offer identical overall fit and feel? Also the semi-universal custom shape of both models offer noise occlusion, and a snug fit for everyone. The most crazy aspect separating the two starts to be noted with the narrowness of the SR7 faceplate? Where you would be forgiven for thinking the Okavango is actually bigger simply by staring directly down upon its faceplate……when it’s really slightly smaller in the end? Flush 2Pins work super well and accept all cables. Though (as normal) the nozzle length found goes to proclaim the most noticeable factor in getting correct fit. It can be said that everything in construction lends to fit, and while weight is a factor………..the Okavango, just like the SR7 is 5 grams a piece. In our testing today the Neo5 did show a smaller size with being 4 grams a piece in weight. Really at this point in time, with how advanced construction has become in regards to fit, they really can’t be criticized in the least? Hence also due to construction……..noise occlusion is also a side-effect of such a careful and complete fit! The fit and feel are truly out of this world, where hypoallergenic resins finish off the pleasure of wearability?



Packaging:
Note actual product packaging photo show an extra collection of silicone ear-tips which I didn't receive.




Music:
Due to following the Harman tune, we are truly gifted with a well rounded Okavango playback, success in multiple music genres can be found, success with multiple sources can be used, though take note that the bigger the stage in the music file means the bigger the outcome into your ears. All testing done with the UU switch settings on the Okavango.



In case you didn't notice the Blade Runner description in the apex of the review, the singularly best description you will find today. All in a nut-shell.

Hans Zimmer & Benjamin Wallfisch
Blade Runner 2049 OST
Mesa
44.1 kHz - 16 bit
The question is finding such large and space expanded music……..is it cheating? Still I’m looking for a way in here, not out. And while we know the Okavango does respond to staging differences, the other technicalities like note-weight and tone are fairly forgiving of file type or source. But yes, here we are going for it……trying to make the large Okavango jungle environment as described by the manufacturer. And you know what……..maybe it’s the music? Maybe it’s the MrWalkman’s firmware in the DAP? The WM1A maybe? Except this whole deal is way bigger than I thought, spread-out in a more detailed manner, and controlled manner.....bigger than I ever dreamed possible? All I can say is after burn-in and with the right source, you should visit this Okavango Jungle? Much of this may be due to a style of bass that comes-off exactly clear, with no added filagree to promote distortion? Such bass finds itself both controlled, yet not at all sterile. Seemingly spread way out, differently positioned than the previously guessed character. Where this OST offers-up LARGE washes of bass-tone in the past, now it’s going to the limits of perfect stratifications of bass, controlled...... yet somehow wonderfully detailed too? Who knew? The start is with the piano notes, slightly set back......yet holding great timbre. Then they start to come……the careful bass drops…......yep, all I could ask for. In many ways I’m learning this IEM all over again, and that’s what good music can do, it can make an IEM that you have spent two weeks getting to know become fully actualized into being its best. While not the biggest stage, it is wonderfully controlled, and I could see many loving this just for what it is in the end?



DCD
Within The Realm Of A Dying Sun
Windfall
88.2 kHz - 24 bit
This song gives way to tell the tale of dramatics and stage, or at least the inevitable reality of those items heard? While again not the biggest, and not the most forward in presentation, there is both a harmonious interaction, and a far-away-ness? A carefulness of persona? Yet a completeness too? This somehow becomes the total opposite of the last OST heard? Not bad in any way, but showcasing the overly correct and reserved demeanor found in the Okavango. With this Windfall song, it is asking for more volume to get the thrills. It is what it is? In so many ways this single song is a sketch of a song, no vocals, only the most rudimentary of ideas explored. There is still an earthy bass presence, maybe it is just in contrast to the last album, as it is difficult to have any sort of thrill like the last album proclaimed?



DCD
Within The Realm Of A Dying Sun
Dawn Of The Iconoclast
88.2 kHz - 24 bit
Ahh…back to the normal programming here. Vocals arrive! The 5th song out of 8 songs on the album and they release Lisa Gerrard’s vocal performance. The fanfare of the opening instrumentation gives us a clue as to what is/was up. Probably it’s the note-weight that makes this be ultimately what it is, and the value it becomes as far as entertainment, that and of course the timbre. We talked about timbre before in this review and this song simply goes ahead to prove such technicalities exist once more. And in many ways this album is the opposite from the first Hans Zimmer OST. In that sure the stage is big, but not Blade Runner 2049 big? You get my message here I hope…….that while seemingly well put together in playback, the stage is filled with activity, and as such music that is big like the Blade Runner OST get the distribution of size into a reality during playback…………..and that size and grandeur is provocative and real…….and it becomes a place you want to visit but never leave………..hence a style of vacation. Hence the honesty and realism of the Okavango, that it simply plays back the stage you offer it to do…..and at times its average and at times it seems bigger than ever, but never the biggest you have heard.




Conclusion:
There you have it, my first HiSenior Review. Now while not perfect, the Okavango has a way it carries itself. I don’t feel the need to go on further as I have fully made my point, especially if you have read the above. I mean that’s what reviews are in the end, an explanation on an IEM's tone and overall performance. So now comes to the place of value judgment…..and due to the correctness and evenness…..and completeness found in the Okavango Jungle.........I do recommend the Okavango, how could I not? Though really I don’t see a Jungle personality at all here? It’s more dressed-up formal and meant for domestic affairs. Where the jungle is wild, full of unexpected life and events of happenstance. The Okavango finds itself fit and proper, never going too far in any one direction. The Okavango personality finds itself at a dinner table, maybe in public......maybe in a restaurant, or a home with guests. Yep…..you know the score............acting with correct manners and etiquette, truly the opposite of a beast........more of a gentleman of respect. Such respect comes from always following the rules and never going out of line. With that said, get the Okavango some stage to chew on and be prepared to be floored, at least I was?

$299.00
https://penonaudio.com/Hisenior-Okavango

$96.00
https://penonaudio.com/Hisenior-White-Whale-Cable

Disclaimer:
I want to thank Penon Audio for the love and for the Okavango Universal IEM review sample.

Disclaimer:
I want to thank Penon Audio for the love and for the White Whale 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 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
Shanling UA3 Dongle 4.4mm
HiBy R3II 4 DAP 4.4mm

The 7Hz SONUS

The 7Hz company has newly acquired fame, starting with the 7Hz Timeless Planar IEM. Literally the $199.99 7Hz Timeless was the very first Planar IEM to become wildly popular. Having reinvented itself with the 7Hz Timeless AE for $259.00…..and the soon to be made available (price unknown) 7Hz Timeless II. Still the 7Hz company has other talents as found with the wildly popular (single full-range) 7Hz Salnotes Zero. This $19.99 Zero became a sales phenomenon of epic proportions……..almost setting the standard by which all budget single DDs were judged by. 7Hz still didn’t stop there, they introduced the strangely shaped Planar Salnotes Dioko, and the bass heavy 2 Dynamic Driver 7Hz Legato, just to name a few. The 7Hz company in truth makes a Dongle, cables and a few other products. But….they never offered a straight-up Hybrid before?

Strangely they have actually produced a whole slew of DDs, like the 7Hz I-77, I-77 Pro the I-88 the I-99, the 7Hz I-88 Mini and the 7Hz Eternal all with a new and different take on the dynamic driver. My 7Hz personal trajectory includes the Zero, the Dioko and the Legato. Yet as most know Hybrids are truly my favorite way to make IEMs………..so when Linsoul suggested I try out the HYBRID SONUS I was intrigued to say the least.


7Hz SONUS HYBRID INNER EAR UNIVERSAL MONITOR
11.3mm DD + Balanced Armature
Technical Details
Model 7HZ SONUS
Frequency Response 10-20KHZ
THD <1%/1KHZ
Impedance 30Ω(@1kHz)
Connector 0.78mm 2Pin
SPL 109DB/V@1KHZ
Material Medical-grade material front chamber + aviation-grade aluminum back chamber

Now the fascinating thing is just how complete this whole shebang sounds. Truly (to me) it doesn’t sound like a DD, it sounds like a HYBRID, as that’s the point. Yet it’s only 2 drivers in the end, also this simplistic set-up comes with an attractive price of $59.99. Such a build design and price bracket will obviously go into direct competition with a few newly realized HYBRID IEMs.



Comparisons/side-by-sides:
The 7Hz Salnotes Zero single full-range DD $19.99 (original price)
The TANGZU FUDU 1DD X 2BA $89.00
The SIMGOT EM6L 1DD X 4BA $109.99
The SIMGOT EA500 (wait this is not a HYBRID) No, but it sounds like one, so it gets included! $79.00
The 7Hz SONUS 1DD X 1BA $59.99

https://www.head-fi.org/showcase/7hz-salnotes-zero-universal-iem.25980/reviews#review-28978
https://www.head-fi.org/showcase/tangzu-audio-fu-du.26581/reviews#review-31833
https://www.head-fi.org/showcase/simgot-em6-l.26639/reviews#review-31512
https://www.head-fi.org/showcase/simgot-ea500.26361/reviews#review-30453
https://www.head-fi.org/showcase/7hz-sonus.26673/reviews#review-31895 (this review)

As I post these side-by-side comparison shots it is noticeable that physical differences arise, though weight remains consistent except for the EA500. With the most weight the EA500 comes in at a staggering 11 grams. The SIMGOT EM6L, 7Hz SONUS and 7Hz Zero are all 5 grams in weight with the low weight award going to the FUDU at only 4 grams. Also while I’m at it the new SONUS cable needs to be mentioned. Why? This new ribbon design we will talk about later, but it is also (from pictures) the new style of the 7Hz Timeless II cable, and weights a remarkable 23 grams. Such a cable shows a slightly new style of weight, and maybe has some ergonomic benefits being so very different.

7Hz Zero v 7Hz SONUS:
Now I will start with the 7Hz Zero, as even though in a different price league, how can you not compare the Zero here? Truth to be told, the Zero review page I started has over 50,000 views, quite an accomplishment for an entry level IEM. While both (full-range) DD methodology and Hybrid methodology have their drawbacks and benefits, there is an indisputable magic taking place with the Zero. Why? Distractions that's why! Starting off I will not be the first to exclaim how the sound signature of the Zero is not complete. It is missing top-end sparkle and low-end power. Somehow really it is the bass missing that is probably most noticeable, yet for the money it does so much right in how it’s tuned, and how it holds correct timbre. We are literally distracted while listening to the Zero, forgetting anything missing……and it is safe to say the SONUS will have an uphill battle trying to replicate the pure sales hoopla taking place with the Zero.

Still, three times the money of the Zero, there is a chance for the engineer’s dreams (and our dreams) to possibly come to light? While in reality the Zero came out a while ago in IEM years, way back in early August of 2022. And while 7Hz seemed to have waited to release a Hybrid, they have in many ways improved on the Zero. In short the SONUS has really the opposite charms of the Zero. Yep, details at both the bottom and top-end! But these aren’t any old details….nope! It’s how they are done and how they are placed that takes the cake here! Where the same old ideas of DDs vs Hybrids start to take place here, first it’s the detail and forwardness of the upper midrange and treble frequencies that start to show we are dealing with an entirely different animal with the SONUS. That and the Bass, did I say Bass…..my gosh is it ever present and in full capability to entertain. There is this purity of intent too, that they are doing all this with only 2 drivers……….but more than that there is this exquisite millisecond delay in the bass, that feeling you get with a slight dislocation and separation (of Bass) that is so very lovable?

Also right at the start I want to explain my trajectory with the SONUS and how at the start both the FUDU and SONUS came at exactly the same time, they were meant to compare. And for starters I gave the FUDU 5 stars in a little first impression review and the SONUS 4.5 stars………..but first impressions are limited, namely because of burn-in. That and experience, as I was using the FUDU more and more I found it was totally source dependent, meaning it could come alive from the correct source, but get it an average source and get average results. Also the more I burned-in the SONUS the better it became, the bass smoothed out and the two drivers became more cohesive, that and the BA became smoother. So much so that I’ll spill the beans here……the SONUS gets 5 stars now totally dependent on sound replay ability!

The 7Hz Salnotes Zero:
I put on a slightly different pair of tips to try and get a better fit from the nozzle and the bass came forward, honestly the bass is nice at this point. And while we can vocalize about FR all day long here, it is really the smooth and largely (staged) competent midrange that is pulling our heart strings here. That there is a package of well imagined forwardness of midrange that leaves most satisfied, and people who have never experienced true audiophile IEMs in shock!

The 7Hz SONUS:
First off you can tell they added some length to the nozzles, 10 points! The stage is amazingly bigger due to simply the size of everything. That is actually saying quite a lot as the Zero stage proportions are no joke, way different than you would wrongfully guess for the original asking price of $19.99. Such a forward bass is neither too much or drastic. Following out to the sides is extra SONUS instrument imaging where due to the bass size, and midrange and treble size into the stage ...it's simply wider out to the right and left than the Zero can make. Now it needs to be addressed even now..........that yes, there is a very slight metallic tone to the mids and treble, yet they are so very, very good tonally that even to mention it seems unfair to the SONUS? Yet that is the difference, as we expected, more dislocation, Hybrid dislocation, thus more separation, yet truly everything is well integrated with the 7Hz SONUS, so much so that I don’t want to throw rocks. Could the 7Hz Zero and SONUS be complementary……….? You bet, in that they are both doing great FRs and technicalities, but despite their individual make-up are in nature (they are) going to be different, though it troubles me to call them opposite, as the FR is just so even and correct on both at this place and time?

The TANGZU FUDU v The 7Hz SONUS:
Big bass when it comes to understanding the FUDU, except that bass quality comes from the source, yep very few sonic ideas take place with-in the sidewalls of the FUDU landscape. I mean I will revert back to my first impressions comparing the two……that if you have one TOTL source then the FUDU will bring you everything, it’s just not as well rounded and will not get you such emotion from a standard phone output. I don’t need to continue, except man ...this FUDU response is insane from the right DAP!

The SIMGOT EM6L v The 7Hz SONUS:
While the bass is not as flamboyant as both the FUDU (from a good source) or the SONUS, the bass holds a slightly father back quality that is perfect. I’m getting my Little Brother the EM6L IEMs for Christmas as they are completely his preferred sound. And just like the hand-me-down of my Mom’s big 5 foot tall Floor-standers powering his living room 2 channel system, the EM6L’s are one of my very favorite IEMs of the year. Smooth yet detailed and it’s the big thick midrange and treble itemizations that show the SONUS to offer slightly more brightness. That slight EM6L millisecond delay in the bass…….the one I love often found in Hybrids…..yep, it is here too! There is a smoother midrange imaging that is slightly more utilitarian here…..and due to that treble imaging is slightly more separated and placed outward into the stage.....more BAs. Darn the timbre is super good too, and maybe even better than the SONUS as it’s not pushing the envelope of what BAs can do? There is no winner or loser here, just differences, both get 5 stars from me simply due to their individual sex-appeal.

The SIMGOT EA500 v The 7Hz SONUS:
The heavyweight here……heavy due to weight at 11 grams, it is 1 gram more than 2X the little SONUS weight. But also that metal does something maybe to absorb the extra unwanted frequencies, and promote clarity? I mean due to the way they sit inside your ear there are really no problems. Plus at this point with everyone and their Mom buying a pair, the issue of weight would be at least talked about if it was an issue, but it’s not. Though the treble heat is talked about, and the ways people have learned to go around it. One way obviously is to switch to the other (red-banded) nozzles they give you. Second is to try the tape mod, that or EQ. With me I simply acclimated by listening, meaning it was for the most part mental, to where my mind was comparing to my pervious IEM listening experience. Truly in this comparison battle..........price asked for each IEM doesn’t matter, as to me they are all equal.

The fact that this comparison today is really tough as all of the IEMs are really good.

If anything this comparison will only go to show the subtle differences arrived at by listening, where none of them are wrong, Except with the right source the FUDU, and with many sources the EM6L and 7Hz Zero go and play it safe, they don’t ever try to be more than their place in life, and get accolades by being just great performers. Except the EA500 went there…….Yep, the EA500 chose to boost the treble to a controversial place, a fine line for which it would possibly divide listener preference?

The EA500:
It’s early morning here at Redcarmoose Labs and I just drank a big glass of coffee, not a cup, but a glass……because that’s how I roll. The second thing to add to the wake-up call would have to be this EA500. Hello……hello….anyone listening? Wow, the stage is giant, and bigger than I remember. Another thing that is taking place is bass detail. This is an interesting subject, as my pair have more than phenomenal bass, way-way-way more than they graph out to show. And the saddest part is all the graph nerds who are so very strict about thinking what they are going to buy sound exactly like the graph. They passed up the EA500 due to such confusion. And it’s sad. It is sad because the graph is a lie…….at least in my case the graph is farthest from the truth……..sorry the coffee is kicking-in, I’m emotional about this subject. And even the next review I write will not have graphs, as why would I put a misleading set of parameters in-place? Meaning I use graphs when they help show realities present, but avoid using them when they are 80% wrong. That 80% is in small areas so it looks like less, but the mistakes are there. Here the EA500 shows even a lesser bass (graphically) than any recent EW200, EM6L offering, except that the bass is super well defined here. This phenomena results in clearer bass having the feeling of more bass, and it is all about perception, not reality in IEMs. Anyways on to the midrange, as such the mids are expanded out farther but showing a tip-off from the treble heat….and the upper midrange heat. And you know what they say about heat, if you can’t stand the heat, get out of the kitchen. So.......I will say there is a more technical presentation here that makes the EA500 way better than the SONUS except that could be at the expense of heat…….but I personally have no issue with it. And my Gosh……the coffee is kicking in, that and the EA500….is technically better, what can I say…bigger wider more imaged realism into the stage, and yes, if you compare graphs the bass may seem to be found in the back-seat……..but you remember from your teens how much fun the back-seat can be!

Packaging:
Just so you know there is an extra set of tips that are of a clear silicone make-up on the IEMs in addition to the 4 silicone tips to make a total of 5 sets. In addition there are also 3 sets of black rubber silicone ear-tips. Included is an extra set of four IEM nozzle filters and a case. The cable comes already joined to the IEMs.







Build:
Probably the first thing of note would be the filter system on the nozzles. I in my photography often polish the IEMs so as to not photograph extra dust, in doing so note the very small spikes inside of the outer nozzle filters. Such spikes can grab hold of the outer filter and pull it out. Yet I have never used any extra filter sets with of the extra four included. As they simply allow to be placed back into the nozzle, except just note that it could happen to you with cleaning. The nozzles seem to have three separate layers, the farthest back.........a black foam and the white sticker nozzle filter, with finally the metal partial occlusion (filter) which fits on the end. In the below picture somehow both end filters are not laying flat, but don’t worry as they can be repositioned correctly and are hard to lose. There are two vents on the back, one with a black ring in the middle of the back and one hard to see off to the side. The semi-custom shape and 5 gram weight means they fit wonderfully. While offering half a metal faceplate construction and half resin seems to really work here. There is the 2Pin holder which just like the Zero is at an angle so your cables can tilt in if they are ear-hooked. The IEMs themselves also offer color coding to demonstrate Right and Left on the sides of where the 2Pins go. The cable itself shows raised letters to show which is Right and Left, besides being ear-hooked with polarization of terminals.







Cable:
Unique is my best word for it. I mean where about 99.99 percent of cables are wound, here we are shown a ribbon cable. Such a cable even has two-pin extensions for what purpose in use............I’m not sure, but maybe the cable goes with other 7Hz creations in the future. I say this as the 2Pin receivers are in no need of such inner placement from the cable as they are flush? There is a plastic chin-cinch and see-through plastic plug. There is nothing wrong with this style of plug and any strangeness may come from the uniqueness in cable form held?





Music:

Hans Zimmer
DUNE OST
Ripples in the Sand
48 kHz - 24 bit
Showing its size and spacial properties is seemingly the very first feature noticed. Though I have to say the SONUS is basing most of its value on being well rounded. What I mean by that is true value being able to play off of any source or file quality. And while it doesn’t make a song like Ripples in the Sand as spread-out as I’ve heard it (like the SIMGOT EA500) there is still a nice balance between all aspects of this replay. Of special note would be the sub-bass at 01:11 which is low and effective but not vibrant, but more of a softer and careful style. There a very thought out demeanor that comes-off well calculated and totally non-offensive? Even the vocals held into positioning at 01:28 is not overly forward or set-back but find themselves rather cosy and comfortable? It’s this cosy little room that 7Hz has created for us to live in, not distracting.........yet not boring either?


Lorne Balfe and Andrew Kawczynski
Grand Turismo OST
And We’re Off
44.1 kHz - 24 bit
The defining aspect of the SONUS can be found in how the strings are highlighted and positioned right at the 00:13 mark. Really I was looking for a song that would show this ability and here is the example. As to understand what we have here, there have been revelations of bass playback when I was fully taken with such abilities, and the SONUS still offers that.............yet with other songs. Here we are once again concerned with the whole being represented, as such the bass drop at the very start 00:01 is still in its place to be heard, yet not drastically? It is the strings which start to show our emphasis and character.

Contrasts:
It is in fact a thrill that such contrasts can be delineated and described as of now. The separation of bass and the stage of the strings at 00:10…..the vocal choir......my gosh......the choir here? It’s all about the implied total.............and I mean total balance. At 01:07 the rhythm starts and again…..somehow everything is well represented here, yet not the most detailed. I mean, I have to fall back once more on the Hybrid solution, that we are in fact hearing the separation due to the two different methodologies in motion…..the DD and the BA. Any lack of detail while small, is maybe due to the ability of the two drivers to only do so much? Still I have trouble writing that as the SONUS is so very complete and sounds like more than only two drivers in action?


Hans Zimmer
Wonder Woman 1984 (sketch)
The Monkey Paw
44.1 kHz - 24 bit
Even the lead-in, even up to the 00:59 mark showing only background effects is nice, and somehow shows the stage to arrive into being bigger than previously guessed? Where of course the strings at 02:05 show a slight metallic tone, that can be forgiven as each thing in the universe is of itself and ultimately of its own nature never masked or always hidden. So how or why should it be any different here? While showcasing the spatial grandeur held in such a piece of recorded music……..such highlights of violins are of a double-edged sword. Thrilling us with their size but also offering a contrast that can only be found with hybrids……that tell-tale tone or better yet separation of tone, becoming both the blackness of night and clarity of day in the same song?


Conclusion:
Well there you have it, another idea and another poetic display of what creativity 7Hz can put forth. While nothing is perfect, there are some perfect moments to be found with the SONUS. I’m guessing they took their time in making a Hybrid because they needed the perfect BA driver, and they needed to match it up with a competent Bass maker? When you hear just how big the SONUS can get with the right file, you truly wonder where all those other drivers are when put into use with more complex designs? In fact I love simplicity, even though you may not guess it. The fact that there is just less noise to get in the way (between you and your music). But more than that, the SONUS has a subtle and versatile quality enabling it to go with any file quality, any DAP or Dongle……even a phone. And when you test as many IEMs as I do, such facts of life become a thing of value. Where the SIMGOT EA500 is more vivid and robust, larger sound and more of a brute, the SONUS is slightly more refined and polite. Where the FUDU has special needs that has to be catered to, yet emits beautiful music when all the requirements are fulfilled. And the SIMGOT EM6L which while driving much in the same direction, finds itself holding back a little midrange and treble vibrance despite costing $50 more and having 3 more BAs involved per side? I mean we are at the point now that has never before existed in history……..IEMs that sound like a million yet all cost close to $100.00. And if you don’t believe me, simply try any of the above, I really don’t care. As each and every one goes ahead to proclaim its place in sonic history, while each having a slightly different taste. And the taste is really what it is all about……..do you want vibrance and more technicalities, and risk the heat in the kitchen, to move forward on the EA500? Do you want a more laid back EM6L smoothness with a slightly warmer bath water to relax in, yet a speaker experience like what the SIMGOT EM6L displays? Or are you sure of your source and are confident that you can handle the less than perfect phone output, in contrast to the regular audiophile sound a DAP does with the TANGZU FUDU? Maybe your game for simply the under $25.00 7Hz Zero action. As much as stuff changes in the audiophile landscape, true values never go out of style. Sure every six months a whole slew of new products come out, but that never undermines what came out just last year………at least with the 7Hz Zero it doesn’t. Maybe you want what a simple yet effective Hybrid can do and are willing to put-up with how it’s intrinsically different from a full-range Dynamic Driver? That difference comes from the sonic realization that there are lower notes and higher notes and the Hybrid methodology embraces that fact of life……showing more contrast in the end. Yet all the above wouldn’t matter if there wasn’t note-weight. Yep, the fact that the SONUS has note weight dialed in. So even when details are showing in the most intense of replay, that note weight is ever present, I wouldn’t like the SONUS if such a technicality was missing.

$59.99
https://www.linsoul.com/products/7hz-sonus

Comes in your choice of three colors.

Technical Details
Model 7HZ SONUS
Frequency Response 10-20KHZ
THD <1%/1KHZ
Impedance 30Ω(@1kHz)
Connector 0.78mm 2Pin
SPL 109DB/V@1KHZ
Material Medical-grade material front chamber + aviation-grade aluminum back chamber
Cable Material High-end silver-plated OCC cable (49 wires per core, 4 cores braided cable)

Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?i=merchant-items&me=A267P2DT104U3C

7Hz Salnotes Zero
https://www.linsoul.com/products/7hz-salnotes-zero

TANGZU FUDU
https://www.linsoul.com/products/tangzu-fudu-verse-1

SIMGOT EM6L
https://www.linsoul.com/products/simgot-em6l

SIMGOT EA500
https://www.linsoul.com/products/simgot-ea500

Disclaimer:
I want to thank Kareena at Linsoul for the love and the 7Hz SONUS review sample.

Disclaimer:
These are one person's ideas and concepts, your results may vary.

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 3.5mm and 4.4mm
Sony WM1A Walkman DAP MrWalkman Firmware 3.5mm and 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
Shanling UA3 Dongle DAC/Amplifier 3.5mm and 4.4mm
Samsung phone 3.5mm
HiBy R3II DAP

The Penon Rhodium Plug
As far as new cable choices, there are quite a few choices. But what if you didn’t need to buy a whole new cable for your IEM, what if sonic success was reached simply by adding a plug? Such choices are offered with a number of Penon/ISN cables. As such just $29.00 allows a change to your already in-place cable set-up.


Below showing the Penon 10th Anniversary IEM Model and aftermarket ISN CS02 Rhodium Plated Plug Cable.



Disclaimer:
I believe in cable changes, but often they don’t work miracles. Meaning if you have a favorite IEM in use and say you want to enhance an aspect of playback at times you can, but other times things remain the same........even with a different cable. Take for example the Penon 10th Anniversary Commemorative IEM, as my favorite Penon product ever. I love it…….but as always it’s not perfect. Nope, as an example……..in playback vocals are good, but not the 10th’s speciality. So being what the 10th Anniversary is, I love it anyway, despite how it sounds, and maybe because of how it sounds in total? I mean I was the guy with the giant instrumental music collection, as sure some vocal music made it in, but as a whole I’m all about the instruments, not vocal replay. Now this doest mean the 10th’s vocals are bad....…..no, just not in emphasis. What would happen if we choose a permanent Rhodium Plated Plug Cable to use with the 10th? In comes the ISN CS02 cable, a legendary cable with the 10th. And while it totally changes so many attributes of playback, making the 10th the best I ever heard it, the CS02 cable doesn’t perform miracles, as vocals are different, but still not emphasized. But what the CS02 cable does is tighten up the bass, focus bass imaging, expand the stage in every direction and create enhanced imaging, even midrange imaging!

But what if we simply take off the Rhodium Plug from the CS02 and make it available to the public?

The Penon Rhodium Plug:

Top to bottom:
Penon Rhodium 3-in-1 Plug $29.00
ISN CS02 with Rhodium Plug $69.90
Penon OSG with Rhodium Plug $299.00

3 in 1 Series:
Penon OBSIDIAN $149.00
Penon Leo Plus $249.00
Penon Mix (with 3-in-1 Palladium "Purple" Plug) $149.00 (Cable by itself)
Penon Space $99.90

Each style of cable produces alternate sonic properties. But what if you could buy a single $29.00 (additive plug) to enhance an IEM/Cable set-up you already have in place?

That's what the $29.00 Penon Rhodium Plug is about.
That's what the $29.00 Penon Palladium "Purple" Plug is about.

Compatible Models:
PENON 3-in-1 cables:
Penon OBSIDIAN, Penon Mix, Penon Storm, Penon Impact Cable, Penon Space, Penon Totem, Penon Leo Plus.

ISN 3-in-1 cables:
ISN Solar, ISN H2, ISN S2, ISN C2

Interestingly part of this review is going to be the differences from the Purple Palladium Plug to the Rhodium Plug: Sure they both cost exactly the same and go into use much of the same way. But remember you're not going to normally be able to use these plugs on non-Penon cables. I tried and the pins don’t line-up. But as you can see if you already have the OBSIDIAN, Mix, Storm, Impact, Space or Leo Plus you’re in luck. They also work with the ISN Solar, H2, S2 and C2 3-in-1 cables.



For fun let's get started with the HISENIOR OKAVANGO!
One reason I picked this IEM is because of one price. The OKAVANGO comes in at $299.00 as a great example of what is possible in 2023 in IEM sound playback. Due to an affordable price it may be more in use than a flagship IEM. But the other reason is I found it incredibly balanced, almost totally even in replay. I mean the vocals were accounted for, the treble was nice, but not over emphasized, and the bass, while firm, was not over stated but just right. But like the Penon 10th, I was wondering if any enhancement was possible. Different from the 10th, the HISENIOR OKAVANGO has a slightly smaller stage yet once you start in a listening session none of that matters, except I wanted to see if I could enhance the stage, I wanted to open-it-up slightly. Also I was curious about imaging and definition? Also keep in mind that as far as IEMs go the HISENIOR OKAVANGO has a lot of leeway to move in a number of directions. You can make it brighter and it’s not too bright, you can add warmth and it’s not dull, and it would be fun to see if an increase in stage would bring about a larger style of playback. So what did I choose?



The Penon Mix Cable:
The fact is once in a while the Mix (with its pure silver additive) is too bright. But yet somehow we reached a nice balance with the HISENIOR OKAVANGO. So lets change some plugs, shall we.



The included regular Copper Plug:
Probably the most relaxed replay, offering slightly warmer (thicker) itemizations into a denser stage. And while there could be finite separations and spatialization present with both the Palladium and Rhodium…….they were not necessarily always better but always definitely different…..depending on what you want. Meaning there was an increase in energy seemingly found with the Rhodium and Palladium Plugs, a focus of itemizations further from the backdrop………..normally found. Of course all this plays on the fact that system-synergy is always looked for, the combination of everything as one. Meaning yes, the HISENIOR OKAVANGO is well rounded and very competent to reveal such changes, but there could be further truths found with other even more detailed IEMs? And….again keep in mind it’s the full resulting combination of DAP personality, cable personality and IEM personality, to where there could be an attribute of only a single totally noticeable aspect which in-turn seals the deal? Plus not to mention the slight plug character, while the least dramatic effect on replay, is still a fact of life.

Ear-tips:
Meaning just ear-tip choices are going to make a noticeable and huge difference in playback, and while some neophytes may rely on the eat-tips single power to change sound, many of us have progressed onto other extra sound changing factors. What I’m saying is yes, ear-tips cause a dramatic change of audio circumstance, yet we all know they are not the end-all, end-all. Due to the nozzle opening of the ear-tip stage is affected, due to shape of ear-tip the fit is affected. Yet, also if stage is decreased with a smaller nozzle circumference opening, bass is added to the replay. With such basic ideas in replay, there can be further abstractions depending on personal ear anatomy and over-all IEM shape.

The two things:
This means two very important things which may seem conflicting? While the HISENIOR OKAVANGO was brought into a dense style of bass with longer/narrower nozzle openings, the stage was somehow not as different. There are still unarguable aspects of these changes, namely psychology…..hence when you change to your normally used wide-bore ear-tips you can subjectively note a broader stage, and lesser bass focus. Yet at times (and depending on differences in IEM playback character) a bigger bass replay will seem to add stage!

This brings us to the final cable argument that suggests cables offer different aspects of end sound in contrast to simple EQ settings. I would like to suggest that just like the ink pen is an advancement over the paintbrush, and the paintbrush is an advancement over the simple rock scratching on the cave wall, the use of cables brings about an advancement of details. The confusing part of understanding this concept is that of tone personality. That in fact EQ offers a blanket form of charge, where at times cables will only alter a segment of playback, except the other thing they do is add character. Such character is often difficult to describe yet found across the same metal choice in various manufacturers' cables and numerous different IEMs applications. It’s a combo feature normally like the OSG’s graphene causing a smoother replay but combined with a weighted treble opposed to silver. Silver offers-up an increase of energies into the stage spatial optimizations through imaging energy, yet also normally containing thinner density.

Per Dsnuts:
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.

Let us not forget the Palladium is also used as an additive with gold and silver in the Penon Leo Plus. Graphene is one of the main additives besides silver plating the copper wire with the Penon OSG cable. And of course we as humans slowly gravitate towards a specific cable in use (our favorite cable) often finding that it seems to add the properties we like to numerous DAP/IEM combinations.



The Rhodium Plug:
Rhodium Plug v Standard Plug:
Rhodium is inherently thinner (in response) ever so slightly, yet bringing a mix forward, and polishing the faint treble elements, making them have a (brighter) reflection of luster. Still totally clear, but a subtle repositioning of importance, a repositioning of relevance to one another, as the audio stage took place. So think of regular copper plugs as thicker and warmer offering a basic full background, and ever so slightly darker imaging.



The Palladium Plug v Rhodium Plug:
Doing normally what the Mix Cable does naturally, the sound was bigger, more forward and wider…..showing an increase in stage from the included cable and included plug……but now referencing in comparison to the Rhodium Plug.

The was actually an unexpected Palladium clarity and forwardness in contrast to the Rhodium plug? A definite widening and bringing forth of imaging. Such Palladium imaging was closer and farther outwards, yet seemingly louder?

To tell you the truth I loved the Penon Mix Palladium Plug combo with the Noble Audio Encore K-10. Such a combo was the true highlight of my day, I liked it better than the Rhodium plug in place. Just big authoritative imaging, that looked almost as if you could touch it? While never strident or too bright, the images were simply more 3D?



The OBSIDIAN Cable:
This test had to take place as the Rhodium Plug was made for the OBSIDIAN cable. This test was in-fact my very last test of the Rhodium Plug. And when this review started I didn’t understand both the prescribed combo of the OBSIDIAN cable and the Rhodium Plug. But later after learning the sound qualities (the trimming) that the Rhodium Plug does, just by its nature, the what I call “stingy” demeanor of how the Rhodium acts…..well finally I understood its uses with the OBSIDIAN. It’s a way to correct the OBSIDIAN and make it cleaner. So I will use one of my favorite IEMs ever with the OBSIDIAN, the Noble Audio K-10 Encore and see how it fairs? Strangely smoother and extending out harmonics into longer trails….not so contrasty, thus reserved and correct. Simply smoother and more readily accessible, but only a slight difference really? It made less difference than I expected, but again that’s the psychology involved because you’re told the plug was made for a cable, you approach the scenario with far greater expectations, which in reality are often never met.



Conclusion:
You know before when I would listen to the (Rhodium Plug) Penon OSG cable or (Rhodium Plug) CS02 cable I would always wonder how much the plug contributed to the overall sound. Truth to be told, those two cables are some of my most favorite cables ever, and even more so in that they are both reasonably priced. Strangely, just like sources or IEMs……..cable prices seem to go along with material costs and subsequent performance gains relative to cost of ownership. Yep, more expensive stuff just sounds more elaborate and better when correctly matched into synergy. I have spent years trying to find the performance loop-hole? Such a find would be a $40.00 IEM that sounds like a $400.00 IEM, or a cable included with a $20.00 IEM that sounds like a $200.00 aftermarket cable. But guess what? Somehow there are laws which govern the build of this stuff that follows an order. Meaning if there really was a $40.00 IEM that sounded like a $400.00 IEM it would be the talk of the town…..but no such things exist……at least not yet anyway. What this means is you get just what you pay for. Now sure, there are performers and lackadaisical performers, that’s just natural. But we would all agree when synergy is found it is golden. You know those times when all the equipment and music comes together to make an outcome truly an experience. And that’s our goal, to choose wisely and reap the benefits.

Now I will be the first person to say these two plugs in question seem the most like audio jewelry. They do! The IEM, the DAP and the cable make the most difference, we know this, it’s not arguable. Adding a small difference of metal plating on to the end of a cable creates a small difference, yet many audio manufactures charge $100.00 for this Rhodium or Palladium ad. Yep, you can have your cable with this extra slice of cheese, or not.

To Rhodium or not to Rhodium?
Back to my original question, you know it still isn’t answered in that it would require a Penon OSG cable and an OSG cable with a regular plug to tell the difference. It would require a CS02 cable and a CS02 cable with a regular plug to tell the difference too. So this additive of a Purple Palladium or Rhodium Plug that we can place on the end of various cables to change the sound in the next best thing. Truth to be told the Rhodium plated 3-in1 was invented as a way to enhance the Penon OBSIDIAN cable, but other success stories are found to be true too. Namely an unexpected combo inside of using the Noble Audio K-10 Encore and Penon Mix cable. Such a combo was often avoided for fear of being too bright, yet somehow this time it showed focus on the differences of the Rhodium Plug, and Purple Palladium Plug in comparison to the Mix Cable included Plug. And sure enough those differences were spelled out the same as with the HISENIOR OKAVANGO, only just slightly clearer and with greater accuracy due to the Noble Audio K-10 Encore additive drivers and tuning stance.

Remember often TOTL, or past TOTL IEMs will give us a clear window into cable changes due to perceived resolution.



What’s it all mean?
Quite simply you have a relatively inexpensive way to fine-tune your already acquired equipment. Truth to be told, this change is the farthest from a big change, but can be appreciated for an extra 10% of personality, in the right place. But the way the human mind works, we can focus on that 10% and somehow it becomes larger, way larger than I want to say…….but more than a simple 10% change. This change could be like studying the birthmark on a face, such a seemingly small 1% spot, all of a sudden sets off the whole look of a person?

Rhodium v Palladium:
But in truth there was a difference between the Rhodium Plug and the Palladium Plug. Where the Rhodium was more stingy with the out-put, holding back and refining a stance, the Palladium was more forward and vibrant showing more colors and closer imaging? Though I can totally see how both could be of use in the right application, it was just in contrast to one another the differences were (totally) noticeable. With that said, the regular included copper plugs offered a thicker response of slightly less contrast, and because of the contrast seemed to show a more evenly distributed response? Thicker, warmer and holding a denser background stance? And some may only want that effect? Where especially with Palladium Plug (in contrast) showing a closer and in-your-face style of imaging.............gaining resolution and texture while still not sibilant or too bright?

Depending on your original cable:
Yep, so to try and simplify things, keep in mind that your original cable is going to offer the most difference between sound responses. Yep……but there may be a difference that is unpredictable and gains advantages simply by using whatever plug you have at hand. Now remember this changing of plugs is way faster than changing cables, as it is only one change, you unplug the DAP, switch plugs and put it back. It takes all of 1/2 a second to learn the differences. You can even pause the song for a moment and simply continue on your way. Also remember part of this is going to be taste and preference, as there will be not always the same experience for everyone, in fact I can guarantee you will not have exactly the same results as I. Except there are perceived responses that are similar between equipment, thus a form of learning takes place at Head-Fi with comparing notes.



$29.00
https://penonaudio.com/PENON-Rhodium-plated-Plug

$29.00
https://penonaudio.com/penon-audio-custom/penon-purple-copper-plug

Disclaimer:
I want to thank Penon/ISN Audio for the love and for the Penon Rhodium plug and Penon Purple Plug 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 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

TANGZU FUDU
Redcarmoose Labs September 21, 2023

TANGZU FUDU VERSE 1
So here I am and I get a few IEMs in the mail. Actually at this point I’m slightly jaded. I mean how am I going to get my thrills………..maybe not from another $89.00 IEM. Meaning I’m happy to hear this new IEM, but the look on my face is one of casual boredom………this is probably just like all the other sub $100 IEMs from China. Yet I forgot my very own history here……that’s right I reviewed the $149.00 TANGZU Wu Zetian…and I loved it. I reviewed the $19.00 TANGZU Wan'er S.G, and again it was price-point leading, hence getting a great score. I reviewed the $15.00 TANGZU Princess Chang Le, and loved it for what it was. So why am I not more excited here?

Then I remembered what the TANGZU FUDU VERSE 1 was, it was a 10mm DD, in addition to 2 custom BA units. Wait a minute? I have never heard TANGZU do a hybrid up to this point……and hybrids are my favorite methodology to make ear-phones. Now I have left something out in this story…..I put them in my ears forgetting all the above.

Then I heard them. Yep, Wait what? The bass was fantastic, the midrange and treble too, this was insane. Insane because of how good these little guys were. I should have known, mix my favorite way to make IEMs, then have the tune designed by new legends of the industry…….of course this was going to be pay-dirt. Sold gold……really really special. I mean just like that the TANGZU FUDU VERSE 1 jumped ahead of all the others in my review schedule. This was going to be a super easy review to write…….I simply need to put down my experience in writing…..easy.

Build:
Let's start with how these are made. At only 4 grams a piece, they are a joy to wear. Somehow there is really good noise occlusion, even though they have two vents on the bottom side. A CNC metal faceplate is then topped upon a resin 3D printed shell. Such a shell is somewhat see-through showing the 10mm driver and some foggy views of sound tubes. The nozzles are metal with very good tip lips which hold my favorite ear-tips on perfectly. Also at times I can’t use my ear-tips as the nozzles are too short, but here they are perfect. Some reviews call the FUDU cheap due to a plastic build, where I am totally opposite finding the construction first rate? Now the question is do these fit close to the ear even though not being a semi-custom shape? Now my guess is it is the size in regards to fit, because they are a little semi-custom if you look, just not having any drastic fins, making them feel simply normal. To me they don’t feel cheap at all. Very low-key, even the cable is understated, flush for the 2Pin and I eventually got the 2Pin to join flush with the IEM, not like some of the pictures show. Also note how well done the nozzle filters are....as they are permanently set in place! Metal nozzles hold my favorite ear-tips on really well and are of the correct length, so fitment shows exceptional.

Let’s get into the music!

Disclaimer:
Before I get started realize that an IEM of this caliber will only do so much in comparison to (some) way more expensive examples of ear-phone build art. So no matter how great I describe the FUDU to be, just simply keep this in mind.

https://www.linsoul.com/products/tangzu-fudu-verse-1

Meaning it’s $89.00, and in that realm compared with other under $100.00 IEMs it’s great, but by no means equal to a $400.00 or a $2000.00 IEM. The reasons why you may like it anyway are due to balance/tone and simply getting involvement by listening to your favorite songs. But the more I review and the more products pass my desk, I am able to generalize things. The one main generalization is size of replay. So no matter how great the FUDU is made out to be with my descriptions, just keep in mind that typically more expensive IEMs are generally going to offer a bigger stage to encompass more of your perception. Literally stuff in the (grander) stage will often be closer and farther away. Imaging is bigger (and often) more detailed to project items farther outwards with more expensive examples. These are just the facts of life!

Later after the music section, I will get into the general sound properties of the FUDU.



Lorne Balfe and Andrew Kawcznski
Grand Turismo OST
And We’re Off
44.1 kHz - 24 bit
Wow, the start of this OST has it all. Great violins and chorus showcase this particular start-off. Deep plentiful bass hits, and just like that……….this game leads up to the adventure at hand. Being this is the start, it could in-fact be also the ending of the movie in theme. At 02:26 life gets slightly more emotional and subdued, yet the pace is still catered to by the bass. At 03:06 there is a breakdown and we are given silence from the rhythm. Anyone who knows this style of music knows that there may be quietness before the storm. At 03:14 fast drum hits take place, yet the FUDU makes everything simply accessible and not harsh. At 03:20 we are brought back inside the mix………..full-on. The FUDU makes sense of this song and its myriad of additives. My favorite part is the accent that is basically the feeling of race cars traveling by, only it is done with a synth that travels incredibly fast from the right to the left ear. I would go on, except we have a lot of music to cover here, proving just how well-rounded and special our little FUDU is.



Klangwelt
Here and Why
Cold War Child
44.1 kHz - 24 bit
This is the song that blew my mind and showed me really what the FUDU was ultimately about. At 00:37 the piano is totally accurate as far as timbre. And to be vocal here these are some of the very best non-named (neither Knowles or Sonion) BAs I have ever heard? It is both how the tune is done, but also the very careful timbre that simply sounds real. It sounds musical and involving due to the correct tone. At 00:52 the bass metronome hits……and I got chills from hearing this. Again I don’t get chills that often anymore, but I did here. It was maybe the separation and pace of the bass, the overall tone of the bass? I don’t know, why? There is a place in this song where you truly start to understand the soundstage you’re working with. At 01:26 the simple use of the keys along with the bass makes this presence of stage known, and appreciated. The FUDU is just too good to be under $100…………..end of statement.





Hans Zimmer
DUNE OST
Ripples in the Sand
48 kHz - 24 bit
Here we are gifted with a naturalness that allows a song that I have numerous times heard on more expensive gear, sound correct this time, but more than correct the flamboyance is what we came for. Surprisingly the bass in this song is often mixed just at the threshold of our hearing, yet the FUDU goes there, the FUDU brings it, it brings it all. At 02:08 there are vocals being sung, and deep lows enhancing the contrast at hand, yet it is all these ultimately detailed variations in lower tones that sounds like (so much more) IEM? Over here at Redcarmoose Labs, it’s the bass transients that are making my day.

There is more going on than at first guessed. At 02:46 there is a string instrument that is full-on enhanced with effects, but also it is traveling across and back into the stage. This element has a way about it, just like the race car sound in the previous Grand Turismo OST track. But then there are these knocks……….at 02:54……….these knocks are well separated (of course Hybrid) this is what hybrids do naturally….they simply delineate the music, especially when you have highs and lows going on at the same time like the present. But it is slightly more than that…….the tune? The technicalities of this little FUDU have me shaking my head……I’m simply surprised the FUDU can take on this music at this level and pull-it-off. At 03:05 the bass size (the drop) is enhancing the stage, and of course the stage size (brought into reality) due to bass presence. It’s big, it really is……bigger than you would first guess, by reading this?



Hans Zimmer
Wonder Woman 1984 (sketch)
The Monkey Paw
44.1 kHz - 24 bit
Here we are shown a stage and bass speed that up-until the very last song in this review sequence, was thought to be coming from the FUDU. Little did I know, the source is supper important here. So with my Sony WM1A it’s wonderful, in fact the FUDU grabs hold of the speedy bass transients and makes it work-out. At 01:06 this heart beat style drum takes the pace. Outside of that there are small noises of random thought. Then a waltz starts up. A syncopated rhythm with this wonderful bass laying below….and each note of that bass follows a timing…..walking back and forth to the notes. And while not the most detailed, the FUDU has the musicality down in this number. As violins travel out to the sides and add the required contrasts, there is a slow progression into the fact that this song really goes nowhere, except I’m sure supports the visuals well. Oh, that's right, this is only a sketch!

Intermission:
The previous songs were done with the Sony WM1A with included cable and my regular wide-bore ear-tips. The only slight advantage from a stock WM1A would be the aftermarket firmware provided by MrWalkman. For the next song I will change to the MacBook Air/Shanling UA3 (in 4.4mm) combo, as an attempt to learn more about the FUDU. Also in use is the included cable and ear-tips. Computer software is Colibri 2.0.2.


Ray Lynch
Deep Breakfast
Celestial Soda Pop
44.1 kHz - 16 bit



In many ways this is like the Klangwelt song above, though the one difference is it is from another older generation of synth ideas. Kind of a home brew style of creation, selling 72,000 copies in 1984 from his apartment before going platinum a few years later. Using a few home-made musical tricks upon release, Deep Breakfast went to show there are really many ways to make music fun and intriguing. The TANGZU FUDU takes and creates a wonderful head-stage, and for many this was one of the first popular albums in its day to showcase headphone imaging……besides Pink Floyd of course. Here there is this simplistic joining of a few musical elements into a correct and calm style of (new age) fantasy music. Around the 00:43 second mark the minimalistic drums appear……….and somehow even though stripped down the song goes to add (additional) elements one by one. It’s that everything goes by a balance and while this does sound like Ray is using different overall volume levels to alter intensity, still it all works out in the end. Really this song comes from a time when playbacks were not monitored, hence as an early listener of such music we never knew when the song was ending……there were no digital sound counters on vinyl replay or tape players. One of the tricks here is what seems like the song’s ending, just to go about one more charming verse. Just like the FUDU in its creation, this is only FUDU verse one, as verse two will arrive at some point in time to signal a new addition to the TANGZU family. What will the second verse of FUDU be like, your guess is as good as mine, and that is part of the fun, as not knowing everything has its charms.




The Shanling UA3 conclusion, plus FUDU generalizations:
This was surprising and not in the planned review sequence. Why? While the FUDU is thick and harmonically rich, it is still increasingly dependent on source for that richness. Here the Shanling UA3 was simply just getting us by. What I mean is it started me off on a tangent of trying a bunch of music and devices. And I learned that somehow the FUDU really does express what thickness you give it. What that means to you as a consumer is that while always audiophile and well balanced, the TANGZU FUDU will only offer so much thickness/stature from a Dongle or Phone. This is in contrast to the last two IEMs I’ve just reviewed, that while (they were) way more money, they also made phone playback slightly better……..more well rounded and full sounding. It doesn’t mean the FUDU sounds cheap, except there will be times in use when truly a Dongle of Phone will not emphasize the size of stage or depth of bass, that and the extent of the stage. Going to a higher quality source the FUDU will scale and show a better demeanor. Now this in itself is an interesting facet of FUDU playback. It means that yes, it has the quality to verify source level, but also plays a little different out of each source. The inevitable outcome of such skills or lack of skills depending on how you look at it…………. is a spectrum of takes on playback. This means the TANGZU FUDU wasn’t as well rounded as first guessed. Still, there is a quality obtained through playback, yet in a way it needs to be catered to…….to reach those quality levels.

Remember those DAP reviews when the reviewer was stating that the DAP made the IEMs ear-candy, well this is that style of IEM that will scale up to ear-candy but will also not become that inspiring if you power it wrongly.

This may in fact be due to the driver count, or design……I mean it is only made up of three drivers 1DD and 2 BAs…..so? To summarize this paragraph, while great, the FUDU has its limits of what it chooses for sources. Where there can be other IEMs both higher priced and lower priced that are in general more well rounded to source. At its worst the FUDU will sound thin and even reserved to contain an authoritative bass, while still smooth, there may be times when the thickness needs enhancing from a thicker source. At the same time get the FUDU what (source) it asks for and be amazed at what sound this little IEM can shoot for. At Head-Fi this basically means there will be (other) conflicting reviews to a point, where some reviewers simply don’t realize just how far this FUDU can change with source. The fall-out of such means the FUDU may actually get interpreted many ways, at least that was even my very own (mistaken) first take on playback, finding the deep bass emotional and moving, yet what I didn’t realize is the speedy bass transients were (obviously) coming from upstream with my DAP, as the FUDU was simply playing what was there. Yep, get it a thin source and find out just how thin the FUDU will go. It never goes to a really bad place, except scales back depending on the signal, and character of that signal.

Sound design:
While smooth and complete the above critical aspects about replay need to be addressed. As in my testing there have been a few better IEM all-rounders that seem to make note-weight out of thin-air, which we don’t have here, yet at the same time there is an honest transparency that allows the FUDU to scale to an extra beautiful level. Inside that level (which can even be obtained with a DAP) a complete natural and correctly even response can be obtained.

Bass:
While carefully set-back the FUDU 10mm DD produces well defined and clear examples of bass replay. Never going out of character and overshadowing the midrange or treble, we are gifted with completeness and while not class leading, there is a composure to the bass that is unarguable? A tone that seems to go the extra mile to almost not sound like a disjoined separate driver?


Graph of the Tangzu Fu Du via IEC711 coupler. 8 kHz is a coupler artifact peak.

Mids:
Now interestingly enough the mids get their personality starting at a lower energy 2kHz peak, then finding focus at 4kHz…..bypassing little of the 3kHz energy. Such a way goes with standard thoughts by balancing out the low-end energy with almost an exact 4kHz placement, and that’s how it sounds.

Treble:
Going with a subtle 5kHz peak, the 8kHz is measuring tool resonances. Once again here we are never in danger of getting an unnatural hyper treble creating outstanding detail, thus what details are there seem to blend with the character provided by the whole? That softer line is a path that may in fact be responsible for our appreciated lack of BA timbre. I mean really the tuning was a goal of cohesive balance without the brightness, making big stage reaches or subsequent inherent heat. Keep in mind about the transparency here, meaning get the FUDU a bright source (lacking bass presence) and discover (strangely) just how resolving three drivers can be in the end to show source. Though for myself it was nurturing note-weight as a path to success, regardless of just how much bass was obtained.

TANGZU FUDU VERSE 1
HIFI IN-EAR HEADPHONES 1 DYNAMIC DRIVER + 2 BALANCED ARMATURE IN EAR MONITORS EARPHONES

• Elegantly Crafted CNC Metal Panel
• 3D Printing Resin Cavity
• Powerful 10mm Dynamic Drivers
• Two Customized Balanced Armature Drivers
• Gold-plated Headphone Plug
• High-purity Oxygen-free Copper Wire
• Exquisite Accessories

When ordering make sure to chose 4.4mm or 3.5mm plug

Packaging:
Interesting as this particular IEM came with a thorough packaging set-up. Probably way more elaborate than with other examples in the price-point. Along with the incredibly special designer Tangzu Tang Sancai ear-tips you also get the black Divinus Velvet silicone ear tips. Plus one extra (M) set on the IEM, which are different all together….sorry I didn't get a picture of the two (extra) ear-tips. So S,M,L of both Sancai and Divinus ear-tips and one set of medium generic ear-tips. It should be noted that TANGZU also just introduced new wide-bore Tangzu Tang Sancai ear-tips, but those are not included. Besides the IEMs themselves you get a great cable and a pouch. A super nice big-gold-zipper works well in dark lighting to help with case use. TANGZU has their own faux leather work which successfully covered other cases in the past, only this black color is new.

The Cable:
Both the splitter and chin-cinch are aluminum as is the actual 4.4mm plug. When you order your only choice is if you want to go with 3.5mm or 4.4mm. Much of the time I need to change-out cables to access the 4.4mm better amp in my players, but once again TANGZU provides the win-win here, allowing me to complete this whole review with a dynamite cable! While after so many aftermarket cables (in my testing) the included cable may seem on the thin size.....though sonically it’s great and the ergonomics are fine. Interesting too there is no branding anywhere to be seen. The only words are on the IEM faceplates, next to a very small R or L marker.................And the whole shebang works out here, it really does. The 2Pin barrels came designated with red or blue painted rings showing a nice ear-hook design. Probably my favorite aspect of the cable choice is just how maneuverable it truly is. Such a cable goes into a small coil and easily gets put away into the pouch. When out and about such a cable lays very well, keeping microphonics to a minimum. There is no fight here with this cable, only love!

Conclusion:
First my plans were to think this was like any other sub-$100 choices out there. And while the FUDU is not price point leading as far as technicalities, there is an understated and smooth quality that seems to never escape this IEM. And if you’re on-board with just how this frequency response is placed, there will be no looking back. Yet also the FUDU is very reactionary of source, so reactionary that you hear past the IEM into the very nature of the source you have chosen, quite the accomplishment for the price-point. That is supposed to be good, at least it sounds good to read, except if you don’t have the magic source on hand you may find yourself with less than optimal playback. That less than optimal may center around note-weight…..maybe possible stage, even bass depth. Such a Chameleon means that this beast is a little harder to review, because I’m not sure what source you have. So, the scalability is real and present.

Accessories:
The FUDU still comes in incredibly complete accessory wise. Yep, the swanky case, the silky smooth yet understated cable, the clear Tangzu Tang Sancai ear-tips, the Divinus ear-tips. The presentation in how all these goodies are introduced to you, the fact that every FUDU made comes with its very own serial number. The IEM themselve, the way the BAs have zero off BA character, the 10mm dynamic driver which together creates a Hybrid listening experience, a first for TANGZU! The understated markings on the IEMs themselves and the unique faceplate design. You see what has been given is the complete package with attention to detail…..even simply the no-fuss way the cables attach to the IEM and the ergonomics resulting due to only 4 grams a piece. The fact that they are actually super small a point that I have should have emphasized sooner, and finally the sound is spectacular and totally coherent.

Desktop:
I mean I did something crazy here. I hooked up the FUDU to my reference system as a way to discover if truly there was an undiscovered genuine quality about playback. But the little secret is that the Sony TA-ZH1ES desk-top holds superior note-weight. Yep, that and the fact that the bass isn’t too shabby either. I can’t help thinking this was in-line with equipment used in FUDU design at TANGZU headquarters? At least here we are truly discovering the true personality of TANGZU’s latest creation. Joining the TA is the Sony WM1A's (black background) file player, and the Sony Walkman holder as a mount. Transfer takes place with the AudioQuest Carbon USB, and we are shown the FUDU in the best of light.

Take it to the Max:
To maximize all this potential sound quality a file was chosen. While everything matters in playback, many audiophiles believe the quality has to start at the top. I can truly say that the tone was both detailed and natural, holding exquisite positioning, reminding me how Hybrids are my favorite way to go. Now obviously the FUDU isn’t everything, I mean even in this set-up I could understand the drawbacks in relation to TOTL IEMs. Still I have to say the FUDU doesn’t ever try to be more than it’s not……not trying to boost the treble into a bright unnatural way to obtain detail, same as the bass where it’s not earth shaking or too much. What we are presented with is balance, balance and note-weight. Yet with this a careful musicality that holds a quality that is unarguably correct and wholesome.

TANGZU
I mean it’s a TANGZU, so you already know the tuning style, and in their 2 long years of life TANGZU is introducing their house sound again and again, reflecting off different driver methodologies. DDs, a Planar, a Hybrid…..and who knows what the future holds for them? Though I do know one thing, TANGZU hasn’t skipped a beat with every creation, continuing the tradition of excellence as a form of artistic expression. And while there are no surprises here, nothing is boring either..........as TANGZU has produced another workhorse of an IEM.

$89.00
https://www.linsoul.com/products/tangzu-fudu-verse-1


Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?i=merchant-items&me=A267P2DT104U3C

Disclaimer:
I want to thank Kareena at Linsoul for the love and the TANGZU FUDU review sample.

Disclaimer:
These are one person's ideas and concepts, your results may vary.

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 3.5mm and 4.4mm
Sony WM1A Walkman DAP MrWalkman Firmware 3.5mm and 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
Shanling UA3 Dongle DAC/Amplifier 3.5mm and 4.4mm
Samsung phone 3.5mm

Sound Rhyme
Who is Sound Rhyme? Well they are a fairly new manufacture, at least a new one that has come to light in the last 8 months. You know, the latest big IEM thing..........with many local members getting into the brand and discovering products from the line.

Sound Rhyme as of September 18th offers:
$749.00 Sound Rhyme DTE900 4EST+ 4BA + 1DD
$369.00 Sound Rhyme SR7 1DD+6BA Hybrid
$749.00 Sound Rhyme SR8 14BA
$59.00 Sound Rhyme SR1 Bass 9.2mm (single full-range DD)
$459.00 Sound Rhyme DTE500 2EST+ 2BA + 1 Dynamic Driver Hybrid
$149.00 Sound Rhyme SR5 4BA + 1 Dynamic Driver Hybrid

Sound Rhyme:
So you know the deal, a new manufacturer comes along and gains a following, yet all this just happened, and is happening as we speak. Sound Rhyme is the brand of the moment!

@AmericanSpirit
He started a Head-Fi Sound Rhyme thread back in early February of 2023 beginning with the $149.00 4BA/1DD SR5. He called it an “undiscovered hidden gem”….this business moves fast, as now you can choose from six Sound Rhyme IEMs. Anyway, this is the very first Sound Rhyme I have been introduced to, and I have to say the company is doing a number of things right. From what I can tell, this SR7 is a good example of bringing a few new ideas to the hobby, resulting in more sound for your dollar spent. I know that statement sounds like hyperbole, but I will get into the hows and whys.

Sure there are all kinds of IEMs coming out at this point in time, yet new companies still figure out ways to get ahead. This Sound Rhyme company is giving you more as a vista to get ahead of the pack, extras in order to get noticed apart from the other manufactures. Even the overall shell look shows-up dynamically different and original?

SR7 key features:
2 x Knowles Balanced Armature 33518
4 x Sonion Balanced Armature 26U
1 x 9.2mm dynamic driver
2 tuning switches, 4 kinds of tuning mode
Choose 3.5mm or 4.4mm plugs (When ordering)
Two IEM cases, one a 128 gram aluminum screw-down “chamber” and one the regular case for accessories
ENVISIONTEC 3D equipment made 3D printed resin shell
8 strand, Silver Plated Oxigen Free Copper HI/Fi cable

Specifications:
Model: SR7
Driver: 1DD+6BA
1 x 9.2mm dynamic driver
4 x Sonion Balanced Armature 26U
2 x Knowles Balanced Armature 33518

2 tuning switches, 4 kinds of tuning mode

3-way crossover
Impedance: 12ohm
Frequency Range: 10Hz-31.5kHz
Connector:2pin 0.78mm
Cable: 8 strands silver-plated cable



Build:
You are greeted with flush 0.78 2Pin connectors, and upon closer inspection the nozzles are formed from metal with a very well made screen of wire sitting perfectly flush and uniform from edge to edge. There is a single air-vent shown next to the DIP-switches. And with all this.......still the most amazing addition is the semi-custom overall shape. At least this was my biggest thing to notice? Reason being is the size sits probably 3/4 of the way to what would be considered large, but due to the form (as they are not that wide) they almost feel like medium inside your ears? The low weight of 5 grams each goes ahead to bring the greatest of fitments. And while I got a good fit with the included ear-hooked cable, my slightly different Penon OSG aftermarket cable (without ear-hooks) fit fine. As far as faceplate design, I really didn’t think it was that thrilling from pictures, but in real-life it’s quite the looker. Hard to explain......and I’ve never seen a faceplate construction like it; hand painted with extra attention to detail! The back part of the IEM shows-up semi-transparent grey-blue, so you can see the drivers.




DIP-switches:
Your Sound Rhyme SR7 will come with both switches in the up position. This arrangement provides the biggest stage, and I tried it just this way (as it was burning-in) for my first 4 days of listening, as the unit was burning-in continuously. I tried the Han Sound OCC ZENTOO aftermarket cable, and the Penon OSG aftermarket cable, as well as the included cable. Really after 124 hours of burn-in the sound came together and became integrated. DD bass was smoother, and became clearer with the 6 BAs? All three cables were 4.4mm and I always used my Sony WM1A with MrWalkmans firmware added. Surprisingly I landed on the included cable and used it for the rest of the review with my regular wide-bore silicone ear-tips. I found the Sony WM1A to be the perfect DAP to use, accessing its expanded midrange tonality.

All-up: Soundstage
This must be manufacturer preferred as it offers the widest stage? I just went with it, getting to know the SR7. Probably all-up was showing-off technicalities? Later going to the POP setting (all-down) was the total opposite, and the switches really do something here to control tone. I will continue this talk of the all-up settings later.

All-down: Pop Music
Tell me, how do you even know the benefits of both-up until you try the opposite? LOL Both down gives you a more controlled bass, and more conservative take on playback. To me it also left focus to hear the vocals, due to the bass recession. But so far I have no issues with either style of playback, though really my heart calls out for the all-up position, the most bombastic style of replay. Still when I say bombastic, it’s a careful style of bombastic, if that even makes sense? But here Pop playback is careful and controlled, even and well presented, while still showcasing a trimmed-up stage and flamboyance. I picture Japanese Girls listening to CANDY CANDY with this setting and being totally smitten with replay. Careful, smooth and controlled, slightly ironed-out, and easily digestible CANDY.

One-up/two-down: Heavy Bass
By the way since I’m tweaking these DIP-switches all over the place, I wanted to clue you in on a little secret to doing the switches. You use one of those plastic tooth-picks that has a floss-brush at the other end. This way has a slight spring action, plus the pick side is soft and never creates scratches. Super, super easy, once I discovered this, there was no other way to do the switches…..they almost switched themselves. Funny as I was expecting a lot of bass, but this setting is good too. Probably one I won’t be using, but nothing wrong with it, the reason I say this is that vocals are still really well maintained. So to summarize progress, we are given real tunable switches that do noticeable changes, yet the changes are all very acceptable, and nothing sounds too out of whack.

One-down/two-up: Clear Vocal
My gosh, they were not kidding when they described what is in-action here. Absolutely beautiful here. Man, this is great…..and I know I said I would revert back to both-up settings for the rest of the review, but this is truly something else. I’m listening to a vocal track and it is really emphasized into vocal placement? I know that is the setting, but I had no idea this setting would really work as good as it is doing? The reason it’s so good is because these are warmish and bass effective IEMs to start with, so what we are getting now is an incredible balancing act here. And I want to point out, no way is it too much or too intense of vocal range, where there is too much pinna gain….. really it is still smooth and comes-off almost simply offering more detail, due to how the bass was repositioned. Often what can happen with vocal enhanced IEMs is you end up with too forward of mids........but not here. What "Clear Vocal" does is open the stage and gifts us clarity, due to the new bass stance.

The other note I want to point out was before burn-in and personal sonic acclimation there was a tinge of BA timbre, and in this setting you would think that metallic timbre would become noticeable.....but it's gone? Maybe due to the Sonion branded BAs and Knowles branded BAs. This is absolutely a setting I could live with and leave on……..permanently. I don’t want to say this, because it sounds dumb, but I will anyway……..the SR7 may be the very best actualization of switches I have come across?

Cable:
Well, I have a history of regularly bagging the included cables provided. Really it’s backwards, as I should give them a chance. But if there is any sense to this madness.......how do you even know if the included cable is good without trying other cables? You at least have to try and unlock some possible potential, if it's there.

The cable that is provided is the one I’m using for the whole review. Yes, the added OSG cable provided a slight difference and I did see value in using it, so I don’t want to discourage the cable believers out there. But truthfully the included cable is even better than it looks. Silver plated 8 strand, and it has great ergonomics, no stethoscope effects or anything. All metal hardware except the chin-cinch which is a clear bead. Another funny thing I noticed is the 2Pin holders have microscopic + and - symbols on them. There is no branding on the cable, but it is medium thickness and 100% pliable…….really an all-out joy to use sonically. Somehow I’m thinking they searched and found the totally correct cable for the SR7?




Package:
Note screw-down case, regular case, two pairs of foam ear-tips and three pairs of silicone ear-tips. Cable and IEMs.

The SR7 comes inside of this gorgeous 128 gram screw down case milled out of solid aluminum. Inside you will find two layers of foam (plus a foam liner under the lid). The top layer is the size of the IEMs, the second bottom layer the size made for the nozzles.

Drivability:
There was a time (not too long ago) when we were in a hit or miss situation as far as using a phone for audiophile listening. Those days are long gone with many newer IEM set-ups. I used a 3.5mm cable to access the standard 3.5mm output from an old Samsung phone. Incredible really, as the SR7 is perfectly balanced and has a nice middle warmth along with a big stage, really way bigger than expected in this union? So need an IEM for out-and-about……the SR7 is a perfect choice, especially with the major sound occlusion provided by the deep-seated semi-custom form! Ditch the Dongle, ditch any extra amps……you really don’t need them here….simply out of a phone you are fine. Yet if you do want the next level….of course a Dongle or DAP will take you there. Probably the great separation and stage (plus authority) is what (or at least part of why) this phone use works out so well…………..recommended.

Soundstage:
Even though the soundstage is big here, there needs to be a careful understanding of how exactly it works. Soundstage is incredibly dependent on source files. Get the SR7 a compressed stage from your older un-listened music file and become amazed how it doesn’t throw a big party between your ears. Nope, with that said, the size of the SR7 stage also has the ability to somehow go ahead and show subtle differences between modern well-recorded and sonically expanded stages. Also just because there is a setting that is used to maximize stage, that doesn’t mean the 3 other sound profile settings are offering up a lesser stage in the end. Yet frequency in playback between each of the four sound settings does affect playback stage………..with the both up setting somehow getting stage from the lows and the highs. Thus more bass frequency and more volumes of bass size into the stage.

With the above stated the soundstage sounds ultimately natural, and still natural at each setting. Why, because somehow it’s always connected here. But as an example in (both up) the stage still keeps relevance to just how much soundstage is in the song. These abilities are formed with every direction the stage takes place in. The soundstage is wide, deep and probably holds the least in the abilities in height, yet that is well done too. But the stage is primarily wide and deep. This depth allows for wonderful itemizations of spacial elements. Also often a soundstage can be synthetically enhanced through bright trebles, yet none of that is going on. The treble seems correct and natural in the end, and really one of the strong points here.

Treble:
Faint sparkles showcase an adequate but not any form of enhanced imaging or technicalities held with-in the stage. Meaning the treble is average yet bigger in relation to the price point, just big in imaging size and layers. Every once in a while there is an extra filigree (of cymbals) showing those 2 Knowles 33518 BAs are doing their thing, yet not super expanded out into the stage, at least not farther out from the rest of the stage, which is nicely large.

Midrange:
Such effective 4 Sonion 26U midrange BAs offer-up the size and clarity that comes with added driver mechanisms, big smooth extensions of midrange action holding (just like the treble)100% perfect timbre. At the same time tuned slightly reserved as far as vividness. What vividness is arrived at is through pure size. Just like a big truck in public is more noticeable simply due to size, but not paint job. Meaning there is grandeur here but a smoother integrated style. With that said vocals are not the brightest I've ever heard, and not super bright even while using the vocal setting.....yet these are still very much vocal centric. A full midrange allows for fully present and lush vocal textures, while placed into a noticeable midrange focus. Such a dialed-in midrange comes off neither pushed or pulled, but densely natural. Such a note-weight is encountered across the board, but limited in decays and note fall-offs.

Bass:
A single 9.2mm woofer goes ahead to become carefully subdued and faster upon use of the vocal setting, yet upon fully actualizing the bass (with the bass switch) it is nothing short of very big. While still offering pace and rhythm, there can be (a guilty pleasure style of) bass bleed found with bass setting use. Meaning despite the bass sloppiness, somehow musicality shows through? With the switch pulled down a more careful and controlled bass experience can be arrived at, also hearing the bass take a slightly back seat demeanor, but not 100%, meaning the whole message the SR7 is conveying centers around a warm and smooth style of playback balance.

Music:
My favorite part of the review:



Lorne Balfe and Andrew Kawczynski
Grand Turismo OST
Academy Race
44.1 kHz - 24 bit
Anyone listening to this OST should start-out by listening to the first song first.....this example is not the first song. Reason being that they introduce the theme at the start, then come-up with variations on that theme later. In just 10 seconds you will know why I switched the DIP-switches back to up/up....for stage! I want to hear it all, I want a home theater experience here. Any issues with my early testing are a thing of the past. Using the included cable we encounter pace and clarity in the bass department. In fact it’s the bass that will first emotionally move you in this song. Let me explain some IEM build theory for you. So if you were wondering what usually is the main difference from the Sound Rhyme SR7 and a different $100.00 IEM this explanation will suffice.....plus it will help explain this particular song. Often IEMs with less drivers simply put out less sound, the sound is not as big or as contrasty. So that $100.00 IEM, even though (maybe) technically good, and balanced……can only do so much. It will earn respect for being even, complete and correct……but it will lose points in size of replay normally. This is my realization after testing multitudes of IEMs in many price brackets over the years. This is what we are provided with here, SR7 size. Seven drivers, six of which are name brand Sonion/Knowles and they are providing the dynamic size here……a big size, but more than that this size is also filled-in with details. Now if those were not enough the 9.2mm DD does the rest. Now all that is fine, except we need something to play, we need something to actualize this experience. Meaning most of the time a single guitar in a room (as a recording) is not going to do it. While it may be technically correct and harmonically pure, it is not offering the stage of a well recorded orchestra or what an orchestrated OST can do! Sure there is alternative value to both (big stage and small stage) styles of music. There is nothing wrong with the simplicity of a single guitar and singer. If you have ever listened to a high-end stereo demonstration, often simplistic song files will be chosen by the demonstrator. Such an example of only a drum track may show a style of perfection in playback. This is simply because it’s easy to playback. There is a single source recorded (even with multiple microphones) and the drivers have to make sense of only one instrument. Here is the opposite, in that we have an amalgamation of elements…..a mix of challenging fast pace and multiple sonic events, all going on at once. Such songs showcase the SR7 for what it is, missing some of the details and being ever-so-slightly confused in playback, except getting the musicality delivered as well as the layers on events inside the stage!

In the past I have spent considerable length of time listening to Classical Music to which modern Soundtracks take elements of. But as a listener I have become bored with Classical, and consequently find OSTs much more fun; this song demonstrates the included ideas that get me going! This song starts out with an introduction of cellos but quickly progresses into bass at even 00:10 seconds. Violins also frame this opening out to the sides. It’s the quickness and correctness of this bass element that first gets our attention, yet both the naturalness and size (of it all) cause quite a stir here at Redcarmoose Labs. At just 00:17 seconds the first bass-drop takes place as a component of drums. Even here at the start we can very much start to understand the Hybrid methodology in action……the deep bass, the fastness of the treble additives being separated, and slightly disjointed in form. Each driver is doing its part to make the music both contrasty and complete…..that and as talked about earlier…….size! Probably my first learning experience with this particular IEM had to do with understanding its reaction to file quality. The SR7 will surprise you in offering a bigger stage than what was first encountered, but it is up to you to feed the SR7 correctly in order to realize this particular feature. Simply, I judged the soundstage abilities way too fast at the start. And truly that is probably the most rewarding thing about doing IEM reviews, when the IEM in question seems to surprise later-on with newly found abilities?

At 00:57 I can hear violins out in the distance continuing to introduce our main theme. And that is the magic of this particular music piece, that in a way it’s simple, yet the variations of theme playback seem almost endless? With 7 total drivers you can guess the SR7 is taking this all apart and offering it up for inspection. At 01:16 an ethereal chorus arrives, and I have chills. At 01:24 we can fully hear the bass alongside the chorus, yet it is very much in Hybrid fashion, giving us the full-experience and sending home once more why Hybrids are my very most favorite way to go. At 01:39 there are some higher pitched percussion elements, yet nothing is overly intense, but just on the border. And that single quality very much demonstrates what we have, being a big stage, deep lows and a very digestible and smooth midrange and treble, yet still getting us the contrasts and imaging we need to feel like we are getting 100%.

There is a single main question that I ask myself here. Could I live with this single SR7 IEM and have it be my only ear-phone? And at this young point, so early in the review, I have to say yes, yes I could easily live with this particular IEM, and not want anything else, it is that good……not perfect, but really, really good.

Probably the main attribute here takes place with how the bass is done, the quality is at first of course...........here in the music, they way it was mixed, how it was presented, but the next level takes place in how there is a visceral/fast and organic and deeply emotional aspect in SR7 bass replay……and additionally, that is probably why people went mad in the theater over this OST? But my humble Sony WM1A with the included SR7 cable and SR7 ear-phone brought this to life, and for that I’m grateful!



Lorne Balfe and Andrew Kawczynski
Grand Turismo OST
Follow Your Line
44.1 kHz - 24 bit
At 00:12 the music showcases a composite arraignment. Such layers of musical elements are the forte of the SR7. Here Lorne Balfe once again uses the whole stage yet inside of that stage we are gifted with layers of how each and every musical element interacts. At the start at 00:04 we are hearing the musical effect of a dramatic race engine as it performs the Doppler Effect as it passes.

Definition:
Compared to the emitted frequency, the received frequency is higher during the approach, identical at the instant of passing by, and lower during the recession.

At 00:13 the theme of the song starts right off, not wasting any time. This composite it seems has room for so many wonderful elements. Such is the landscape of the modern movie OST, utilizing the full (multi-track) ability of the modern recording studio, as in contrast to movies from the 1980s or 1930s. All the while a careful and sincere bass floats inside the mix, fully delineated and separate in placement. Such upper synthesizer chords are also doing a wonderful syncopated metronome starting at 00:13. Such sandwiching of chorus, bass elements as well as upper trebly noise additives make the mood here. We can hear the echoing of the chorus, yet the decay would be better with subtracting the BA devices. The BA double-edged sword, as we have to take the good with the bad, as BAs have faster take-offs, but also decay. This is just what we get……as a fully dissected and layered presentation…….with minimal echoes. This could also in-a-way be a style of Bach church music……lol…with a stretch of imagination. At 02:09 the music once again introduces its main, main musical theme…..almost like clockwork. At 02:20 the violins enter once again to show us a climax to the song, and while very “by-the-book”…………this type of music serves a purpose, as to be an accompaniment to the movie visuals.

Grand Turismo conclusion:
While not perfect, this album showed its share of quick and cheesy thrills, just the music was an event by itself and a testament to both the SR7 skills and modern musical recording developments. Does this single album delineate the SR7? It kinda does, in that we were given very technical bass replay, and way better than first thought when the SR7 arrived. Secondly we hear the attempt of BA reproduction to kind of offer a wide spectrum of playback tone and transients. While fast and well separated…..the SR7 is really trying to be all things in that we failed to hear any metallic BA timbre, a good thing, yet still there was no argument that at times we were introduced to slightly steely tones. Still, and I must repeat, still this is a value buy, in that there is a lot of entertainment here for the asking price. Also the SR7 seems to walk that perfect line of smoothness and crispness, that’s hard to do for a manufacturer. A quick change of the switches (to vocal setting) could enable a listener to hear the OST with a lower bass presence, except a big part of the fun is basking in the exquisite bass tone and technicalities!



DCD
Within The Realm Of A Dying Sun
Windfall
88.2 kHz - 24 bit
Here hopefully we can be introduced to a new side of the SR7? While this music is often related to soundtracks, it is still very different. At 00:00 we are quickly introduced to a downbeat….at drop that could just as easily end a song, as start one. When in fact after subsequent further listening this bass is the rhythm and pace provided…..and continuously used to drive us onward. Yet we are introduced to a basic rudimentary down-up, down-up in bass notes. Such movements are contrasted by keys here. At 00:24 we are given what sounds like a flute, only it’s a sample of a flute, as much of their instrumentation are samples in fact. Such sounds walk that path of digital reverbs and as such show a complex decay (reverberation) structure. This sound I have years long relationship with, having this album both on vinyl, CD (import and domestic) and HiRes……and the timbre sounds pretty much correct. And in so many ways the SR7 does this style of music intrinsically well. The controlled yet slightly bombastic bass, the fast attack and decays of the 6 BAs in action…..very much a digital, yet organic style of ear event. This music has its character always in digital reverbs and how they are introduced with the music. It seems the longer DCD progressed, the more elaborate their instrumentation and studio effects became. Often saving Lisa Gerrard’s vocals till later, maybe for dramatic effect? As in this example…….in that her voice (with this album) is very carefully used, in what could be heard as sparingly perfect? And I have to ask myself how an album that only has Lisa Gerrard’s vocals as an additive to the second-half could be my favorite? That answer is much like the SR7 response, in that it’s not what you introduce to music that’s always the magic, it is what you take away from the sound that is of true benefits.

A rush of wind and we are at the 01:09 area in the song. At 01:12 a new addition comes sonically as trebly percussive effects making us take notice. Here the separation (from the bass) takes on additional value……..Hybrid value once more. These effects travel from right to left, encased in digital reverberations. And it is in these times of subtraction that the stage unfolds itself for the SR7, seemingly areas of distance show once more that it isn’t always how complex you make the music, that simplicity contains genius. Finally we are given more information to identify our embellishments, the treble details are part of layered keys that also hold the pitter-pat of subtle piano notes. What sounded like percussion at the start revealed itself to not be true percussion. Of course that is what the piano is, a mixture of both a string instrument and percussive properties……only the confusion starts when such character becomes further effect laden abstracted. At 01:47 the wind sound is back with us…….at 02:00 a more real piano comes in. Finally the message is complete, the statement is whole. And no, no vocals were used in the song, none at all.

Song conclusion:
Here this song's simplicity gives way to a clearer perception of both the good and bad points of the SR7. As great layering took place there was an absence of finite imaging. This blurriness was and is still musical, while not as defined as 7 drivers would have you believe…..there was still an overall ambiance that seemed to go well with his style of music…..the bigness and separation at hand. Of course the big bass was still kept in check on the high setting, being (ever so) slightly on the uncontrollable side, and again more musical than factual.



DCD
Within The Realm Of A Dying Sun
Dawn Of The Iconoclast
88.2 kHz - 24 bit
Once again a beat starts us off at the 00:00 mark. Such lows somehow are both big but still contain definition, and are in no way a stupid thud. Though the quality of the bass often lends itself to hearing longer decays than possibly natural……yet still part of the program here. Because we can hear the attack of the bass, hear the middle and hear a different resonance to the end, but it is almost like layers of bass? When in fact it is layers of reverberation at hand, it is just the overall character of the bass driver enhances this. We are gifted with a fanfare of horns…..not real horns of course (samples of horns) very few sonic elements are real in this fantasy world. This introduced sense of grandeur and excitement is the telltale sign of our vocalist arriving. Yep, she made it.

Her vocals are not in English, but a channeling of accent tongues seemingly coming from another world, maybe not for our understanding? Maybe they are an ancient language, long forgotten? It’s important to note that this is an example of how the SR7 can be many things, but not all of them at once. Hence the switches which will enable the ear-phone to be specialized, if that’s your goal. As stated earlier the different variations are all enjoyable, fun and pleasant, it’s just if you wanted to hear Lisa Gerrard, with both switches up, she is slightly less forward. And that brings us to the most important question of the review………Is the SR7 complete in any one setting? I would have to say it is. That means that even though Lisa Gerrard’s voice is more stand-out-ish with the vocal setting of one down and two up, I’m perfectly fine hearing her in the both-up setting, and not needing to make a change. With that said I have obviously heard her more forward in stance than with the two-up setting.

Here’s the kicker:
Different from what I would normally do, I thought it would be fun to go into the vocal setting once more for the second half of the DCD Within The Realm Of A Dying Sun album. And sure enough, I was given a more forward stance of Lisa Gerrard’s vocals. The bass was subdued which opened up such pathways. I mean you don’t have to do this, as both ways to experience the SR7 are fine, and it may not be so genre dependent, as it could be tonal preferences in the end?



DUNU SA6, Sound Rhyme SR7 and to the right DUNU VULKAN

Comparisons:
Here I have chosen two other IEMs to find how the SR7 relates. Strangely, I have chosen two DUNU brand IEMs. One, because I have a long history with the SA6 and VULKAN, and Two, because many know about how good they are. And…….finally three, because I love them both, yet I love the VULKAN more.

DUNU SA6 IEM: $549.00
2 Sonion AcuPass Vented Dual BA Woofers
2 Knowles Custom BA Midrange units
2 Knowles Custom Dual BA Tweeter units

DUNU VULKAN IEM: $379.00
8 mm DD Structural Foam Cell Dome with Soft Independent Surround
8 mm DD Nano-crystalline Titanium-Coated Diaphragm
2 Knowles Mid-High Driver BA units
2 Knowles Dual Super-tweeter BA units

https://www.head-fi.org/showcase/dunu-vulkan.25887/reviews
https://www.head-fi.org/showcase/dunu-studio-sa6.24665/reviews#review-24391

The SA6 came out in September of 2020, it seems like yesterday, but truth to be told, it was a while ago, especially in IEM years. Since that time there have been buckets of improvements to our little hobby. Yet back then and for a few years the SA6 was the darling of reviewers and listeners alike. Really in so many ways it’s complete.......still I wish it was more thorough in bass response. Also soundstage (while good) isn’t the best, also just like the SR7 it suffers a tiny bit in imaging clarity.

SA6 v SR7
First-off I wanted to explain that I’m not picking on the SA6, except that the differences here can’t be taken any other way. Meaning the SR7 is such a clear and concise improvement, it’s not a factor of sound preferences. It’s just that this is a fast moving industry and the newer values obtained are real and solid. The stage of the SA6 once more shows its smaller size, but inside of that the SA6 holds an off tone, a color showing the BA elements. While sure the 9.2DD inside the SR7 is less controlled than 2 vented Sonion sub-BAs, its stage is bigger, but more than that….the SR7 bass is simply more visceral and real. While both IEMs in question show a balanced and relatively smooth treble, the SR7 is both more contrasty, vivid and most of all real in replay. In spite of its lack of finite imaging, it’s just better because that imaging is bigger and more involving……sorry to say! In many ways this comparison is not fair, as times have moved on…..it is what it is.



VULKAN v SR7
So the VULKAN is priced only $10.00 more. And I will stand firm that no-matter what the VULKAN is incredible for what it is. There were days when I would put away everything and give the VULKAN its time alone. Strangely musical despite breaking many of the rules in audio, it was this musicality that had me coming back for more and more. With the SA6 I used the same cable and ear-tips as the SR7, but now due to MMCX I used the included VULKAN cable in 4.4mm.

Well, the magic....the DUNU Magic hasn’t left, and I don’t expect it to any time soon? The VULKAN is a classic, to me anyway. And it turns out to be the perfect comparison subject. Why? Well first off the bass is way more controlled. Yep, sitting back wearing a sports coat and talking in a sophisticated manner, never out of control and never blurry or out of line. When DUNU placed two very different 8mm DDs inside they were showcasing their R&D, bringing a sample of the IEM art that was both rare and exotic. Then when you figure in price-to-sound-value…….well this IEM goes off the charts in a hurry. No wonder it is often recommended by me and a slew of other listeners. There is a personality to this bass which is more detailed inside the stage showcasing a separation, but more than that, an individualization of the style the bass instrument is to begin with. While the VULKAN is lightly lower in bass authority it can do tricks too, meaning there is less bass so it sits back easier to control in the end. The VULKAN bass has less physicality, but is spread out to the distance of the stage, hence still big. Now the thing is there is also this pace issue with the VULKAN bass, that in itself makes both bass replays birds of a feather. It's just both wide, yet sitting slightly further back in VULKAN replay……but still emphasized to the max. The VULKAN bass is less visceral, which starts to travel up and blend with the rest of the midrange and treble. Meaning those too are slightly less forward and of coming from father back both in vividness and stance. Yet this slight sleepiness is maybe resulting from a style of quietness of background. Because there is more separation, more itemization than the SR7, and 2X more separation than the SA6. Things are less confused than both the SR7 and SA6. Where there is still a slowness and awkward split-second behind feeling to the VUKKAN bass timing which I like, where the SR7 is more straightforward and regular to what you know. While the stage isn’t quite the same between the two IEMs, where the VULKAN is sitting back almost like a pair of speakers in presentation, that in-fact I can see the speakers out in-front in my mind's eye. The SR7 is more forward which in-turn adds to involvement and entertainment…..and this continues all the way up to the treble area where the VULKAN shows a slightly reserved sculpturing, the SR7 more active and spread out. The VULKAN is slightly more reserved and easy going in comparison. Though strangely this darkness in the vividness of the VULKAN doesn’t make it any less of an IEM, just different. It’s like the SR7 would be my 5 o’clock to 10 o’clock IEM and the VULKAN would take over from 10 o’clock till 2AM.



SR7 Conclusion:
To tell you the truth, the SR7 was slightly more real than the VULKAN, more correct in technicalities and where the VULKAN left items out, those vary items were filled in with the SR7. And the thing is with my talk of listening times during the night, you may think the SR7 is aggressive and forward? You normally can’t get this vibrance with an IEM with-out a little robust fall-out especially at $369.00……….and that’s what we have. Images of layers are projected (big) forward and back and from side to side, yet this all takes place in a slightly uncontrolled blurry manner. While the stage is enormous, way bigger than first guessed, it is not fully filled in with all the details as more expensive IEMs can show. This all boils down to two major attributes that make the Sound Rhyme SR7 totally special in my book. One) Timbre, that is one thing that may be improving with this new wave of IEMs, because I’m starting to really take amazement at the perfect timbre recently. Two) Musicality, the musicality is so strong with this one, that all other attributes can get overlooked. It’s that physicality in size of the musical note, that realism that transcends critical imaging.

With the above said, the human psyche being what it is, goes to the extreme with these attributes. When in reality the SR7 is truly a very careful and balanced player. Never too harsh up top, or too heavy in one attribute of playback…….a gentleman carrying poise and reserve. The SR7 brings much of the same tone to phone playback if you so choose. And despite any drawbacks listed, will scale up with your best equipment to a remarkable level………..levels before completely untouched for this kind of money. There are 4 sound modes that can dial the SR7 into whatever genre you have of choice, or any personal internal sound preference. While extras included may be limited, that aluminum case is the cat’s meow! Even though it’s only 5 grams in weight, the medical grade 3D printed construction provides many twists and curvy shell facets…….yet there is no denying it leans on the side of big in size. The nozzle ends are a work of art, and hold my preferred ear-tips on with-out fail. So much so that I never have to pay much attention to how they are placed each time before a listening session. The cable is both sonically and visually a work of art, and hard to surpass unless you want to spend an equal amount to what the IEM itself costs. Visually this SR7 looks 100 times better in person, up close and personal……..the opposite of those on-line dating sites. LOL

A swarm of bees:
This is my best way to describe the effect of multiple BAs, a swarm of bees. And while more BAs added to a set-up offers often bigger more engaging entertainment, they can show a downside. Such examples as the SR7 with a full 12 BAs in action means 12 small almost microscopic metal reeds are vibrating all at one time. Such effects even can emit an extra level of buzz despite the 3 band crossover and sound tube dampeners. Yet in this very SR7 application, the tuning lowers pretty much all of the metallic sheen often encountered with BAs, resulting in great overall tone and musicality with a slight blurry congestion. Does the DUNU SA6 suffer from this? You bet, the buzz also covers up finite separation and details. Does the VULKAN suffer this, no somehow the BAs in the VULKAN emit a clearer yet duller displacement of sound response. So it ends with a give and a take, where adding the energy of 6 BAs adds a level of stage size and immersion, yet generates a style of distortion which hinders our pin-point imaging. We are left with big layers of response except busy music like the Grand Turismo OST will show less detail inside of those big images and offer less detail than expected from 6BAs.



With all that said……..

Still:
This new Sound Rhyme SR7 addition to our little hobby (still) shows progression, a step into simply better sound value for the money. You come home and are looking for musical escape, and that my friends is what the SR7 is best at, a distraction though colorful correct sound replay, something that is not easy to accomplish at the going price of $369.00. It plays every genre I used, is easy to power and fits like a million, what else are you looking for? But most of all the SR7 somehow never got boring, never needed me to look for something better skilled or better tuned? And sure you can spend more money, heck you can easily double your money spent on a fancy new EST driver IEM……..or simply spend only $101.00 more and get the DTE500 from Sound Rhyme. But EST drivers are not always perfect either. When I heard this nice faint cymbal placement, way out to the side, and even though I knew it was BA created, I thought to myself, ESTs don’t reproduce cymbals exactly this way. This way was ever so slightly metallic, except the SR7 has such good tone that the cymbal was both separated and itemized in the most special of ways………holding what I thought was perfect timbre and enough detail to make me smitten with the SR7. Truly the SR7 is worthy of a full-five star score!

$369.00
https://penonaudio.com/sound-rhyme-sr7.html

Disclaimer:
I want to thank Penon/ISN Audio for the love and for the Sound Rhyme SR7 Universal IEM 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 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

The Hype2 by Thieaudio
Redcarmoose Labs Saturday September 2nd, 2023

This is simply a review of Thieaudio’s latest creation. Thieaudio started a few years back in 2019, created by a few audio enthusiasts/engineers. The trick it seems was to offer better value and to do so they grew in stature, but also tried to always be learning and improving their design and manufacturing skill. Their creations are a little famous with such introductions as the Monarch, Monarch II…..which our Hype2 has a kinship with. They have recently come out with a $999.99 Monarch MKIII too! They offer full-size headphones like the Thieaudio Phantom, Wraith and the Ghost. They offer IEMs such as the Prestige, the Legacy Series and the Oracle MK1 and MK2. They make cables like the $199.00 Oceania and $19.00 Smart Cable. Also IEM big boys, like the $1,499.00 Thieaudio V16 Divinity Universal IEM, and $999.00 Thieaudio Voyager 14 Universal IEM. Really they make a bunch of stuff……more than I’ve listed here.

I've only heard three Thieaudio creations, though I thought they were innovative and budget conscious. My first Thieaudio IEM was the Legacy 4, and later I reviewed the Elixir and Thieaudio Ghost full-size headphone. Yet in many ways our Hype2 is the very opposite of the Legacy 4. Yep, Thieaudio went and added a bass style that is much like the Monarch II I’m told, the same exact cable as the Monarch comes with the Hype2, I was informed about. To summarize this introduction, Thieaudio went and extracted all they know about making audio products and put them into this single new Hype2 IEM. They did it first by using the very, very best ingredients like dual Sonion BA drivers. This latest generation of Sonion products basically outperforms anything on the block. The new E25ST001/D BA super tweeter goes all the way to 18kHz. The other BA, the P2356HF/4 has lower harmonic distortion which enhances clarity and resolution. And finally the other two drivers are 10mm Isobaric subwoofers. Such magic was pulled from places like car-audio and home theater to greatly change the IEM bass texture and performance.

Here are just two examples of isobaric design. The trick here is to have a woofer inside a sealed chamber, and only one sending sound out the front. Inside this sealed chamber both woofers move in the same direction and the pressure remains consistent inside. The main advantage to doing this is you only need half the volume in comparison to a single speaker.

Technical Details:
DRIVERS Sonion E25 (x1) + Sonion 2300 (x1) + 10mm dynamic drivers (x2)
SENSITIVITY 108dB/Vrms@1KHz
IMPEDANCE 25Ω@1KHz
FREQUENCY RESPONSE 20Hz-20kHz
NOZZLE DIAMETER (LIP) 6mm
NOZZLE DIAMETER (STEM) 5.4mm

Hype
The word hype can have a few meanings. I tend to lean towards the very last definition. Excellent, Cool.



Comparisons:


Two side-by-side comparisons:
In describing this IEM, the easiest way is to use comparisons. Why? Because often known products (like the Kiwi ears Quintet) are already out there doing their job and making a sound statement. Other past IEMs like the EarSonics ONYX are more expensive but go ahead and help make an example of sound performance that is in some ways better than the Hype2 and in other ways maybe inferior.

Thieaudio Hype2 (4 way) 2 BA/2 DD $299.00
Kiwi ears Quintet (5 way) 1 DD/2 BA/1 Planar Magnetic/1 PZT driver $219.00
EarSonics ONYX (4 way) 1 DD/3 BA $561.00

Weight:
5 grams Thieaudio Hype2
5 grams Kiwi ears Quintet
16 grams EarSonics ONYX

The equipment used:
Before I get started I just wanted to state my comparison setup. Using the Sony WM1A (with MrWalkman’s firmware), ISN CS02 Cable in 4.4mm and my usual wide-bore silicone ear-tips. Such a set up was arrived at as it allowed me to access 4.4mm amplification with the Sony 1A. The CS02 cable seemed to amplify all the correct ways about all three IEMs, making them basically slightly better than they were originally. Also great effort was put forth to finalize the use of this specific cable. At first I wasn’t going to use another cable, but it simply worked out that the combination of 4.4mm amplification and the tonal balance of the cable just worked with all three IEMs. Also the continued testing during this review with music was also using the ISN CS02 cable. When preparing for this comparison test I ended up using the provided stock cable for many many days with the Hype2 as well as I spent 9 hours listening to albums with the provided Thieaudio cable and the EarSonics Onyx. There is absolutely nothing wrong with the provided cable, in fact it was one of the better cables in use with the EarSonics ONYX. More on the provided cable in the cable section.

Comparisons:
Now maybe a few readers want to know how and why I would use these three IEMs for comparison? Maybe the most important reason is that all three promote this warm analogue sound. Really in many ways they are close to the same, while at the same time very different. But it’s the differences primarily that will help explain things. It’s the differences here that I felt helped explain just what the Hype2 is/was. It was through contrasts with other IEMs that a new understanding of the Hype2 could possibly be achieved. Now remember too, this is just my personal journey and experiences. They could be the same for you or maybe not? I have no ulterior motives for picking these two IEMs, only for discovering a style of truth. Truth to be told, all three were given for me to use for review purposes. But the Kiwi ears Quintet is also included due to being near the same price, but also because many own it and want to know differences. The EarSonics ONYX has like 21 reviews, but a lot of them are due to review units being supplied for review. The ONYX arrived in early 2022, and I subsequently gave it a full five star review……….in February of that year. The ONYX graphs out a little weird and sounds way more balanced than you would imagine by studying the graph.

EarSonics ONYX:
Laughably the graph would have you guess an unbalanced replay. Where what’s happening is the 1.6kHz peak is getting you male vocals, the 3.8kHz is getting you female vocals. The 6.5kHz bump is balancing out the bass and shows-up a tiny bit like the (5kHz bump of the) Hype2! This crisp 6.5kHz tone we will get into later, as it is a trend for 2023 in a few IEMs currently. Surprisingly it actually works here and with the Hype2, where typically the 6kHz region will get a dip for reduced sibilance/presence. There is ample bass presence except it’s controlled with a fast tuck-in at 200Hz…….a little like the Hype2. Now maybe you see my reasons for comparing these two?



ONYX v Hype2:
To start with vocals, yep on both IEMs they get a great forward presence, more than you would guess. This thought of balance may actually come from childhood, of hearing home stereo when there was too much bass, the vocals were drowned out. But know both are exceptional at vocal presence. You see, this is the balance talked about, the fact that if tuned right you really can have it all.

At the same volume levels the ONYX has more bass and a reaching forward of imaging, the Hype2 is slightly more relaxed and backward positioned, while at the same time slightly more cohesive and reserved, showing the Sonion BAs in action. Though both ways are right, the ONYX is more 3D. Now here is the thing, the ONYX has custom made BAs, and they have great tone, yet there is at times this character that the ONYX has, I don’t want to call it color because it’s not that, at times it has its own sound, part of it is maybe because instruments have super fact decay above what the DD is doing. The Hype2 is showcasing the slightly smoother Sonion sound, which is holding slightly longer BA decays and a more filled-in (complete) tone. Though keep in mind here bass is actually stronger and maybe not quite as polished with the ONYX, but it’s noticeable. I spent the entire day listening to the ONYX yesterday and feel reacquainted with what it ultimately is. Faster fall off of BAs, but a well balanced and vibrant sound response. The owner of EarSonics is a bass player, and you can totally tell the drum and bass interaction was one goal for the IEM. Offering a slightly more disjointed playback making that vividness that much more separated. Such contrasted pace is special and provocative having the ONYX be one of my all time favorites. If going by vividness alone the ONYX wins, but the Hype2 pulls ahead also, by adding sophistication due to the 2X BA Sonion harmonics and realism. More together and congealed the Hype2 becomes………….yet both are fabulous! Keep in mind the ONYX is more than 3 times the weight of the Hype2.

You know maybe there is something to the ONYX graph, and while maybe it’s tree-topping frequencies, all that is required is provided, though I can’t help but feel the Hype2 is showing a more linear and complete response. It’s like the vividness of the ONYX is partially due to the FR and it comes off contrasty, where the Hype2 is smoother and more filled in, yet not as contrasty, but still fine.

Quintet v Hype2:
Probably another contrast festival? Ha. Yep all those drivers doing their thing. Well, the Quintet is where it is at in life due to performance........an incredible one-of-a-kind IEM. And to tell you the truth both of these IEMs are terribly special. Now this is not my first time comparing these two. And it makes me feel more accurate to disclose my findings remain the same as prior testing. That the vocals are truly better with the Hype2, showing a more natural tone, not having any tinge of synthetic over-tones. Bass is fairly even though with the Quintet being slightly more sub-bass oriented and the Hype2 showing more regular bass and lower midrange authority. The Hype2 is simply more filled-in and showing slightly more tonal sophistication in playback, more money yes, but many may feel a better value too? Still the Quintet is incredibly special and the separation and stage presented just prove one more time that this is the best I ever heard $219.00 sound! Where yes, there is still a tad of BA sheen with the Hype2, it’s not always noticeable and only on certain instruments, never really on vocals? This is the price we pay to have wonderful BA contrasts and separations at hand. Hybrids are my favorite methodology to make IEMs, and the Hype2 is just another reason to love them.




Comparison summary:
I chose these three as in many ways they approach music with the exact same set of values, so in many ways they are the same. Yet upon comparing I learned something about the Hype2, yep I learned what the Thieaudio house sound is. Now there is a little bit of it in the Legacy 4 IEM, and the Elixir IEM, except during this comparison I learned the Hype2 sounds like the Ghost full-size headphone. So there truly is a method to this madness. And that sound may be in the mid-range the most? Wherever it is, it’s the thing that made my experience different from the ONYX and Quintet. It’s a careful sound, and an extra complete and even sound……though I can’t completely describe it, you would have to hear it to understand.



Packaging:
Note how the IEMs are mounted to the cables, You get three pairs of foam tips and three pairs of silicone tips. You get a trademarked cleaning cloth and a nice case.





Cable:
Such a cable! Perfect ear-hooks and manageability. While as you can see it doesn’t always lay totally flat, and requires a cable tie for photos, there is nothing at all wrong with how nice this particular cable is.

https://www.linsoul.com/products/thieaudio-est-cable?variant=40981816049819

I’m about 99.9999% sure this is the Thieaudio EST cable, a $69.00 purchase by itself. I love this cable, every bit of it.




THIEAUDIO EST Cable
26AWG ThieAudio Monarch & Clairvoyance IEM cable

• Litz 5N OCC Silver Plated Cable 100 wire x 4 core
• 2.5mm balanced cable comes with 3.5mm and 4.4mm adapter
• High-purity Silver-plated OCC Copper Litz Wire

Build:
Each Hype2 IEM is individually numbered and offers a handmade faceplate. No two are exactly the same, as far as subtleties in faceplate design............the two styles of faceplates give the consumer a choice…......either Indigo or Zicao. Coming in at only 5 grams the Hype is a joy to wear. But more than that, the shape is incredibly comfortable. They truly do block sound, maybe due to the construction or fit? 3D printed medical grade resin creates the lowest weight and curvy design. As seen in the photographs there is one giant vent on the tip. I need to talk about 2Pin recesses as this is a first in my Thieaudiio experience. The recesses go ahead and keep the force of the 2Pin from punching out the clear 2Pin receiver, into the IEM body. Literally the surrounding side walls help keep the plug in place, very different from the flush 2Pins of the past. A nice inset screen sits protected inside the nozzle opening. Really the build, fit, finish and form are totally agreeable here?

My favorite part of the design comes from metal nozzle ends, Such small things end-up as values due to holding ear-tips on at a very specific place. Such a device keeps the ear-tips from moving into a different position, releasing concern at checking each time before an individual use session.




Sound:
The best way to describe the sound would be both delicate and of authority. Meaning there is just enough contrasts and forwardness to gain perspective into what the artists intentions were during the recording. We are met with 2 new generations of ideas here, marketing talk or reality, the dual 10mm drivers are known as IMPACT2 drivers, and while all this talk of bass may have you get the wrong ideas. As to me the bass is balanced yet still dramatic and satisfying. Now the use of Sonion P2356HF/4 and E25ST001/D BAs don’t need any qualification from me. Due to Sonion being the very best there is, offering the most realistic playback available. What all this means is balance, but more than that in practical use, it means you can choose any music, any file format or any cable or source and be happy. In short, the Hype2 scales-up with your better gear, but still plays great from a phone. Much of these changes in our audiophile landscape happened because of added correct bass authority. Meaning there was a time when it was hit or miss if an IEM would sound good from a phone. Either the impedance was mismatched or the tone was off somehow requiring you as a consumer to take matters into your own hands. You before had some IEMs that worked better from a phone and IEMs that needed power to perform. Due to the driver design........the Hype2 actually sounds even and natural with a big expanded soundstage just from a phone. Probably much of this centers around bass authority, except it’s also the Sonion BAs just waking-up and going to town from any source, maybe? It’s truly the balance and listenability that has me shaking my head with this one?

Treble:
Here you have almost a shelf of vibrancy.......due to the upper midrange into the treble from 2.5kHz all the way to 8kHz (included is the 8kHz artifact) before it drops. This actuates a balance to the bass, but more than that allows just enough framing for the exquisite midrange. Such balance is what the Hype2 is all about. Because after about 100 hours of burn-in the Hype2 really came together? And I ask myself, am I bored with this treble, and the answer is not at all, there is just enough action to make me forget the IEM I’m using, and allow me to get with the music at hand. Added is this peculiar 5kHz bump, that’s not really a recess……..adding that crispness…..just more smooth and natural evenness almost?

Midrange:
OK, we talked about it, but what is it? Maybe more importantly what is it not? It first holds an aggressive tuck at 200Hz which just by the nature of sound means the midrange itself is not cloudy. Then a slow progression to 2kHz into which the upper midrange from 2kHz to 4kHz shows a smooth but substantial bump……..the shelf. From 4kHz to 5kHz there is an additional bump. Note the gradual aspect which is showcased though-out. First a quick drop at 200Hz to signify midrange presence without any bass interference. This tuck may be responsible for the great pace we experience? Seemingly perfect the way we are presented with the ability to already hear the 2.5kHz to 4kHz “shelf”…..such a design leaves room for an additional even bump between 4kHz to 6kHz. It’s this 5kHz boost that is smack-dab in the middle of the presence region, gaining clarity to off-set our bass focus.

This tune is solid gold, and it will be copied endlessly! Mark my words.

Bass:
Boosted to add warmth yet fast enough and nimble enough to get us pace and rhythm. So you may be wondering exactly what the bass is like. I tried to inform you that it wasn’t as vibrant or as out forward as the ONYX, earlier. What it is like is getting into a warm bath where the water is a perfect temperature. Just enough dexterity to show bumps, but not the most technical you have ever heard. With all this talk of iso-bass……………and there is truth in that 2 10mm bass drivers coupled as a pair now produce the same frequency response but use half the space. The drivers produce the same amount of bass as twice the driver size, yet one is not open to port out. I mean I have heard faster bass from a 8mm or 6mm driver due to them just being smaller and possibly more rigid, and we don’t have that style going on here. It is a regular 10mm bass but well done. Again if I can repeat myself, it is totally the correct amount of bass for the rest of the frequency response. Yet also that response is not all that dependent on power to get it, you can get it from a phone, Dongle or get a slightly cleaner response from a desk-top or DAP.

Music:
This is the part I’ve been waiting for as to me the rest up to this point have been the formalities.



Hans Zimmer & Benjamin Wallfisch
Blade Runner 2049 OST
Mesa
44.1 kHz - 16 bit
So probably the redeeming aspect right off is just how both digestible and visceral this goes down. I mean how do those terms even go together? Well my friends it starts with natural, really nothing is out of place. The piano which starts this off has perfect timbre. At 00:23 there is what sounds like a turn-around of sorts, where this bass is dropping then it pauses for a second? At 00:45 there is this synth accent and right after a theme plays, yet nothing is ever too much, not too scathing or too deep of lows. Yet again it is that this is all one, like one full-range single DD, and that is the subtle magic here…….that everything is all together. You see this is better than a DD because the BA drivers bring that steeliness and detail that are never done exactly like a DD can do. There are fast turn-arounds and shifts in frequency that only BAs can do……as they are instantaneous. This also brings transients into supreme focus, again like only BAs can do. And while this isn’t the very best at bass detail, there is something else going on……..maybe it is the iso-bass? Something new brought to the table? Also this song is a soundstage song, so just when you think the soundstage is average, things start to open-up. Yep, big events, bigger than you thought possible with the Hype2. And while the bass takes a big portion of that stage, then the mids come along and offer surprises. And while the Hype2 isn’t about pin-point detail and extracting many magnitudes of layers, it does have its charm and seems to do the most with 4 drivers of any IEM I have ever heard?



E-Mantra
Daydream (Dense Remix)
Ascending (Compiled by E-Mantra)
44.1 kHz - 24 bit
The sounding bells are super important to the beginning as it’s a reassurance that the treble is all you need. Once again the transients are providing imaging to squander our imagination on. At 00:26 the rhythm bass starts, now the drums haven’t started, but you get the feeling of the density here. And while I have heard this tone more defined it’s not sloppy, or lagging in any way…….and seems to hold better timbre than ever? At times I’ll take timbre over other technicalities, I mean, that’s just how the Hype2 is. And somehow the more I listen to it, it does showcase an attack and texture…….more than I first guessed? It’s round and everything is in place? At 01:55 that extra stage comes in showcasing the soundstage unexpectedly? See these little bell sounds they have a rhythm and a tone, a feeling to them that when it is right, it feels right. Such artifacts of the song are not loud but if represented right, all is well, as it is almost as hearing into the blackness of the stage. At 02:08 the drums finally happen, and they are not really that out front or contrasty…….seemingly going with the program. Yet the drums while not super out front still contain the texture and depth they ultimately do have. What I’m realizing here is that to be good at everything, the Hype2 needs to approach music in this fashion, maybe? Don’t get me wrong, the bass is perfect, I just may have heard it louder on other IEMs. At 02:34 there is an accent, a faint cymbal or really a brush sound……..electronic, and it is perfectly separated in the mix. All I can say to sum this song up is that there is a unity, a unification of tone, where really the BAs merge with the bass driver to become as one. This one-ness continues on into other aspects of the song and doesn’t stop for a moment. It’s the well-roundedness that maybe is the Hype2’s greatest strength? I mean the next song shows how well the Hype2 does fully formed EDM drums/bass, and further down the line in music tests we will then try out full-on orchestrations.



KMFDM
Paradise
Megalo
44.1 - 24 bit
I use this album all the time for reviews, probably because I know it forwards and backwards, that........and it has good sound quality. The faint bells at 00:11 are well separated and reverberated. At 00:28 the sequenced synth starts, traveling right to left and back again. At 00:39 the vocals and drums come in. My favorite part of this rendition here right now is the drum and bass pace. Yep, I mean the downbeat is the backbone of this song, yet if there was a problem with it we would lose pace, where here it’s hyper paced. It grooves and sways like the best IEMs do! I mean for a lot of EDM listeners this single trait could be reason to buy the Hype2. I don’t consider myself an EDM listener but I have had my spells. There are two aspects which are really important in that style of music for IEMs. Typically there are exaggerated hi-hats which are mixed that way to counteract the bass presence. The other aspect is simply bass presence and texture. Does the bump groove and if so is it lovable? And it is, both aspects are taken care of here with the Hype2. What that means is if EDM was your only genre of choice, or you listened to it 90% of the time, you would be happy with the Hype2. And most likely you would be way more than happy, but I won’t say that.



Ludwig Goransson
Oppenheimer OST
Gravity Swallows Light
44.1 kHz - 24 bit
This really sounds like a full thick set of strings……..in the opening. This is a prime example of frequency response being correct. I say this as we all know when someone is of wanting of a different presentation. Maybe EQ does it for them? Here there is every style of frequency even though the song in many ways seems simplistic at the start. At 00:17 an atomic bomb sound is heard, I haven’t seen the movie but I assume. Such a sound travels to the outskirts of the stage, delineating what this IEM can do. At 00:25 a through bass drop occurs. Such a bass is warm and holding analogue tone, found maybe with less clarity than other (pricier) IEMs I’ve heard playing this song, except there is no arguing this is correct. This particular song has a lot of panning going on, a lot of washes flowing through then a finite piece of tempo…….a string instrument, maybe? It’s holding the pace for once like a Geiger–Müller counter. This sound comes at 02:01 and takes control of focus. Somehow the Hype2 captures that and lets it happen. At 03:03 there is the returning cello, actually this whole song could be entertaining just for the cellos. But right before 03:03 a bass drop hits and we can hear that small detail well. The fact that those cellos have air, and space in the soundstage.



Ludwig Goransson
Oppenheimer OST
The Trial
44.1 kHz - 24 bit
Finally The Trial, my favorite song on the album. Here the Geiger–Müller counter is moving fast and the pace shows. And again the cellos are back, but this time even deeper and bigger. At 00:16 they add a string instrument, maybe an electric bass, on-top. At 01:56 a sub-bass hits, as deep as we can go just inside of our hearing. Probably the overall best sonic value here is note-weight, that and a woody density and fluidness to the string instruments?



Ludwig Goransson
Oppenheimer OST
Dr. Hill
44.1 kHz - 24 bit
At the 00:46 mark there is an actual song here, there is an actual theme buried between effects…………….it emerges and holds musical value. Such a piano comes to prove its worth. And all I can say, is everything in this soundtrack seems well placed, well toned and exceptionally entertaining for a $299.00 IEM. All seems correct and sounding big and involving, but most of all musical and together. It's the naturalness that is a focus, I mean while listening to this you have to ask yourself if you would ever want it another way? Such density of strings and balance of itemizations into the stage........................




Conclusion:
I’m thinking Thieaudio really outdid themselves here. Linsoul is the house brand and Thieaudio is their baby. And while I haven’t heard the Monarch II, I believe the Hype2 is an emulation. Though for some people they feel there is even better bass than the Monarch II, part of that could be balance, meaning if you start to roll back the treble equipment up-top, you are left with balance still but a refocus of energy and personal sound aspirations. Meaning there is nothing left but to hold-onto except the bass, as that’s what is there. Think of it like a large cabinet with glasses and plates inside. Only the very top shelf has been taken out. That means you still see most of the cabinet, and if you didn’t know any better would think it was full. Many never look up that high-up anyway. Literally everything looks like it supposed to when you open the doors. So in the end Theiaudio took out what they thought they could get away with, and still have a winner of an IEM. And while not perfect, nothing is, and normally there are more imperfections in the under $500 realm.



If you were truly sensitive to treble they Hype2 would have your name on it. Especially if you were both into EDM and sensitive to treble, I couldn’t think of a better IEM to get. The magic here is that they somehow dialed the Hype2 into not really needing a thing. It’s this whole togetherness thing that has me smitten, that and the beautiful imaging and transients. There is also a special simplicity that comes with only using 4 drivers, nothing to get in the way, nothing to confuse the frequency playback. If anyone out there has a multi-BA IEM, you know what I’m talking about……the swarm of bees. No bees here, nope…just the right amount of frequencies. And the bass……how do you describe something that is basically correct……correct for me anyway. With all the emphasis many will get the wrong idea about the Hype2, thinking its a bass-head IEM, when it has lovely bass, but not really that extreme, maybe on the border? I mean you can’t add 2X 10mm iso-bass drivers and get nothing right?

And finally the usability. Sure there are flagships out there, but (at times) you need a stack to drive them. You know the guy you saw on the subway with a pile of gear somehow all stacked together to power these little IEMs. How ridiculous is that? Oh, wait…………I forgot......Head-Fi, the only place in the world that loves 5 pounds of portable audio on the go. Well anyway those days are over, yep there is a new era starting……super efficient IEMs that only sound like a 5 pound stack of audio gear. Truly if you were just looking for a great out and about IEM the Hype2 is it. It weighs only 5 grams, runs off anything, sounds big, and has great noise occlusion. Really what else are you looking for? I know TWS has taken over the sports and recreation sectors of Head-Fi. Still none of them that I know sound like the Hype2. Or if you were looking for a relaxing less hypercritical treble-centric IEM than your flagships that is an absolute joy to listen to, the Hype2 is that too. Really the Hype2 changed a lot after burn-in, I mean it should being it's not one 10mm, but two! And the fact that they threw-in the most recent Sonion BAs to put icing on this cake! This simply shows Linsoul/Thieaudio used their buying power and supplied the quality parts. The cable……….really a work of art when you look at it, a little unwieldy, and that’s just what it is…..but only slightly. What it is is it doesn’t like to be coiled-up super tightly or even remotely tight. Yet I still was able to put it away. And truly the cable is all that and more, coming with an IEM of this caliber.

The Sonion Sound:
I can’t help but realize that my affinity to the Hype2 results from the integration of Sonion BA tone and texture into the Thieaudio sound. It’s no secret that Sonions are my favorite way to go. And just like different guitars or pianos, they emit a character that is remarkably their own to contain. Such a character is a mixture of note weight, harmonics, resolution and clarity. It is such a quality that upon listening to any other IEM.......it’s just not the same. Now not to be too critical here, Knowles takes a close second. But my Sonion listening experiences have produced the most realistic and enjoyable IEM listening experiences to date. Sonion is singularly the main reason I like Hybrids the best of any style of IEM methodology. And the fact that Thieaudio went and somehow amalgamated the Sonion sound directly into their own sound…….to take this whole shebang one step farther!

The Review Process:
This was by far the easiest review to do all year here at Redcarmoose Labs. Why? The playback is like chocolate ice-cream, it’s simply lovable and goes down easy. There is a no-fuss way about the IEM shape and fit, the way the cable hooks are. It’s almost refreshing to come-upon such an easy yet detailed treble…………I mean surely I was looking to throw rocks here, but I found absolutely nothing to take offense to? That is how well done Thieaudio has done the tune.....to perfection. And around these parts, perfection is a naughty word to use, because the perception of perfection is subjective. Still I don’t care, the reason being is the tune is simply a step into the correct direction, to attract more and more listeners…….and with that said, the Hype2 has it all……it really does.

Ending:
So I guess I’ve covered the Hype2, you can be sure I’m going to be listening to it over and over again, because it isn’t just what an IEM costs, but how and why it was made and the design sophistication involved that makes it valuable. An added IEM to your collection that I can assure you, you have never heard before.

$299.00
https://www.linsoul.com/products/thieaudio-hype-2?variant=43984786522329

Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?i=merchant-items&me=A267P2DT104U3C

Disclaimer:
I want to thank Kareena at Linsoul for the love and the Hype2 review sample.

Disclaimer:
These are one person's ideas and concepts, your results may vary.

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 3.5mm and 4.4mm
Sony WM1A Walkman DAP MrWalkman Firmware 3.5mm and 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
Shanling UA3 Dongle DAC/Amplifier 3.5mm and 4.4mm
Samsung phone 3.5mm

Redcarmoose August 24th, 2023

SIMGOT reintroduced the EW100 IEM
Only they took off the ear hooks and added an onboard DAC/Amp. Now to summarize this change, they kept the price of $19.99 exactly the same, but changed from the 2016 Harman Target and did some fancy signal processing to get us a new improved 2019 Harman Target. My guess is the IEM housing and driver is exactly the same? The cables of the EW100 DSP are attached so you can’t put the original EW100 on the DSP cable and try it. But really the two IEMs look the same, so my guess is they are doing the new tune with signal processing.

The original EW100P:
https://www.head-fi.org/showcase/simgot-ew100p.26454/reviews#review-30887

Trying both through my Apple MacBook Air:
The original EW100P playing through the 3.5mm output was fine, but still represented the sound tuning I only gave it 3.0 stars to the original for. Meaning it didn’t matter what you hooked it to, the tuning while nice, it wasn’t my thing. It was too midrange forward as well as not holding any specific character to make it unique. Using the DSP EW100 with a laptop was adapted with plugging the USB-C into a USB additional plug. Also it works great simply plugged directly into a USB-C tablet or USB-C smartphone.



Packaging:
The first clue that you get that this is different comes from the outer box. So many IEMs today are simply added to a bag, or put into a box that doesn’t fit them. Here SIMGOT has tailor made a special box for the EW100 DSP. Inside the box you get the IEMs themselves, a user-guide and warranty information and S/M/L silicone ear-tips.




New EW100 DSP box next to SIMGOT EM6L Universal IEM:


Build:
Introducing a dual 10mm LCP diaphragm the EW100 is incredibly small. With removing the ear-hooks the fit is fine and some would like even better than having the ear-hooks. Due to weight of only 2 grams each, the EW100 DSP easily stays in place. As noted here in the photographs we see an air-vent directly on-top of the driver and one underneath. There looks also to be an added vent on the nozzle as shown in photographs. A screen of wire mesh is formed directly under the nozzle-lip, with an additional screen made of tape. If you look really closely in the second photograph, a second screen can be seen.



Above: Note add-on for USB-C to USB (not included) for laptop use.


The two EW100P and EW100 DSP are identical except for ear hooks, cable terminations (3.5mm v USB-C) and of course the permanent DSP cable.

Sound:
User experience:
The amplifier gets incredibly loud, way louder than you would ever want. And while only one time the balance was off.............I think it was the MacBook not the EW100 DSP that caused such confusion, needing a computer restart. Meaning after using the EW100 DSP for a period of weeks and weeks, I never had an issue with it working perfectly 100% from my Samsung A8 tablet, or a laptop. And while maybe not quite as resolving as say something like the 7Hz Salnotes Zero wired from an audiophile DAP. There was more FR balance here, meaning there were actual lows, which the Zero is known for not having a lot of. And later in the music section I will go into a few songs to describe how I hear them, really there were so many relaxing times I enjoyed with the EW100 DSP. Of course it had its limitations, except it was easily something that could do it all, simply throwing it into a bag with the tablet and away you go. Meaning it’s definitely better than the DAC/Amp you get with most tablet or laptop devices, and while close to the same as the Apple products, I could not help to think there was actually stage DSP processing that was making the stage bigger than the Apple products and of course the 2019 Harman was (warmer) smother output as well.

Comparisons:

SIMGOT EM6L Universal IEM $109.99:
Laughingly, you may ask why I’m comparing these two? Probably because they came out at the exact same time and from the same company. Also they share the same target response, on paper. Obviously the technicalities are way, way different. I mean the EM6L uses 1DD and 4BAs to sculpt a more convincing reality. Deeper and more textured low end, and more detail in the highs, filling out a broader stage, still………you totally can tell SIMGOT was aiming for the same destination. Also one of the main differences seems to be actual Digital Signal Processing. Meaning there is a total character going on with the EW100 DSP that is inescapable. It’s correct sounding, but at the same time you can tell the stage is made bigger than what would be if the digital effects were off, only there is no way to change any of the DSP settings, and you can’t take the cables off to try the DSP/Amp with any other IEMs. What this leaves you with is a slightly more synthetic but enjoyable idea of playback. I’m not a guy to really ever use EQ, so it’s surprising that the purist audiophool in me doesn't take offense to this DSP solution. Again it really makes you wonder if they did anything to change the original EW100P or simply let the DSP do it all with the EW100 DSP?
https://www.head-fi.org/showcase/simgot-em6-l.26639/reviews#review-31512



7Hz Salnotes Zero Universal IEM:
This is an interesting comparison because in a way it tells us everything. Meaning the Salnotes Zero is priced the same, plus you can access an audiophile DAP. Besides that remember I like the EW100 DSP from the processing on-board amplifier included better than the EW100P from a DAP. But it really is still 50% of one thing 50% of another. Because of the fact that the Salnotes Zero really does have something. It’s special and the reason why I’m always bringing it back for comparisons. Now we expect the bass to be different here, where the EW100 DSP is promoting an effect driven exotic sounding extra hyped-up lows, the Zero is almost anemic in that department. Yet we must always keep in mind that the EW100 DSP is not everything. Meaning there are still many compromises to the sound. It’s big, but only so big. There is only so much an entire $20 rig is going to get you. If they say FR is 80% of being happy, then really this is one device that is proof of that. Because always with EW100 DSP, you are saying “the FR is great” and it is, though also it has its ($20) limitations, especially in the technicalities department.

https://www.head-fi.org/showcase/7hz-salnotes-zero-universal-iem.25980/reviews#review-28978

The fact of the matter is that the 7Hz Zero is actually better at delineating elements and into tone texture and imaging. But we are using the Sony WM1A, ISN G4 cable and the usual wide-bore silicone ear-tips. So it’s a different amplifier.



TANGZU Wan’er S. G Universal IEM:
Amazing the Wan’er S.G was somehow closer to EW100 DSP playback, but still also almost won-out due to sounding more powerful with the Sony WM1A amplifier, making a slightly bigger sound. Though somehow I am hearing the TANGZU Wan’er having slightly less timbral accuracy than the EW100 DSP? Really it's 50% one way, 50% the other, yet the wired IEMs sounded slightly more real, yet the wired soundstage was smaller on both the Zero and Wan'er S.G?

Comparison conclusion:
This is slightly confusing. As when I first got the EW100 DSP it was such an improvement in tuning from the original EW100P that I was amazed. Now when the pedal hits the metal and I go through sound demos I ended-up learning a lot. Mainly what I learned was how much the DSP function affects the sound. Where the TANGZU Wan’er S.G had way less bass expansion in comparison the the EW100 DSP. And if you know the Wan’er S.G it is known for its bass, yet the stage with the EW100 DSP was bigger, yet slightly synthetic. Also the same goes for the 7Hz Zero……as it was holding incredible imaging, but again the 7Hz Zero was not processed. So it was slightly more real, except depending on your style of music you may not care. All this comes down to the fact that I heard way more DSP influence when doing side-by-side comparisons. It is only then that you really start to realize you do get this bigger stage, but also the music is more convoluted and farther from the natural source, like using an audiophile DAP and the 7Hz Zero or Wan’er S.G.
https://www.head-fi.org/showcase/tangzu-waner-s-g.26236/reviews#review-29952

Music:


Ludwig Goransson
Oppenheimer OST
Gravity Swallows Light
44.1 kHz - 24 bit
Here is the thing. Once you figure out the fact that the DSP is making everything bigger, you somehow hear it on everything. And it’s not a bad thing, due to there being amazing imaging and elements that are simply bigger than you could normally get with a $20.00 ear-phone. It’s just you both notice it and get into it. Try to imagine hearing music played through a home stereo sound system in home theatre mode, as it is just like that. Sound effects all have a slight processed airy sound. Bass is bigger but somehow on the outside and slightly more sloppy, but holding deep involvement none-the-less. Here at 00:11 the strings are big with the explosion sound falling out to both sides. Actually the synth deep drones at 00:49 have an ambiance to them.........an added ambiance. Everything is bigger but not as direct or as clear. The puff of air at 02:47 is big, and surrounded by other synth sounds, then the violins continue to show their forms.

Intermission:
I mean really hearing this soundtrack is what the EW100 DSP is about. Making all you listen to bigger and at the same time slightly softer. When the bass hits it’s surrounded by synthetic textures of smoothness and ambiance, really home theater sounding. I can see these coming in use on the go to make gaming or YouTube videos sound enhanced.





Ludwig Goransson
Oppenheimer OST
The Trial
44.1 kHz - 24 bit
The bass hits at the start, though deep it is also slightly soft and more congealed with the song as a whole than other (audiophile) ways to hear this. It is at the same time slightly muddy, yet entertaining. I mean it is very analogue sounding and I could see someone enjoying the outside deep bass washes..............coming from way out, being a way of being distracted if in public. The slight tempo instruments here are smooth and in no way showing any sibilance or even firmness. This really makes everything easy to listen to and digestible, no matter what it is. The stage is wide, bigger than regular playback. Yet the tone is totally correct, it is this timbral accuracy that seems to work here?



Conclusion:
Entertainment from a tablet or laptop. Entertainment from a phone. No fears of stuff ever not being loud enough. Except this experience is slightly softer, every aspect of it is a step back then a step outwards into the stage. A bigger stage than these little EW100’s would have you guess. That’s their little secret. To tell you the truth I was slightly confused at the start. One because the tune, this 2019 Harman target was miles better than the original EW100. I focused in on that and while I knew the soundstage was bigger, I didn’t know why or how at the start. You see, this is my first DSP IEM. And (two) later when I compared the EW100 DSP to the 7Hz Salnotes Zero and TANGZU Wan’er S.G…….it struck me as to the old style clarity of the Zero and War’ner..............and in the end the DSP process was uncovered for what it was. This stage was way bigger than what normally you get with a $20.00 IEM. And while there is a small price to pay for these benefits, stuff still sounds relatively real, or at times better than real…….if that makes any sense?

SIMGOT went and pulled a fast one. They took a certain style of playback (OG EW100) and put an on-board DSP Amplifier Signal Processor in front and permanently placed it there to change the tone and imaging outcome. If you only knew how curious I am to try this on other IEMs, only it would take dismantling the whole affair to do so.

What you get is a one-stop solution to going out and about. No need to use the amp inside your phone, tablet or laptop…..simply plug-in the DSP and go. And this style of home theater fantasy sound is basically forced on you no-matter-what. It’s not audiophile in the purest form.......it is also questionable how audiophile the 7Hz Salnotes Zero or Wan’er S.G are in their pure form? There is a tempting guilty pleasure here. And any guilty emotion found starts to dissipate the longer you endure this pleasure. And really despite the un-realness of it all, the SIMGOT EW100 DSP is fun, regardless of the fact that it’s about the farthest I have been from the source in a while? Only FR is correct and timbre is exactly right, and most of all……..the EW100 DSP is not boring at all……..so I guess you could say I’m all in?



EW100 DSP


Original EW100P


General Information
SIMGOT EW100 DSP

GENERAL SPECIFICATIONS:
Brand: Simgot
Unit: EW100 DSP
Sensitivity: 122 dB/Vrms
Impedance: 32ohms
http://www.simgot.com/en
http://www.simgot.com/en/products/detail/28.html

SIMGOT website doesn't support beyond Chinese mainland purchasing.
You can search the IEM model name to place order on platform such as Amazon, Aliexpress. Or you can ask earphone shops in your country, if your country is authorized by SIMGOT.

Disclaimer:
I want to thank Fia Lam from SIMGOT for the EW100 DSP review sample.

Disclaimer:
These are one person's ideas and concepts, your results may vary.

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm
Samsung phone USB-C
MacBook Air USB
Samsung A8 tablet USB-C

Penon Turbo Universal IEM
6 Balanced Armature & 4 tuning switches
Redcarmoose Labs August 20th, 2023



While very different from most IEMs I review, I can pretty much guarantee you don’t have an IEM which sounds like this in your collection. Why? Mostly due to the bass levels, now we can still arrange the tuning switches to reach only a subtle bass boost, but even then it’s standout due to bass levels….a little. Then we can go hog-wild (if wanted) to reach profound levels of bass. All and all this makes the Turbo unique, but also this is one of the very few Penon all BA sets, other than the Sphere and Legend IEMs. Meaning it’s got the Penon sound, still but also added room response if you want it.

Room Response:
What is room response? It is the extra low frequencies that are added to a speakers front driver’s response due to sounds coming off the sides and rear of the speaker cabinet........then bouncing off the back and sidewalls of a listening room. This is not a theory but a tested and proven phenomena which takes place, and one of the main differences distinguishing speakers from headphones.

Tailored Room Response:
We are still arriving at a kind of middle ground (especially at the bass light(er) settings) due to the careful audiophile stance the all BAs produce. Dual vented Sonion Acupass BAs for the lows, dual Knowles BAs for the mids and dual Sonion BAs for the highs, means there is still an audiophile clear response despite all this bass action. A clear response due to a specific tri-band crossover, and tri-band sound-tube design…….all frequencies are fully separated and accounted for.

14 different tuning modes
6 Balanced Armatures
Exceptionally small form factor
Up to a full 20dB of bass included if desired
Semi custom fit
Only 4 grams each
Room response



The Turbo name:
The interesting part is how I really don’t look at the Turbo being named turbo due to the bass switch. I mean sure the switch is a marketing idea, and fun to include a never before introduced function into the audio world. While DUNU added a single bass switch activating the crossovers into a different style of bass response with the DUNU SA6………..our Turbo switch here has no remote similarity? Meaning the Dunu switch is incredibly passive, and almost non-eventful. Some feel bass is not the SA6 strong point, and I would agree. Where here the bass switch is an event, a tone changing affair that is not to be taken lightly. Now if you’re wondering (my take on) why the Turbo was named turbo, it is due to the IEM's transients. It is this unique pace which comes through detail of changes taking place in relation to sound events. Faster changes mean a style of time-detail which is the antithesis of what you would expect from bass drivers………yep, there is a pace detail that gives life into how bass texture is achieved. Such texture was not even discovered fully until I had understanding through side-by-side comparisons. I mean, yes I knew it was there, but not to such an extent that it was IEM defining.........so to speak. To me literally the demeanor of the Turbo is created through how it does pace, and that pace is wildly unique sounding as an attribute, incredibly different from all the IEMs I have heard in the world.

Switches:
The tuning switches are easy to use:
Even if tuning switches are not your bag, it is easy to find a single setting and stay with it. Meaning bass is incredibly subjective. Subjective due to music genres preferred, or ear anatomy. Much of the personal bass levels wanted is not fully understood, though what we can all agree on is, when it’s right, it’s right. I mean really the bass should be able to be adjusted on all headphones, due to finding that sweet spot where the bass seems to all work-out.

Finding the sweet-spot:

1 234

There are four switches. Number one is the Turbo switch which by itself can add almost 10dB of bass. With no switches on the Turbo IEM adds an additional regular (from flat, whatever that is?) 8-10 dBs of bass. This is pretty close to your standard V shape IEM. The added effect of the Turbo switch (1) is an additional 8-10dBs of bass to arrive at 20dBs of bass. Switches 2, 3 and 4 add primarily different levels of bass too!

1 000 pure bass mode

0 004 adds to the most amount of bass.

0 030 medium

0 200 the least lowest amount of bass.

The Turbo will come with the Turbo switch turned off and the 0 200 setting activated, thus recommended to start off with.



Comparisons: All done with the recommended settings 0 200. I’m starting out with comparisons as truly it is one of the best ways to define an IEMs sound signature. I used the Sony WM1A and (mostly) the ISN G4 cable.

Left to right
Penon 10th Anniversary, ISN Neo 5, Noble Audio Kaiser 10 Encore

Left to right
SHOZY B2, Penon Volt, Penon TURBO

Left to right
ISN EST50, Penon Globe, SONY IER-Z1R

Such diversity (in comparison) shows both the Turbo’s weaknesses and strengths.

Penon 10th Anniversary $499.00 2DD, 2BA, 2EST
ISN Neo 5 $289.00 4BA, 1DD
Noble Audio K-10 Encore $1850.00 10BA
Shozy B2 (SCB2) with ISN SC4 cable $299.00 1DD
Penon Volt $799.00 4EST, 2BA, 1DD
Penon Turbo $499.00 6BA
ISN EST50 $449.00 2EST, 2BA, 1DD
Penon Globe $329.00 2BA, 1DD
Sony IER-Z1R $1698.00 2DD, 1BA

Penon 10th Anniversary:
What do you know, this is my favorite Penon/ISN IEM of the 14 that I have heard so far. Yep, I like the 10th the best and better than the Turbo. The placement of the 10th at the start is pure coincidence as this photo was taken weeks ago. Still the Turbo is different, it’s a different animal altogether. What this comes down to is speed. The Turbo is way, way faster than the 10th. Somehow this quickness follows through with everything the Turbo does. Meaning the 2 6mm DDs in the 10th offer great speed, but the Turbo is faster and the quickness follows up Into the whole signature? The Turbo is actually clearer and cleaner.

In comparison (to the 10th) the Turbo bass is slightly slower, and somehow denser? Here is a funny thing…..because of all the Turbos drivers being all BAs, there is an added style of cohesiveness. Though due to this thickness offered by the 10th, even the stage seems bigger and more dislocated (not necessarily a bad thing) due to three different methodologies of drivers? Also check-out the physical size difference..........where the Turbo is way smaller than the 10th. But my love for the 10th is almost endless? Still the turbo is faster/cleaner and does many styles of music in a different more detailed and precise fashion. The Turbo becomes complementary in the end.

Turbo graph supplied by Penon Audio:

The 10th Anniversary graph:
It’s probably a good place to show a graph here. Take note of the 6kHz area where we have a more traditional dip in the 10th Anniversary. Now I’m not criticizing the use of the Turbo tune in that area, it is just an idiosyncrasy of the Turbo and in fact adds many cool attributes, it’s just different that’s all……and a new thing!

ISN Neo 5:
I just did something a little crazy here, I tried the Neo 5 IEM and Turbo IEM with the Penon Totem cable…..yep. Beginning with the drama surrounding the Neo 5 and cables. You see, at first Penon supplied the Neo 5 with the darker S8 cable, yet about two weeks ago Penon changed the stock cable to the (brighter) S4. And sure enough later down the line we are going to try the S4 cable with the Turbo to see what happens.

TOTEM and Neo 5:
You see the TOTEM cable is the best cable I tried with the all BA Turbo, also surprisingly the TOTEM doesn’t always fend well with DDs, but somehow (and really somehow) the TOTEM became the very best cable I ever found with the 10mm + 4 BA Neo 5! So to compare these two (in regular Turbo bass setting mode) the Neo 5 has less bottom end, which is probably expected, yet to hear these two in-action side-by-side reconfirms how much different the BA drivers are in the Turbo. Normally there can be found a style of DD attenuation with the TOTEM cable, but the 10mm in Neo 5 is heaven.

So what we have is a silky midrange offered in the Turbo…..along with great vocals with the Neo 5 too. Somehow though the Turbo vocals are better defined, being smoother and more detailed? Where Turbo vocals have a slightly extra sparkle of playfulness?

Noble Audio K-10 Encore:
Prior listening:
While the K-10 is known for aspects which really come-off as the antithesis of the Turbo, and it’s over three times the cost, still a lot can be learned having these two side-by-side.

Then!
My gosh, the Encore is so vivid and even more forward. What I mean by forward is how instruments and vocals are placed, Like a giant 8K TV set in the room! Everything is big, big…big. But in all honesty a new aspect of the Turbo was coming to light. Yep, after hearing the forwardness of the 10BA Encore, all of a sudden I had new appreciation for the Turbos top-end and vocals. Where the Turbo was still vivid and clear with vocals, but kind-a in a more normal way? Not so out front and electric, except still totally clear and containing all the detail? Surprisingly they were not the opposites that I came to this test expecting, with the Encore having only 4 more BAs a side, they were brothers in playback, not opposites. And will you look at that……both offer a 6-8kHz boost up-top, with the Encore of course being way more boosted, especially in regards to balance. Except in my listening I discovered how they held this treble similarity, then graphically it also made sense. Truly I don’t memorize graphs and especially can’t remember how two IEM would share graphic similarities, so this in itself is enlightening. You see even if part of this peak is the 8kHz artifact the rest of the peak couldn’t possibly be.



Penon Turbo:

Above Penon Turbo response graph provided by Penon Audio:

Shozy B2:
The B2 was bass dramatic holding a thicker bass and yet less detailed….almost one dimensional bass in comparison to the Turbo. B2 vocals took a backseat to what the Turbo was capable of. Also there was a stark difference in tone, that while the BAs in the Turbo were not showing off timbre, there was a separation into the stage, where the imaging lived. I mean all this could be guessed prior, except hearing it once more drove those ideas home, that much further home in testing. And while possibly showing less technicalities than the Turbo, there was this single DD cohesiveness that was unarguable.

Penon Volt:
Coming in at way more money, it’s always a treat to get a taste of what the Volt is up to. Laughingly like the Encore in forwardness, this once again shows how hearing an IEM again is always full of surprises. What I mean by forwardness is how the sound in close-in-front…..real. Vibrance and skill abound with the Volt. And while coming back to it is emotional, like meeting an old friend……..I still could hear other differences. One being the bass is slower, not lethargic, but owning a slight delay that the instantly responding Turbo didn’t have. Yes, the Volt is showcasing more midrange ability…..as in many ways it’s the focus of the Volt. Where somehow the midrange of the Turbo shows-up slightly less involved and of holding an ever-so slight metallic tone (in comparison)………. being thinner in nature, yet well placed none-the-less.

ISN EST50:
Wow, the bass is both the same and totally different. Where it’s the same is in the amount of playback. But where the Turbo was romantically different is the bass came more from the center of the stage, where the EST50 bass was more wide and to the outside stage in its approach. The detail and quality of the bass drivers in the Turbo was of value and while emitting a large amount of bass, really in many ways equal to the 10mm EST50’s output. Still there was an additional refinement to it, a sculpture that was uncanny. You see this holds a specific value in playback, that such bass holds more pedigree and sophistication……in the end more detail! That the EST50 bass can almost come off uneventful and too big, in comparison. Where the Turbo tone was of the same level, except here the response was faster, and cleaner. If you think Penon/ISN are releasing two IEMs which are close to the same, nothing could be farther from the truth. Next the vocals, when vocals come in with the Turbo they are way more forward, and holding a slightly brighter tone, better defined and separated than the EST50. In comparison EST50 vocals arrive almost sleepy in contrast to what we have with the Turbo. Truly these two IEMs have nothing to do with one another. They arrive at playback as different as night and day. You as the consumer would be forgiven for guessing both bass heavy IEMs are from the same company and should represent bass in the same fashion. Only realize it’s been years and years since the EST50 came out, and the difference here is DD bass in comparison to BA bass. There is a spacial placement way onto the edges of the stage as to how the EST50 works, where the Turbo’s BA bass finds itself emanating from deep inside the center area of the IEM. The bass soundstage is approaching from a totally different position, not only that, the Turbo bass gets in and out faster, leaving room for faster turnarounds and change-ups. Due to these characteristics the bass offers more texture than what is possible with the 10mm EST driver, a subtle flexibility that proves of value. The EST50 bass is of a denser opaque stature holding firmness and more weight, where the Turbo is cleaner, tighter and clearer, offering a window into bass playback never before witnessed.

Penon Globe:
Less bass, but quality…………..nonetheless, I keep rotating the Globe into side-by-sides as I view it as incredibly special! Today the Globe”s stage somehow seems much larger than when I compared it against the 10th Anniversary? Also I don’t remember the vocals being as good as they are today? Literally every detail is held in the playback here? While now I’m hearing more about what the Globe is, and getting more down-to-earth with its abilities, It’s much more midrangy than remembered, which can often happen with Penon IEMs. Where this midrange will show-up and there is no stopping it. I mean it’s only 3 drivers…the Globe? The Turbo gifts us a more detailed low end, holding more items, the midrange is of a thinner demeanor yet, more spread-out, and again more detailed inside of those items. This is probably 2X the drivers coming into play. Still there is a thickness coming from the Globe that I wish the Turbo had? Less musical details, but soul…..the Globe has soul. All you Globe owners know what I’m talking about. I mean really the Turbo needs an extra small amount of that soul added, to be better. And……I tried to figure out the location of that soul, you would think it was the lows, but it was more, and could even be part of the midrange with the Globe……a style of thickness……I can’t explain it?

Update: As testing continued with the Turbo I was able to add the desired “soul”. This addition came with using a warmer cable than expected. Yep, really the opposite than you would guess? As typically warmer IEMs are bass centered IEMs, and don’t need a warmer cable but need (brighter) clarity……..at least that has been my humble experience. Here in fact that missing part the Globe had was note weight, and a style of thickness that we could in fact (in-the-end) add to the Turbo by using a darker and warmer cable…..the ISN CS02.

Sony IER-Z1R:
Look, the IER-Z1R is often heard to be the most realistic IEM on this page. Yet, still it’s not perfect. Fit, the fit of many of these IEMs made by Penon/ISN are much more comfortable. At a whopping 13 grams a piece the IER-Z1R is the heaviest. Efficiency wise, both IEMs come in close to the same, with the Turbo being 20% efficient. And even bass levels are fairly even between the two, though the IER holds a slimply amount of clarity, the 2X Sonion drivers are in many ways doing what this single Sony DD is up to. Where they really start to differ is in stage and treble details………I mean nothing I know of comes close to the realism of the IER-Z1R in regards to treble detail. But after a few back to backs…..I can’t help but realize the Turbo vocals are special. Really they are more of a noticeable quality than the bass maybe? They are in fact more forward than the IER-Z1R, which isn’t saying a whole lot, but it’s true. I mean I can hear all kinds of accents and expressions in these vocals? I don’t know why? It is like you start to notice how special the vocals are while concentrating on the comparisons, then they start to unfold, even more so? The IER vocals are sitting back farther, yet also holding more detail, and smoother.

Cables:
Such items can make a small difference, yet that is the place we are at, trying to align the tone more to our wanting.

Here is the Turbo and Penon Obsidian a great additive!


But in testing I found three more incredibly interesting and one a super value!

ISN S4 Cable
Penon TOTEM Cable
ISN CS02 Cable (value)



ISN S4 Cable:
The first in the running is the ISN S4 cable. Here we are questioning the ISN S4s ability to add spacial properties and stage? And to tell you the truth, I thought that maybe the ISN S4 was going to cause trouble or something? I even got out my more bass heavy WM1Z in preparation for the event. But really the relatively cheap $58.90 S4 cable made the Turbo very, very special. So much so that if you simply wanted to get your feet wet with an aftermarket cable and were wondering if there was a perceivable difference between the included SC816 cable and the S4, I can recommend the S4 wholeheartedly. Really in many ways it did exactly the same as what it did for the Neo 5 in comparison to the included cable. A wider soundstage, improved imaging and clarity. Even the bass was slightly cleaned-up and imaged better, in comparison to the CS816 included cable? Upper harmonics are improved, really there is a lot of room to change the Turbo, especially if you choose to not use the switches. But more than that, there are qualities which a cable change-out can do, that are above and beyond what you’re going to get with switches. In fact just that I had great luck with the more mid-centric Sony WM1A simply showed both how great the Turbo is to slight changes, but also how there was no worries as to getting a new and different cable that can add vocal ability and stage, while adding a small increase in imaging.

https://penonaudio.com/isn-audio-s4.html



Penon TOTEM:
Before burn-n I was hot to try what the TOTEM could do. Truth to be told, I never had (13 Penon/ISNs later) an all BA Penon before, and as far as I was concerned the Flagship TOTEM and Turbo were made for one another. And during this test today my curiosity got the best of me…………to try the Neo 5 with the TURBO too. There are only two small ideas working against us, number one the TOTEM isn’t always the best with DDs, taking the wind out of their sails at times. And…..price, the TOTEM is a little expensive to match with a $289.00 IEM like the Neo 5. What does the TOTEM/Turbo combo do? Size, soundstage size. That and realism.

It for all intents and purposes sounds like you turned-up the volume on the Turbo, only you didn’t. So that clarity that comes with more volume is there, that and the stage was increased in every direction, forward, backwards and up and down……oh…..and width, the side to side elements were also arrived at. Basically everything was clearer. Also more with the Neo 5, but the Neo 5 became more cohesive…..strangely enough. To me, finding a random IEM that can be added to the TOTEM list of improvements, is like getting a new IEM, all over again.



ISN CS02 Cable:
Here is the newest cable from Penon/ISN. Quite the entertaining transformation. Why? Because the first thing you totally notice is the deepness added to the bass. Extra authority. A forwardness and an added roundness, denser….and somehow it’s a good thing. I know this is going to sound dumb, but the effect is purely analogue? The Turbo sounds more analogue now…..hah. There is also an incredible change to the vocals. I mean these were all the things that the CS02 did with all (well most) IEMs. Only here they were maybe more needed? Where the S4 brings clarity though the upper sections, the CS02 was adding this lower warmth. And really I know I recommended the S4, and I still do, but the SC02 is even better. Remember that soul that that Globe had, that the Turbo didn’t have? The CS02 brings it. Yep, it brings all of it……perfect! And then you may be wondering about why I’m making such a big deal about the CS02 cable? For one it’s more regularly priced than the TOTEM, at $69.90. THE CS02 also adds a thickness to the lows, which makes them perfect. Now to be honest I was going to also include the Obsidian cable in this cable test group. The Obsidian is still another very specific cable additive for the Penon Turbo. Except after burn-in and further testing, the less expensive CS02 does many of the same things, only I think even better? The fascinating thing about the CS02 cable, many IEMs have a brightness where it seems to be included an amber glow?

Where the CS02 performs both a spatial expansion and a smoothing of such trebles. Here while the treble is expanded and even added separation into the mids. Remember how there was an added quality of smoothness to the IER-Z1R vocals in comparison to the Turbo, well now the CS02 cable helps add that smoothness back into the Turbo. Yep!



Packaging:
Included is 9 pairs of ear-tips, two switch-tools, and a wax cleaning tool that can also double as a switch tool. Included is the CS819 cable as well as a case and a pouch.




Build:
Such design really fits the ear, and part of understanding fit is simply getting used to a new design. The nozzles are smaller in circumference diameter than the 10th, but somehow after prolonged use, I was able to get my favorite ear-tips to work............maybe the inner diameter shrunk? The single air-vent is red and the right side and blue on the left side. Such natural shell material is embedded into the faceplate which gives off a pearlescent glow upon the light hitting it at a certain angle, and gives a non-plastic feel to the IEM. Being both small and lightweight has its advantages.



Music:
All the music tested today was done on the Sony WM1A with MrWalkmans Firmware. The ISN CS02 Cable was installed along with my favorite standard wide-bore shallow length ear-tips.



Hans Zimmer & Benjamin Wallfisch
Blade Runner 2049 OST
Mesa
44.1 kHz - 16 bit
Don’t know if you know but I have been using this song more and more to evaluate IEMs. Reason being it is recorded well and offers challenges to IEMs to get the bass correct, and timbre in string instruments (namely the piano)! At 00:00 the piano introduction affords us both a mixture of ambiance due to piano reverb, and at the same time a fully clear set of bright piano keys notes are introduced. Even at 00:02 the bass starts to wash in at the right. Such a bass is characterized by a frequency just at the threshold of our hearing. At 00:06 the center and left side approach us in bass tones. At 00:08 the first blast hits. Such are the familiar sounds with the original Blade Runner film. In your mind you may remember the very beginning, the oil refinery in Los Angeles that was used (to film) the effect? Showing many lights and a dark backdrop……..then the very first propane gas explosion took place, as the bellows of fire reached towards the sky. Such an introduction to a movie, and they are repeating that drama here. It was the connection that we as viewers made with the visuals and sound that was so satisfying. Probably due to the fact that we as movie goers had never seen such a sight? Then the sound, adding to the visceral experience of it all. Here anyway, such sounds are a wave to prior theme music, and all at once bring us home again to the original Blade Runner film. Yet here this is far off into the future (for Blade Runner 2) in fact.............in the year 2049. The second hit occurs at 00:15, and we find it even more forward and clear. At 00:30 we find we are in the center of a bass synthesizer tone. Such a low-end marker adds drama in excess to the bountiful reverbs at hand. Literally every sound in this introduction contains reverb, and I will have to say it’s nice, and not just for BAs, it’s nice across the board, any how you choose to play this. At 00:45 the main synths comes in, of higher pitch, yet tonally it could find itself slightly scathing with other IEMs, though here it’s fine. Also I might add, there is already a lot going on here, yet the 6 BAs seem to take the confusion and make sense of it all?

An interesting part of this playback is the fact that the low bass additives are completely separated and disjointed from the whole. With acoustic music this may not be wanted, yet with this wall of bass synthesis it is mandatory, and something that single bass DDs just can’t replay. I mean.........did I pick-out this song due to showcasing this effect, no, but it just came up as an added feature. Really impossible with DDs. And that is how I kinda describe the tone of 6mm, 7mm, 8mm, 9mm or 10mm IEM DDs, that is detail on the outside of the note having nothing to be found inside. Well here is the opposite, where the sound is more or less coming from the center and falling out later…gaining us bass detail as it is portrayed. There is no IEM that I own that currently does this song this way. That’s the thing, if you’re truly into this style of technicalities, it’s actually a rare find. Rare because due to the performance the different striations of bass which are both separated and delineated. Separated into levels which can be taken apart and studied, each a separate entity all its own into the stage. Finally at 01:24 there is a coming of fruition in terms of song structure, a section where everything is taking place at once. This apex is sent home with a series of drum hits at 01:40.

Honestly I had no idea of the bass quality until I tried this song. The Penon Turbo is kinda like that. It’s waiting to show you, ask it of its abilities, as they are almost hidden. Such character means that in normal daily listening the Turbo can remain mild mannered and really pretty much normal. Except give it something to chew on and you may be startled? I was? Though I want to send home the message that this song was also technically complete, meaning the echoes and piano notes show correct timbre and adequate reverbs. There was also the added dimension of technical separation that made this number the cat’s meow. Is this the best I’ve ever heard the song……maybe? Surely the more expensive Volt doesn’t go to this side of town? You see it’s the speed of the Sonion bass BAs, the fact that they are vented, which may even make them faster? And simply the fact that BAs offer the fastest bass, regularly.



DCD
Anastasis
Anabasis
44.1 kHz - 24 bit
This is the second song on the album and seems to showcase what the album is about. It was the first song I became attracted to on the album. There are going to be a few concepts that are of importance here…..mainly with just how both the drums and vocals are done with the Turbo, but also just how the timbre of the higher octave instruments are displayed. I have to admit when seeing DCD perform this live, has them play very few instruments. Also this kind-of being a reunion (for the band) record, it’s very different from their other albums. Really this is pretty much a vocal performance when played live? There are bird sounds in the background, and somehow I hear them better than ever?



Album version:
The incredible texture 00:09 due to the absolute speed of the BAs. You can also take note of the positioning (and repositioning) in the stage, this imaging is directly connected to the transients involved, as is the moment of found handclaps. Faster the transients, and the clearer and faster of the imaging. Even the drum texture is tightened-up by this level of transients. Already............ a quick introduction of bass drums at 00:33. When the vocals arrive at 01:33, it is clear how the Turbo is a vocal IEM. That is a fact that we can now hear every subtle interjection, every nuance performed. And it’s not too bright, yet totally detailed, but on the more clear side of organic. Each vocal vibrato is exquisitely timed and focused. At 02:59 the piano is reintroduced and holds an exact timbre. In fact, for me understanding the timbre was my main path for success here. For whatever reason my very first 1/2 day with the Turbo had me guessing off-timbre, but the second half of the day had my applauding the timbre, and the whole day after, and the whole day after that. So somehow I got used to the timbre? And timbre can be a funny thing, that once in a while when it’s new in the song (from changing IEMs) it will appear off, but then fall back to well done. One of the first things you learn in Head-Fi is to start recognizing the various levels of timbre, and in fact it can be ever-so-slightly off at times.. But here its still BA timbre, yet it is both Knowles and Sonion BAs, so those name brand BAs have a way with getting timbre down right.

Conclusion:
The first sentence I wrote about the Turbo was you most likely don’t have anything like it. And continuing with that theme, at the end of this review I’m doubly sure of that fact. Why? Well for one it’s bass technicalities. Yep, Penon were not messing around when they decided to invent something that never existed before. They knew that (in the current market) you need to make something new and different to earn people’s business. And probably every kind of tune has already been done? So what’s left? Technicalities that’s what the other guys haven’t figured out how to come-up with. Sure they can release bass heavy IEMs by the truck load, but do they have switches to add and subtract the bass? Do they have Sonion bass drivers which can be adjusted to replicate a movie theater? They don’t, so what you get (instead) is one-dimensional bass. Sure there is fast bass out there, and there is textured bass out there, in fact bass technicalities are coming along for the whole industry. Even if you have even the smallest collection of newer IEMs at your house, you can attest to that. But even those maybe don’t do the itemized striations of bass............the plateaus of bass that the Turbo does? I mean I have a few IEMs, and I don’t have this exact bass replay, not even close. And it is not all about bass amounts, sure stock setting, the Turbo puts out a nice level of bass. And if you want to put the pedal to the metal and floor-it, more bass can be achieved. But there is more here than excessive bass, there is quality bass. And that’s only half of the story.

Yep, do you ever think that Penon would deliver an IEM that didn’t have midrange, or treble? You see every component is important in this equation. Why? Because most of the time the bass is only an additive to the rest of the song. It’s simply a spice added in, the whole of the song is really more comprised of midrange. So we would end-up short changed if Penon left anything out there. But what’s even more important is contrasts. The fact that the midrange and treble need to be of a certain light so that we can even see the bass being adequate. There is truly a complete story here, one that is actually focussed on the tri-band crossover, and tri-band sound tube arrangement. And it is this specific separation that is really the star of the show. Amazingly dynamite comes in a small box, low-weight too, at only 4 grams each. In fact it took me a few hours just to get used to how small the Turbo was.

Vocals:
Probably when you started reading you had no idea that the Turbo would be a vocal IEM too. And that is the hard thing to swallow, that a 2023 audiophile IEM would be both good at vocals and bass……..but it’s true. Now remember too there are strict vocal specialist IEMs that only do vocals, this is not (exactly) one of them. Typically vocal specialist IEMs don’t have this amount of bass. But imagine if they invented both, a bass IEM that you could turn down and change into a vocal IEM. That is exactly what I heard in my testing today. It’s hard to get your head around, but it’s true, there is no other way to describe the Turbo.

Something different:
The thing is, I’m incredibly jaded. So much so that when I get new IEMs in the mail, I’m already guessing I’ve heard the sound of them already.......them all……..all of em. And even when I started this review I thought that I had heard what the Turbo was….I thought I knew what it was. But I didn’t know exactly, it was new to me just how the Turbo could perform. The way it does bass sounds, and the character it has for vocals. Of course the treble isn’t too shabby either. If you want a one-of-a-kind performer in your collection, one that sounds different than anything you could find out there, the Turbo is it.........you just maybe don’t know it yet.

Turbo Switch:
The truth of the matter is Penon maybe didn't name the Turbo because of the little switch, no. They named it Turbo due to speed. Actual pace which starts to take place across the board. Detail inside of the bass notes, that IEMs like the ISN EST50 could only dream of reaching. Added is the enigma that you would like that bass attenuation through a cable.....which maybe would be in order...........when that's not what the Turbo has in-store for you.......no. Actually the Turbo comes alive with a way warmer cable than you would guess, adding note-weight and deepness to the bass even farther than what is possible from the switches, the opposite path!

The main dynamics of the Turbo are transients, transients which create imaging inside of detail and beyond detail to create what is known as texture. This texture is not only specialized into the bass, but comes out to play inside all of the instruments and vocals heard.....it is simply part of what the Turbo is.

$499.00
https://penonaudio.com/penon-turbo.html

Disclaimer:
I want to thank Penon/ISN Audio for the love and for the Penon Turbo Universal IEM review sample.

Disclaimer:
These are one person's ideas and concepts, your results may vary.

Disclaimer:
Burn-in was a real phenomena with the Turbo, seemly gaining both cohesiveness and detail after 100 hours?

Disclaimer:
I spent one day short of two weeks with the Penon Audio Turbo.

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm
Sony WM1A 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

Currently Penon/ISN manufactures and sells.

ISN Audio Cable Products:
AG8 Cable
C16 Cable
C2 Cable
C4 Cable
CU4 Cable
CS02 Cable
G4 Cable
GC4 Cable
GD4 Cable
GS4 Cable
H16 Cable
H2 Cable
H8 Cable
H8Plus Cable
8 Core Cable
S16 Cable
S2 Cable
S4 Cable
S8 Cable
SC4 Cable
Solar Cable
Type C Audio Adapter

ISN Audio IEM Products/Earbud products
D02 IEM
D10 IEM
EST50 IEM
H30 IEM
H40 IEM
H50 IEM
Neo 5 IEM
Rambo Earbuds
Rambo II Earbuds

Penon Audio Cable Products
Bass Cable
CS819 Cable
Fiery Cable
Flow Cable
GD848 Cable
HiFi Balanced Adapter
Penon Impact Cable
Leo Cable
Leo Plus Cable
Mix Cable
Neo Cable
Obsidian Cable
Orbit Cable
OS133 Cable
OS133 Adapter
OS849 Cable
OSG Cable
Space Cable
Storm Cable
Totem Cable
Totem Adapter Cable
Totem Adapter Type-C DAC
Vocal Cable
Penon Audio IEM Products
Penon IEM
Impact IEM
Legend IEM
Globe IEM
Serial IEM
Sphere IEM
Volt IEM
Vortex IEM
Turbo IEM

Penon Tail Dongle

64 individual personal audio products