7Hz Sonus


New Head-Fier
Pros: Detail Retrieval, Soundstage, Tuning, Tight Bass, Crystal Clear highs, Tonality
Cons: Potentially fatiguing/sibilant, Interesting design choices, Timbre (I’m nitpicking)



Disclaimer: The 7HZ Sonus was provided to us at no charge courtesy of Linsoul. However, this was done in understanding I was to give my honest thoughts and opinions of the Sonus. For more reviews like this, visit our site perrivanaudio.com

7HZ produces an interesting release in the 50-100 dollars bracket, the Sonus. It’s a 1DD+1BA hybrid, and while not the most eye-catching IEM, it claims to have a focus on detail retrieval and accurate tonality. From what I am aware, this is 7Hz’s first hybrid IEM.



7Hz provides the usual plethora of colourful in-house silicone tips, which are not the most inspiring, but have a characteristically stiff core that suits the IEM and fits well in my ears. It comes with a sleek-looking pouch that is a really nice inclusion at this price point. The cable is also quite interesting, with a flat 4-core structure. Despite the thickness, the cable is soft and flexible, and can easily coiled. It’s also worth noting extra stick-on nozzle filters are included, which is nice if you intend to make this your daily driver.

Build Quality and Fit


The overall build of the IEM is functional and sturdy. It has a metal faceplate and a plastic shell that is shaped to sit rather nicely. It isn’t the most comfortable but it remains functional and more ergonomic than the Timeless. I’m not a fan of the overall aesthetic but I guess that’s subjective. The cable is not really up my alley but I do have friends that really liked the flat cable over the usual braided/twisted one.



  • Apple Dongle
  • Lotoo Paw S2
  • Hiby R5


Bass is sub bass focused and the beats are punchy and crisp. The midbass is tame but lacks a bit of meat so bassheads might find the weight a bit lacking in this department. However, to me, it was just fine and rather enjoyable. The decay was quite fast, keeping the basslines very clean-sounding, and yet there was satisfying rumble on the bass instruments. The present sub-bass extends well and helps to provide some body to the otherwise top-heavy sound. It is a very tasteful tuning to maintain the clarity of the sound and yet achieve a decently satisfying low end.


The mids are quite forward and present, and I love how the instruments sound on them. From violins to brass Instruments like the trumpets, to woodwinds like the saxophone. Very textured, and the details are fully captured without compromise, everything is pinpoint accurate and really mindblowing at this price point. Instrumental separation is on a whole other level. I find it hard to find another pair to compare it to within the same price bracket. In terms of technicalities, and accuracy, the Sonus has done them all so well. If I had to find a place to nitpick, it would be that the female vocal timbre is a little off on the higher notes.


The treble is no doubt sparkly and expressive. The highs are really lively and cymbals and snare hits come through with a swift attack and natural decay. This is enjoyable as it adds character to the sound and makes it more engaging. That said, I do find myself a little fatigued on longer sessions. Sibilance is very slight and only noticeable on certain tracks which are very heavy on the highs.


I really enjoyed the Sonus for instrumental tracks. It has a very fast response and surprisingly good separation at this price point. The microdetail retrieval combined with the extension of the highs gives it a certain crispiness and airiness which helps achieve a wider-than-average soundstage. If it had a slightly more polished design or aesthetic and perhaps a more comfortable shell, I am sure this would be an instant hit as the tuning and technical ability of the Sonus speaks for itself.



Despite its dated design and little quirks (sibilance) in the upper mids and highs, the Sonus exemplifies a neutral-ish tuning at an accessible price point done right. Its tuning is versatile for many genres and presents itself as a potential daily driver for many considering its value proposition. The bass boost helps to balance out the activity in the highs very well to put out an all-rounded performance. If what I’ve described suits the sound signature you’re looking for and your budget is right, do give the Sonus a shot. The detail retrieval and overall clarity and separation that the Sonus delivers are arguably the best I have ever seen in the sub-100 price range. 7HZ may be onto something here in this price bracket and for a first attempt at a hybrid IEM, this is pretty amazing.


New Head-Fier
𝟕𝐇𝐳 𝐒𝐨𝐧𝐮𝐬 𝐑𝐞𝐯𝐢𝐞𝐰: 𝐒𝐮𝐩𝐫𝐞𝐦𝐞 𝐒𝐨𝐧𝐢𝐜𝐬
Pros: Good set of accessories
Budget friendly
Great build
Good techinicalites
Unobtrusive sound
Tame bass
Not much harshness
Cons: Note weight can be improved
Lacking a bit in sparkle
𝟕𝐇𝐳 𝐒𝐨𝐧𝐮𝐬 𝐑𝐞𝐯𝐢𝐞𝐰: 𝐒𝐮𝐩𝐫𝐞𝐦𝐞 𝐒𝐨𝐧𝐢𝐜𝐬

|| 𝗜𝗻𝘁𝗿𝗼𝗱𝘂𝗰𝘁𝗶𝗼𝗻 ||

7Hz released a new budget blower around the $50 price range a few months ago that mostly came and went upon the initial hype dying down. I had this for quite a while and due to other circumstances is now trying my hand on the Sonus.


Priced at roughly $59 at the time of writing, the Sonus is packed with a single dynamic driver and a single balanced armature. The $50-$100 price range is rather competitive in the hobby with offers from the likes of more mainstream brands such as Moondrop, Truthear, KZ and Simgot. Will the Sonus be one of the mainstays in this bracket like some of 7Hz earlier releases?

|| 𝗗𝗶𝘀𝗰𝗹𝗮𝗶𝗺𝗲𝗿𝘀 ||

  • I am in no way, shape, or form affiliated with the brands I review and do not give out preview privileges.
  • This set is sent in exchange for an honest review. There is no material or financial incentive for me to do this review and I guarantee no exchange has been done by both parties to influence or sway our opinions on this product.
  • My thoughts and opinions are of my own. My experience will entirely differ from everybody else. The contents of this review should not be considered factual as this
    hobby heavily leans on subjectivity. YMMV.
  • I don’t do rankings or tier lists as they can get outdated immediately as a reviewer can change their thoughts of a product to a certain extent. If you do want a recommendation then feel free to reach out so I can help out


𝗜 𝗮𝗺 𝗻𝗼𝘁 𝗮𝗳𝗳𝗶𝗹𝗶𝗮𝘁𝗲𝗱 𝘁𝗼 7Hertz 𝗻𝗼𝗿 𝗿𝗲𝗰𝗲𝗶𝘃𝗲 𝗺𝗼𝗻𝗲𝘁𝗮𝗿𝘆 𝗶𝗻𝗰𝗲𝗻𝘁𝗶𝘃𝗲𝘀 𝗮𝗻𝗱 𝗳𝗶𝗻𝗮𝗻𝗰𝗶𝗮𝗹 𝗴𝗮𝗶𝗻𝘀 𝗮𝘀 𝘁𝗵𝗲𝘆 𝗽𝗿𝗼𝘃𝗶𝗱𝗲 𝗺𝗲 𝗮 𝗿𝗲𝘃𝗶𝗲𝘄 𝘂𝗻𝗶𝘁 𝗳𝗼𝗿 𝗮𝗻 𝗲𝘅𝗰𝗵𝗮𝗻𝗴𝗲 𝗼𝗳 𝗳𝗮𝗰𝘁𝘂𝗮𝗹 𝗮𝗻𝗱 𝘀𝗶𝗻𝗰𝗲𝗿𝗲 𝗳𝗲𝗲𝗱𝗯𝗮𝗰𝗸 𝗳𝗿𝗼𝗺 𝘆𝗼𝘂𝗿𝘀 𝘁𝗿𝘂𝗹𝘆.

𝗢𝗻𝗰𝗲 𝗮𝗴𝗮𝗶𝗻, 𝗜 𝘄𝗼𝘂𝗹𝗱 𝗹𝗶𝗸𝗲 𝘁𝗼 𝘀𝗲𝗻𝗱 𝗺𝘆 𝗴𝗿𝗮𝘁𝗶𝘁𝘂𝗱𝗲 𝘁𝗼 Linsoul Audio 𝗲𝘀𝗽𝗲𝗰𝗶𝗮𝗹𝗹𝘆 𝘁𝗼 𝗠𝘀. 𝗖𝗮𝗿𝗶𝗻𝗮 𝗖𝗵𝗲𝗻 𝗳𝗼𝗿 𝗽𝗿𝗼𝘃𝗶𝗱𝗶𝗻𝗴 𝘁𝗵𝗶𝘀 𝗿𝗲𝘃𝗶𝗲𝘄 𝘂𝗻𝗶𝘁. 𝗜 𝘁𝗿𝘂𝗹𝘆 𝗮𝗽𝗽𝗿𝗲𝗰𝗶𝗮𝘁𝗲 𝘁𝗵𝗲𝗶𝗿 𝗴𝗲𝗻𝗲𝗿𝗼𝘀𝗶𝘁𝘆 𝗮𝗻𝗱 𝘁𝗿𝘂𝘀𝘁 𝘁𝗼𝘄𝗮𝗿𝗱𝘀 𝗺𝗲 𝗮𝗻𝗱 𝗼𝘁𝗵𝗲𝗿 𝗿𝗲𝘃𝗶𝗲𝘄𝗲𝗿𝘀.


| 𝗣𝗮𝗰𝗸𝗮𝗴𝗶𝗻𝗴 |

It comes in a rectangular-shaped box with branding, specs and a bunch more text both in English and Chinese. Additional information about the manufacturing of this product is located on the back of the box along with a neat exploded illustration of the Sonus.


It is a hard box that will definitely protect the goodies inside from the elements until it reaches your doorstep.

| 𝗨𝗻𝗯𝗼𝘅𝗶𝗻𝗴 & 𝗔𝗰𝗰𝗲𝘀𝘀𝗼𝗿𝗶𝗲𝘀 |

No fuss unboxing here on the Sonus, It came in a vibrant orange box with a checkered texture. Opening that shows another plastic cover with the 7Hz logo and other text for extra protective measure.


Immediately upon opening the box greets you with a really bad chemical smell. This seems to have plagued 7Hz manufacturing as this issue was also on the OG Timeless based on reviews. There is foam surrounding the IEM drivers and a black pouch containing the accessories.

𝗜𝘁𝗲𝗺 𝗕𝗿𝗲𝗮𝗸𝗱𝗼𝘄𝗻:

Usual paperwork
7Hz Sonus drivers
4-core silver-plated cable(3.5mm)
4 Fabric filters
4 Extra metal filters
3 Pairs of AET look-a-like eartips(S/M/L)
5 Pairs of KB Ear 07 look-a-like eartips (S/M/M/L/XL)
Black faux-leather pouch

The Sonus may not have modular cables or swappable nozzles but it does have an abundance of the tips and extra filters for you to use. The cable is pretty unique in that it isn’t your typical braided wires but instead is made quite flat. It really liked this stock cable even compared to some aftermarket ones and it comes with a functional chin cinch too.

| 𝗕𝘂𝗶𝗹𝗱 & 𝗗𝗿𝗶𝘃𝗲𝗿 𝗖𝗼𝗻𝗳𝗶𝗴𝘂𝗿𝗮𝘁𝗶𝗼𝗻 |

7Hz made the Sonus with a combination of transparent resin for the body and aluminum for the faceplate. It feels really quality and rather light especially with material they use for the body. It comes in 3 different colors with it being Black, Red and Silver like we have for this review.


The design is quite low-key and doesn’t look too flashy even with the Silver color( well probably not for the red variant). The faceplate has small grooves across it and an engraved 7hz logo. The top part of the drivers contains the flush 2-pin connection and the 2 vent located near the nozzle which is also made out of the same material as the rest of the body. The Sonus has a pseudo-custom fit with a small wing to help the fit but may deter people whose ear anatomy hurts from the likes of those.


This set is equipped with both a single dynamic driver and a single balanced armature driver. This combo is quite common, some even with cheaper models but one can expect to have the DD cover the low-end and the BA to cover the higher up frequencies.

| 𝗜𝘀𝗼𝗹𝗮𝘁𝗶𝗼𝗻 |

It isolates well, especially with the right set of tips on it. It doesn’t have an opening outward so unwanted noise can be filtered out through passive noise-canceling. It can be used for daily commutes but is still no match for any active noise-canceling.

| 𝗖𝗼𝗺𝗳𝗼𝗿𝘁 |

It fits really well to my ears. I never felt uncomfortable even with hours and hours of prolonged use and the wing didn’t bother me at all. Head movement also didn’t cause the Sonus to fall out of my ears.

** 𝗞𝗕 𝗘𝗮𝗿 𝟬𝟳(𝗦𝗺𝗮𝗹𝗹) | 𝗭𝗶𝘀𝗵𝗮𝗻 𝗨𝟭 | 𝗔𝗽𝗽𝗹𝗲 𝗗𝗼𝗻𝗴𝗹𝗲 (𝗟𝗶𝗴𝗵𝘁𝗻𝗶𝗻𝗴)**

| 𝗗𝗿𝗶𝘃𝗮𝗯𝗶𝗹𝗶𝘁𝘆 |

Very power efficient. I find myself sticking to my normal gain that I use to measure most things and the Sonus gave more than ample amounts of volume. Even plugging
it straight to a laptop or using an Apple dongle did that job and worked quite well.

|| 𝗦𝗼𝘂𝗻𝗱 ||

My current benchmark for the $50-$100 price range. I really like the way this presents sound to what I’m currently listening to. It produces a clean yet bodied sound that many tried to mimic but failed either by being too lean or too warm.

| 𝗕𝗮𝘀𝘀 |

Low-end of the Sonus is quite tame. Mid bass has good speed and punch and doesn’t overdo it in quantity whilst the sub bass offer decent rumble to give it some depth though it isn’t the most tactile or snappy sounding.
In conclusion, the bass doesn’t overstay its welcome. It doesn’t bleed and is quite clean, though bass heads may find this a bit lacking.

| 𝗠𝗶𝗱𝘀 |

Mids sound natural and not held back by the bass or is shouty. It has its own place during playback. Vocals sound great with both male and female vocals sounds lush and bodied but still having a good sense of air. Female vocals do tend to sound a bit more forward than their male counterparts and sibilance is controlled really well.

Instruments could use a bit more note weight, but it has good detail. Guitars don't sound shouty or metallic.

| 𝗛𝗶𝗴𝗵𝘀 |

For a single balanced armature driver, it offers decent air and extension. Details are also good, I can pinpoint macro details here and there with ease. Overall treble energy is quite tamed as well, it doesn’t sound harsh even with higher volumes, though this also resulted into the lack of sparkle up on top.

| 𝗧𝗲𝗰𝗵𝗻𝗶𝗰𝗮𝗹𝗶𝘁𝗶𝗲𝘀 |

Staging of the Sonus is quite average but what is great is the imaging, layering, and separation. I can easily pinpoint instruments during playback even in the busiest of passages without breaking a sweat.

It doesn’t sound congested even when all the sources start jamming. This is great for both story-driven single-player and competitive multiplayer gaming along with some analytical work.

|| 𝐂𝐨𝐧𝐜𝐥𝐮𝐬𝐢𝐨𝐧𝐬 ||

Whilst the Sonus is no perfect set, I do find its traits to stand out of the sea of IEMs in this price range. It offers good technicalities without the drawback of sounding harsh like some of the planar magnetics may introduce or more treble-focused sets. This is great for people looking for a clean and precise sound without the harshness but still want something that isn’t lean.

There is no particular frequency leading the fray which I find is nice for this price point and especially those starting out. A number of things can still be fixed with the Sonus, but for the price this is quite a no-brainer.

[| 𝗣𝘂𝗿𝗰𝗵𝗮𝘀𝗲 𝗟𝗶𝗻𝗸𝘀 |]


(𝗧𝗵𝗲𝘀𝗲 𝗮𝗿𝗲 𝗻𝗼𝘁 𝗮𝗳𝗳𝗶𝗹𝗶𝗮𝘁𝗲 𝗹𝗶𝗻𝗸𝘀. 𝗜 𝗱𝗼 𝗻𝗼𝘁 𝗴𝗮𝗶𝗻 𝗮𝗻𝘆𝘁𝗵𝗶𝗻𝗴 𝘄𝗵𝗮𝘁𝘀𝗼𝗲𝘃𝗲𝗿 𝘂𝗽𝗼𝗻 𝗽𝘂𝗿𝗰𝗵𝗮𝘀𝗶𝗻𝗴 𝘀𝗼𝗺𝗲𝘁𝗵𝗶𝗻𝗴 𝘂𝘀𝗶𝗻𝗴 𝘁𝗵𝗲 𝘀𝗮𝗶𝗱 𝗹𝗶𝗻𝗸𝘀)


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100+ Head-Fier
Equaling the score board...
Pros: Price, packaging and accessories, tuning, overall performance...
Cons: Good do with a a little more warmth for vocals (mostly for male vocals), slight dip from 2 to 4kHz...

TLDR version on YouTube: TDLR - 7Hz Sonus

The 7Hz Sonus have been sent to me by Linsoul in exchange for the publication of this review. Linsoul, as always, have not made any requests or comments and I aim to do my best to be as unbiased as humanly possible.

You can find a direct link to the 7Hz Sonus via Linsoul in the version of this review published on my blog (link at the end of this post). As always, the link is non-affiliate.

To avoid being repetetive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews



For those that follow my reviews, you may remember that, when I reviewed the 7Hz Legato I said “With 7Hz I have found that I don’t have a middle ground with them, out of 5 sets I have tried, 3 I have found to be very good and the other 2, well, let’s just say that they are not my thing.”

Well, the Sonus are set number six and have equaled the score board.

(EDIT: After a few people have notified me of my error, I have reached the conclusion that my maths leave a lot to be desired in this review. More info at the end of the review)

Using a hybrid design of a single dynamic driver paired with a single balanced armature driver, I find them to be very coherent and well balanced, making for a very enjoyable listen.

Coming in at just under 50€, placing them inside what I consider to be ultra budget sets, that makes them even more interesting.

So, here are my findings and opinions on the 7Hz Sonus.



The presentation from 7Hz is usually pretty decent for whatever price bracket the specific model sits in and the Sonus are no exception. While there is nothing exactly spectacular about the unboxing experience of the Sonus, they do arrive in packaging that is not just thrown together and include the necessary accessories that we have come to expect at this price point.

An orange box, inside a grey and white cardboard sleeve with images and specs, opens to reveal a clear plastic semi-rigid frosted cover. The cover lifts to reveal the IEMs in their corresponding cutouts, cable attached, with the accessories placed underneath.

As far as contents we obviously get the IEMs and cable, along with a simple but elegant storage/transport pouch, 8 sets of the multicolour coded tips we are accustomed to from 7Hz, and 2 sets of spare filters, both mesh and metal.

Again, I have to say that, while nothing is amazing and game changing, I can find no reason to complain about the presentation or accessories included with the Sonus.


Build and aesthetics…

One thing that 7Hz has a habit of doing is making their IEMs aesthetically different. Even the ones like these, which opt for a more generic shape in comparison to some of their other models, still have their own look to them.

The transparent (medical grade) resin shell is paired with an aluminium faceplate which has a curved, stepped, design to it. The 7Hz logo is engraved on the metal face plate and, while it is not exactly “out of this world” as far as aesthetics, it does look good and has an elegant vibe to it.

The IEMs are comfortable, lightweight and seem to be well built. I have had no issues with them as far as comfort, choosing to use the tips with the white core for this review.

The included cable is a four core in a ribbon style layout. This is not the first time I have received a cable like this with IEMs and, as with the previous cables of this style, I actually am quite fond of it. While it does look like it may be bulky and uncomfortable to use, I find it is actually the opposite, at least when using the IEMs while sitting at my desk.

For sub 50€, the aesthetics, build and accessories are all more than adequate.



All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)

The last couple of sets of IEMs that I have reviewed were not exactly enjoyable but sitting down to listen to the Sonus, I have to say that I like them. No, they are not something that provide never before heard music, yet they perform very well within their safe but (to me) enjoyable tuning.

Here is the graph of the Sonus in relation to my personal preference target:


While the subbass may seem a little more elevated than my personal preferences, the slope of the subbass into the midbass makes for a tuning that I am very fond of. Listening to “Chameleon” there is no shortage of subbass, yet that ramp down into the midbass stops things from becoming overpowering.

Subbass is also clean and fairly fast in its resolution. Things don’t become too “sludgy” in those areas, with things like that slight dirt in “Royals” being apparent without taking over.

Midbass is by no means overpowering, with my usual test of “Crazy” being rather clean whilst not missing any body to the low end of the guitar. I wouldn’t say that the dynamic driver is the best performing driver I have heard in the these low ranges yet the tuning favours it, due to no sense of muddyness or boominess, so details are appreciated.

The midrange starts to climb quite early, peaking around 2kHz and then dipiping slightly up to the 4kHz mark. This, in addition to a quite tame midbass range, can make certain vocals seem to have less body than on other options, such as Rag’n’Bone man in “Human (acoustic)”.

Listening to “Billie Jean” by The Civil Wars, I find the female vocals to suffer less from this than the male vocals. The male vocals are still quite pleasant but I feel that either a slight touch of warmth in the lower ranges or less of a dip in the 2k to 4k mark would have have worked better in favour of both the male vocals and the strikes on the strings of the guitar in this track.

The BA used for these upper ranges is fairly detailed and, with the help of the tuning, does keep layers well separated and details quite present, such as the vocal layers of “Strange Fruit” or the (accidental?) bird chirp during the intro. Again, a slight bit of extra body to the voice of Dominique Fills-Aimé would have been nice but I still enjoy the presentation.

Things that do have a bit more of musical presence with the vocals, such as “No Ordinary Love”, don’t emphasize this as much, keeping a nice clean presentation throughout.

As we move into the higher ranges, there is no real roll off, at least as far as my personaly auditory capacities go. It is not the smoothest of treble areas but it is not terrible either. Sibilande is kept in check pretty well on “Code Cool”, maybe placing Patricia Barber around a +1 (on my -12 to +12 scale), which is nice when taking into consideration the general tuning. It also portrays a nice sensation of air and openness.

Sound stage is also pretty decent, not huge but enough to enjoy a sensation of width, with details assisting in the placement of images, which may not be milimetric but are still fairly good.



Whether or not the Sonus is for you is going to heavily depend on your preferences as far as tuning. This is obviously always something that comes into play, but what I am referring to is that, if you are someone who likes a nice clean presentation, without any midbass boost and leaning more towards the cooler side of things, then I think they are a great set of IEMs that should definitely be considered in their price range.

If you are more on the warmer side of things in your preferences, with more of a bass boost and more body in the lower end, then I think that other sets will meet your criteria much better.

I would look at the Sonus as a bit of step up in performance from 7Hz’s own Salnotes Zero, where the tuning is similar but the detail and openness is improved. To be honest, I do think I prefer the 2kHz to 5kHz tuning on the Zero, seemingly a little smoother to my ears, but for the rest, I think the Sonus could be considered an upgrade without taking too much of a step up in price.

As I said at the beginning, I have reviewed 6 sets of 7Hz IEMs and the score is now level at 3 I like versus 3 that aren’t for me.

(EDIT: As I mentioned above, my maths in this review are terrible!

In reality, the Sonus so not equal the scoreboard, they actually put it 4-2 in favour of the models that I do like!

The 7Hz models that I have reviewed and if I like them or not:

Timeless =Yes

Eternal = No

Dioko =Yes

Zero =Yes

Legato = No

Sonus =Yes

My apologies for the confusion!!)

This review (and all my reviews) can also be found in Spanish both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)

All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link

All isolation measurements of IEMs can be viewed and compared on
Last edited:


1000+ Head-Fier
Hybrid Attraction
Pros: Very good profile, with very clean bass.
- Very clear, transparent sound, full of detail, resolution and definition.
- Very good technicalities, analytical and descriptive ability for the whole range.
- Good cable making replacement unnecessary.
- Compact size of the capsules.
- Low weight of the capsules.
Cons: The flat cable may not be to the taste of some enthusiasts.
- It's possible that the protrusion at the end of the inner side may cause some discomfort.

Everyone knows 7Hz for its IEMS Timeless, one of the most famous planar IEMS on the planet. It was not their first model, but it was the one that made the brand known and positioned it in the market. From that model came other similar ones, planar variations like the AE, others similar in shape like the Eternal, even Crinacle contributed with the Salnotes Dioko model. Although it also has different IEMS such as the economical Salnotes Zero and the bassist Legato. On the eve of the worldwide launch of the Timeless II, 7Hz has come up with a new model in the sub-$60 range, which happens to be the first 1DD+1BA hybrids. Let's see what the Qingdao brand has to offer in this hybrid IEM model.

7Hz Sonus 01_r.jpg7Hz Sonus 02_r.jpg7Hz Sonus 03_r.jpg


  • Driver Type: 1DD 11.3mm + 1BA
  • Frequency Response: 10Hz-20kHz
  • Sensitivity: 109dB/V@1kHz
  • Impedance: 30Ω(@1kHz)
  • Channel Difference:
  • THD: <1%/1kHz
  • Jack Connector: SE 3.5mm gold plated
  • Capsule Connection Type: 2Pin 0.78mm.
  • Material: Medical grade material capsule interior + aircraft grade aluminium rear face.
  • Cable: High-end silver-plated OCC (49 wires per core, 4-core stranded cable).

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The Sonus 7Hz comes in an elongated box of size 170x112x47mm. The front side is divided into two colours, the left side is matt red, with the model name in large vertical white letters, as well as the model description in the same direction but much smaller. In the centre you can see a real capsule, without cable. The right side has a white background. The brand logo is at the top in silver letters on the same matt red background, forming a rectangle. At the bottom is the model's slogan. On the rear face is an internal exploded view of the capsule, inside a rectangle with a white background. Around it, the background colour is still matt red. At the top is the brand logo and the model name, accompanied by the model description in white letters. Underneath are the specifications, as well as the brand's contact details. Everything is written in Chinese.
Removing the outer cardboard reveals an orange box with a diamond texture and the logo in holographic silver ink in the centre. Lifting the lid reveals a fuzzy transparent plastic protector with the brand logo in silver, as well as another slogan on the product. Underneath are the capsules inside a white foam mould, with the cable attached. At the bottom is a black leatherette case with an envelope-shaped opening with magnetic closure. Below it is the rest of the coiled cable. Inside are the rest of the accessories. In a nutshell:

  • The two 7Hz Sonus capsules.
  • Black imitation leather pouch.
  • Three pairs of blue silicone tips, sizes SxMxL.
  • Four pairs of white silicone tips, sizes SSxSxMxL.
  • Four nozzle grids in the shape of flower petals.
  • Four uniform, dense nozzle grids.
  • One cable with 2Pin 0.78mm interface, four flat strands and straight SE 3.5mm gold-plated connector.
  • Instruction manual.

The truth is that for the price the packaging is quite attractive and attractive. The level of accessories is fine, although I am more in favour of the zipped cases for their better storage and airtightness.

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Construction and Design

The design of the Sonus is not classic for any IEM and that is something you can always thank 7Hz for. The capsules have one side completely flat while the rest is almost semicircular, with a slightly rounded apex shifted to one side, to save the ergonomics of the ear. The external side is made of aluminium and can be chosen between 3 colours, black, red and grey. On the flat side of this face, there are two straight grooves which allow the nature of the material to be seen. In parallel there is a wave that runs down towards the apex of the face, passing through the inscription of the brand logo. On the thick edge of the flat face is the 2Pin 0.78mm connection interface. It is a round piece of black plastic completely integrated into the capsule. The connections are gold-plated and there is a red dot to indicate the polarity of the cable. The inner side of the capsule is transparent and made of medical grade resin. The colour of the capsule is integral. The inner shape is compact with a bulge at the end, a central valley and a relatively long, fairly vertical mouthpiece. It is composed of 3 different diameters, at the base it measures 6.2mm, at the narrowest centre it measures 5.5mm and the rim measures 6.3mm. The mouthpiece is protected by a golden grid with 6 petal-shaped holes. In the centre of the inner face there is a hole, in line with the centre of the dynamic driver. There is another hole towards the edge. In the valley of the inner face there is a letter inscription indicating the channel, but it looks really bad.
The cable consists of 4 strands joined in parallel, resulting in a flat cable. The outer PVC is transparent, while the conductor is high-end silver-plated OCC. It consists of 49 wires per strand, 4 strands in total. The sleeve of the gold-plated 3.5mm SE plug has a transparent part, divided by a diagonal to another part with a silver-plated metallised jacket. The cable runs flat out of the sleeve. The dividing piece is a flat round piece with a transparent plastic exterior and a mirrored inner side, in the centre of which the model name can be read on one side, while the other side has the brand logo. The pin is a small transparent piece that holds relatively well. The cable, after the division, remains flat and is shaped over the ear by a semi-rigid transparent sleeve. The sleeve of the 2Pin 0.78mm connectors is a curved, translucent plastic sleeve. There is an inscription indicating the channel on each side, which is difficult to see because it is not coloured. The two pins protrude from a narrower base, so there is a small distance between the thick interface sleeve and the capsule.
There is no doubt that 7Hz surprises with its designs. With the Sonus we are in a distinctive design that stands out for its three colours and for the semicircular shape of the outer face of the capsules. The wave-shaped surface of the outer face and the contrast of the two grooves with the brand logo also stand out. The capsule is thick but compact and quite light. The cable is another eye-catcher, very eye-catching due to its flat shape with the four parallel strands and its striking silver-plated colour. The combo is truly remarkable and does not require a cable change, unless you are looking for a balanced connection.

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Adjustment and Ergonomics

Despite the thickness of the capsules, the size is compact, almost concentrated. The mouthpieces are quite vertical but the insertion angle is good and I have found no problem using my home-made foam-filled wide-core tips. With them I get a very occlusive fit, no movement, no rotation. The protrusion at the end does not go all the way over the antihelix and this can be a problem for some, depending on the level of insertion that can be achieved. In my case, with a shallow insertion there is no problem at all. However, as the hours go by you may notice that the small continuous rubbing becomes a subtle discomfort. If the capsule were less compact and slightly longer, the antihelix would be easier to overcome. Or perhaps it would not have been necessary to raise the protrusion and leave the inside of the capsule with a rounded shape.
The over-ear cable is unobtrusive and the low weight contributes to the comfort. Although this is not complete due to the point mentioned above.

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The Sonus 7Hz has a pleasing and attractive U-profile, with a clean emphasis on the sub-bass end, as well as slightly exposed mid-highs and controlled, but well extended highs. The first part of the midrange is somewhat lean, while the second half is more elevated, enhancing clarity and a certain level of sparkle that makes the sound more exciting from the centre onwards.

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As a good tuning excited in the lower frequencies, the bass is presented cleanly and without intrusion into the mids. Although the punch and bass are felt, the mid-bass is very little swollen, so the low end does not rumble, nor does it have any rubbery feel. On the contrary, it feels agile and free of colour, something that is corroborated in the pure tone test, where the sub-bass below 40Hz remains sensory and well-executed, while above that it maintains naturalness and realism. The gradual descent into the midrange and the good speed that the driver possesses gives it a descriptive, crisp, resolute and remarkably well-defined character to the lower range, but without feeling heavy. It responds very well in electronic music, but without being invasive or overbearing. It would never be a bass-head model because the weight is fairly evenly spread across the entire band, with quick dissipation and very little damping. There is energy, but the punch is not very voluminous, which is classic for a tuning where the maximum is at the sub-bass end. It is remarkable for generating a good punch, a certain level of presence and a fair amount of depth. But it is not enough to produce a high volume that saturates the space or swells our ears. To be sure, the performance is polite, quick in its transients, discernible in its layering and very effective in portraying complex, dirty and overloaded bass. Almost canonic in these complex situations. Very good.

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With a tuning that manages to disconnect the bass from the first half of the midrange, the consequence is a somewhat lean initial phase of the midrange, especially when the mid-highs are more exalted. The sense of clarity, transparency and definition is enhanced by this situation, but even strengthened by the use of the BA driver created by 7Hz, which achieves a very high level of resolution, definition and descriptiveness. There is a clear contrast between the low-mids and the high-mids. While the initial phase is smooth, mid-distance, slim, with a somewhat thin body and a medium-low physicality; the second grows somewhat abruptly, generating a sense of stretching that separates the female voices from the male ones, even exciting the details in front of the lower fundamental. It is true that this contrast remains within the parameters of musicality and balance, but it is also true that some sibilance escapes, the result of the sharpness of the notes, their thinness and energy level, which can generate a rougher and more penetrating high phase, in the foreground, as opposed to a softer first half, relatively more distant, of low density and not very powerful. In this sense, the Sonus are not warm, but vivid and sparkling, with a more analytical and defining quality. The level of detail, while obvious and insightful, does not rise above the music, remaining resolute, though not over-excited or over-predominant. There can be a power struggle in this sense, in some critical situations, which gives it a very high descriptive and incisive level, but always within tolerable musical parameters. It is worth noting, as I usually do in those tunings that are too soft, that fans looking for velvety or nuanced mid-highs may find the Sonus not quite suited to their tastes. However, as I say, this is a controlled inclination, which is framed in a more resolute, clear, clean, bright and transparent profile, inspired more by the detail, delicacy and finesse of the notes, than by their thickness, togetherness or homogeneity. Undoubtedly, this is an alter ego that is usually necessary, effective and also very enjoyable due to its good representational skills.

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The high end is clearly projected, the treble is the protagonist, although the energy level is not total. There is a point of control in their excitement, but it is obvious that they are easily felt in the mix and are noticeable at the forefront, with a moderate emphasis but with a certain predominance that elevates them and brings them closer to the listener. The high notes are fine, well separated, enliven the detail and are somewhat incisive. They accompany vocals better than instruments, as the latter add a liveliness that gets out of control at the limit, sounding harsher, less docile, which is common for the BA driver the Sonus is fitted with. This is undoubtedly a lesser evil, but it does not tarnish a tuning that was generated to enhance the clarity and transparency of the whole. The extension drops off just enough to maintain the level of power, supported by the projected character of the BA driver and extended to the air zone, where it suffers from a point of grace that could be higher. The result remains natural, even pleasant. The incisiveness is not hidden, but it fails to transgress the mix, being ultimately placated. But both the level of resolution, definition, finesse and that point of delicacy at times, give the top end a moderately crisp, expressive and bright appearance. Just enough to be enjoyed without becoming piercing or overly incisive. Quite good.

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Soundstage, Separation

The scene is wide and separate, rather than deep or high. The laterality is obvious and the good level of transparency offers a sense of space that enhances the volatility of the music, as well as the expressiveness of the details. There is certainly a gaseous perception that helps to expand the notes in the environment. But it also contrasts with the low density of the atmosphere. In this sense, the music is not very full-bodied, hence it feels vaporous, but at the same time it is very distinguishable, open, clear and diaphanous.
The background is clean and the notes are well broken down, but the volatility of the scene implies an image that is infected with a certain instability when it comes to positioning, because of that same vapidity.
On the other hand, the technical performance is quite good. Note execution is powerful and fast. The dynamic driver is fast and feels supported by a very clean profile in the low end, which helps in this regard. On the other hand, the BA driver enhances that speed by providing extra energy and finesse, while respecting the eloquent balance of the whole. The Sonus achieve a good level of micro and macro detail, without putting an absolute emphasis on them and without placing them above the rest. In this sense the mix is quite pleasant, within a vivid, expressive and well-intentioned analytical musicality.

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Tri Meteor

The Tri Meteors are priced at around $100, which is clearly higher than the current 7Hz Sonus, which are priced at $60. The Meteors are also hybrids using a beryllium-plated 1DD and a Knowles ED-29689 1BA. The level of construction is similar, both in resin, although the Sonus uses an aluminium outer plate, while the Meteor is all-resin. The capsule of the Sonus is more compact, somewhat smaller than that of the Meteor. However, the ergonomics of the Tri is better, the shape of the inner face fits more and better to the morphology of my ears.
In terms of sound, the Tri's are warmer and softer. A quick switch to the Sonus reveals a brighter and more excited mid-high profile up front, despite the similarity of their frequency responses. The Meteors are subtly easier to move, but the difference is small.
The Meteor's bass is bigger, with more extension and texture. The Sonus bass is a little drier, a little more restrained, smoother, though a little cleaner. The Meteors sound a bit deeper, more sensory, natural, darker in colour and less coloured. The Sonus have a very good technical performance in the low end, they are fast, they have a little bit of a kick to them. But those who enjoy bass will find in the Meteors a soul and a certain power that the Sonus do not offer.
The warmer midrange of the Meteors offers a sweeter, more melodious sound on male vocals, which it gives more body and physicality. On the Sonus this first half of the mids is cleaner and more transparent, but also thinner, leaner, but also more excited and sharper, with less base. It is clear that the details seem more splashy on the Sonus, and it is true that they are noticeable at first glance, because the music feels more naked and detached. The Tri's are somewhat more homogeneous and melodious, but are also capable of presenting a good level of micro detail. But the Sonus' sharper edge and more analytical profile gives them greater visibility. The instruments sound fuller on the Meteor, with a more natural, calmer timbre. While the Sonus' edge makes them cooler, yet with greater resolution. Something similar happens with the female voices, which are more projected and isolated on the Sonus, with a higher brightness and edge, as well as a higher energy. Female voices on the Meteor are calmer and less susceptible to sibilance.
The Meteor's treble seems more balanced and more balanced all the way to the air zone. The Sonus start more excited, their projection and elevation is higher in the initial stretch, with a thinner and more penetrating edge, more untamed and cooler. They are crisper, but more piercing as well. Then they seem to have a bit more air, where the Meteors are a bit more clipped, but they sound more natural and pleasing to my ears, as they don't have the metallic edge of the Sonus.
The separation of the Sonus is very good, with a dark and discernible background. The notes are very well outlined, though thin. The sound is not cohesive, but rather scattered and volatile, creating a sense of scene expansion and projecting it to the edges of the head, but especially the details. Meanwhile, the Meteor has more depth, less separation, but, overall, the scene is more expansive, though somewhat more intimate and closer. You don't get the sense of hollowness and open space that the Sonus do, but they generate a more forceful corporeal and physical sensation that the 7Hz don't allow.

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In this conclusion I would like to be like the sound of the 7Hz Sonus, direct and to the point. This model is possibly among the best 1DD+1BA hybrids you can buy for the price. With an ultra-clean profile, with a bass that starts from a high sub-bass, as it descends with speed towards the mids, it generates a compact and fast bottom end, with very little aftertaste, technically elevated and not without a certain power and presence. The mids are transparent, fine, analytical and very sharp. It is a lean mid-range but with a very high definition, which projects the details and the female voices. The treble is energetic and crisp, with good extension and airy feel. The stage is transparent, gaseous, volatile and projected. And separation is at its best. If you're looking for analytical IEMS with a fairly full profile that doesn't forget the bass, the 7Hz has plenty of numbers to end up in your ears.

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Sources Used During the Analysis

  • Tempotec BHD Pro.
  • Aune X8 XVIII Magic DAC + EarMen ST-Amp.
  • Aune M1p.
  • Burson Audio Playmate II.
  • Hidizs S9 Pro Plus.

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Linsoul Audio Store, offered me this model, in exchange for writing an honest review. I want to make it clear that all my opinions written in this review have not been conditioned by this fact, nor will I ever write anything that I do not really think or feel here. I will only write about my personal opinion in relation to the revised product.

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Purchase Link

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You can read the full review in Spanish here

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Headphoneus Supremus
Pros: 7Hz's first attempt at a Hybrid design
Powers off any source to deliver a balanced and correct sound
2 driver SONUS purity
1X 11.3 Dynamic Driver
1X Custom Balanced Armature
7Hz tuning yet with added separation of a Hybrid
An even, balanced and correctly complete tune
Cons: None?
Cable very different in construction methodology of OCC (49 wires per core, 4 cores braided cable)
Cable weights in at 23 grams

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.


11.3mm DD + Balanced Armature

Technical Details
Frequency Response 10-20KHZ
THD <1%/1KHZ
Impedance 30Ω(@1kHz)
Connector 0.78mm 2Pin
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.


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-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? :)

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!

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. :wink:

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! :)

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.






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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.







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?

Screen Shot 2023-09-12 at 12.52.25 PM.jpeg




Hans Zimmer
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.

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?


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.



Comes in your choice of three colors.

Technical Details

Frequency Response 10-20KHZ
THD <1%/1KHZ
Impedance 30Ω(@1kHz)
Connector 0.78mm 2Pin
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:
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






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

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

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I enjoyed this review and it was genuinely helpful - I'm most grateful 🙏😊
long winding unnecessary ramblings for all but a sketchy conclusion.


New Head-Fier
The best 1DD+1BA configuration you can get! The 7Hz Sonus.
Pros: 1. A well tuned neutral with sub bass boost signature
2. Treble sounds extensive and detailed
3. Mid range sounds forward and expressive
4. Bass sounds controlled and punchy
5. One of the best technical performance in this price segment
Cons: 1. Lacks a little weight on notes
2. BA timbre

Review Of The 7Hz Sonus



They were able to unwind and create their best product to date, introducing it at a low cost with a tone of praise that is well deserved, thanks to 7Hz, a Chinese company I've known for about two years. With the addition of a full range planar driver IEM, the 7Hz already gained attention, making 7hz Timeless one of my all-time favorites. I can say that they are being sincere and trustworthy with their fans and customers because they have now expanded to a sister brand called the Salnotes to bring a more affordable line up. I'll be reviewing the Sonus from 7Hz today, but first, a few things need to be clarified.



*Since this unit tour was organised by the kindly people at Linsoul, I am grateful to them. And as I've said in all of my evaluations, the same is true for this one: all of the concepts I've expressed below are entirely my own, original ideas that haven't been influenced by anyone else. If interested, go to this link.
*I am not associated with the connection, and I receive no financial assistance from anyone.
*For the remainder of the review, I will refer to these IEMs as “Sonus.”
*I am using different Ear-tips for convenience and better versatility.
*Finally, I will only evaluate the Sonus based on their performance, even though I will explain how it feels and seems physically and aesthetically.


Thankfully, the balance armature driver is not jammed inside the nozzle of the Sonus' dual driver setup, which is a hybrid configuration of a dynamic driver and a balance armature driver. The faceplate is made of metal, while the shells are made of resin. Along with the 7Hz logo, the faceplate has two white parallel strips running through the center that are printed with the logo on both sides. The shells feel unbalanced and heavy in the hands. But once they were in the ears and inserted, they fit perfectly, felt light on the ears, and did not cause any fatigue even when being listened to for extended periods of time. A flat, high purity silver-plated cable is provided with the IEM. The cable feels really good in the hand and is not something you would expect to find with a $60 IEM. As a result of the cable's flexibility, smoothness, and attractive appearance, I believe this to be the best 3.5mm cable I have ever seen. The cable has a 3.5mm straight termination plug and two pin connectors on either end. A carrying pouch, a variety of eartips in various sizes and types, a nozzle metal mesh and filter are also included as extras. In terms of the technical details, the sensitivity is 109dB, and the impedance is 30 Ohms. The total harmonic distortion is less than 1%, and the frequency response ranges from 10Hz to 20kHz.



This may be the first time I have been astounded by an IEM that only employs a BA and a DD, and coming from the company 7hz, whose sound signature has never let me down, they have ultimately surpassed my expectations and hit me with the best work done. Of course, I am speaking with my preferences and taste in mind. The thing is that typically when I hear IEMs that use only a BA and a DD, which are mostly on the budget side like the well-known KZ, CCA, etc., or any brand typically brings a dual configuration to the market, it sounds simple or artificially expressive and detailed, but oh boy, This may be the best implementation of a BA and a DD I have ever seen. Generally speaking, the sound is neutral with sub bass boost, which enables a great extensive and fuller treble, forward and greatly revealing mid range, and powerful and punchy bass. But when I get into the specifics, I'll be as objective as I can be regarding the sound.



I'll start with the treble because it has a lot of range, is expressive, and has good details that are clear and crisp. The vocals really stretch out in the upper treble and make the most of the notes in the higher octaves. The vocals and instruments both sound forward in the mix, and their energy smoothly converses with the mid range, to which I will return later under the mid range section. The instruments, on the other hand, sound sharp and a little metallic to my ears. Even though this IEM is not a "savior," there are subtleties that add a hint of offensive signature to the mix. The vocals sound a little sibilant in the higher frequencies, whether they are in the lower or upper treble. However, I must admit that the BA has been implemented to get the best results possible. When we return to the lower treble, the vocals and instruments are both more revealing and clear. The upbeat atmosphere brings out the best in the vocals and instruments while maintaining their integrity, making them sound clear and detailed. Overall, the treble region is presented as clear, detailed, and crisp while also sounding slightly sibilant, which is a sign of BA timbre.

Mid Range

Now that the Mid range is more energizing and forward in the mix, it doesn't mean that it sounds bad; on the contrary, it has a transparent response where the vocals and the instruments play in such a harmony that it will refresh you. In other words, the tone and energy are very intricate and expressive sounding rather than warm or relaxing. The lower treble converses well with the lower midrange, giving the response a smooth and clear quality. The upper midrange sounds like it has more energy than the lower midrange. The vocals and instruments sound consistent, evenly spaced, and well-positioned, enabling each component to provide the greatest amount of detail possible for the drivers. Whether they are male or female vocals, they have a characteristic that is more light and lean than thick or organic, but it prevents me from calling them unnatural. The instruments do give the notes some weight, which adds more of a lively and alluring expression to the mix. The lower midrange, on the other hand, is also really well done; granted, the notes aren't particularly thick or dense, but they do set the stage for the higher frequencies' attempt to avoid sounding offensive, which happens very infrequently. It sounds cleaner than other sets because the notes are strange and can only be fully understood with careful listening. The instruments don't sound hazy or mumbled, and neither do the vocals. However, I can definitely hear that the overall mix lacks mid bass, which would have made it sound more organic. But overall, the mid range is presented in a transparent, vibrant, and forward manner in the mix.


With the exception of the fact that it doesn't allow for more weight in the mid bass, the bass is really well done. It is emphasized in the sub bass region and extends deep enough to produce a satisfying amount of rumble in the ear canals. Strong and heavy punches can be made with the driver's power as well, and they do feel impactful and difficult. My favorite part of the entire mix is the sub bass because it adds a clean, overwhelming, and satisfying bass response to the track. The slams and thumps in the mid bass, however, could have used more presence even though they still have presence and don't sound particularly effective in the response. It doesn't seem like the lower mid range is affected by the mid bass. The texture and specifics of the bass are also very well established. While less prominent in the mid bass, the bass is presented overall as clear, deep, and punchy.

Technical Performance

When it comes to technical performance, I should say that these hybrid and dual setups are the best I have heard so far. Everything about the other 1DD + 1BA IEMs is significantly inferior. The drivers don't allow anything to be overshadowed, whether it's the stage or the separation; instead, they reveal every characteristic.


Soundstage, Sound Imaging & Separation

The soundstage is fairly head-level, but because it is holographic and has separation to make the notes sound more distinct, I can easily identify where the sound is coming from. And it's all because of how clear and sharp the imaging is.

Speed & Resolution

Out of 1DD and 1BA configured IEM, the details are the best I've heard; whether it's the micro or macro details, everything sounds richer and more full-bodied in terms of revelations. The attack and decay of the notes are nicely fast paced, which makes the entire response very clear, and the control and speed are astounding.

Sound Impressions


Sony WM1A - While maintaining the same level of details and mix clarity when listening with the WM1A, the sound is more calming and tonally preferred. It has a warmer, smoother texture. My personal opinion is that the WM1A tonally corrected the signature, which prevents any offensive sounds from entering the mix. Other than these three, the technicalities feel the same. The stage is larger and more expansive, which makes it sound really cohesive and realistic to hear. The separation is also improved with resolution. So, of the three, I think the pairing with the WM1A is the best.


Tempotec V6 - When using the V6, the response is very transparent and metallic, which adds a slightly disagreeable sound to the mix. The mid range is a little less forward while the treble is sharper and clearer. The bass is consistent. Other technicalities, aside from the stage being wider, feel the same. The V6 and this combination therefore feel good, but not the best.


iFi Hipdac - The sibilance was not reduced, but the weighty notes made it sound more natural sounding. When listening with the Hipdac, the sound became a little darker in the treble while sounding more forward in the mid range. The sub bass remained unchanged but the mid bass presence was increased by the bass. The technical specification felt nearly identical, aside from the details and imaging that felt lacking. As a result, the pairing with Hipdac felt decent but appealing.



Luna Haruna - Glory days
Luna Haruna - Overfly
Rokudenashi - The Flame of Love
LMYK - 0 (zero)
Marina Horiuchi - Mizukagami no Sekai
Indila - Love Story
Indila - Tourner dans le vide
Earth, Wind & Fire - September
Tom Petty - Free Fallin'
Fleetwood Mac - Everywhere
Nirvana - Smells Like Teen Spirit
Blue Oyester Cult - (Don't Fear) The Reaper
Guns 'N' Roses - Sweet Child O' Mine
The Police - Every Breath You Take
Gojira - Amazonia
TV on the radio - Wolf Like Me
Bring Me To The Horizon - Can You Feel My Heart
Bring Me To The Horizon - sTraNgeRs
Avril Lavigne - Dare To Love Me
Travis - Love Will Come Through
Gotye - Somebody That I Used To Know
DJ Shadows - Six Days (Remix) [feat. Mos Def]
Lady Gaga - Just Dance
Lil Wayne - Lollipop
Flo Rida - Low
Sebastian Lopez & Flug - Electronic Measures
Federico Mecozzi - Blue (Da Ba Dee)
Wayve - Not Enough
Kai Wachi & TeZATalks - Ghost
NGHTMRE, Zeds Dead & Tori Levett - Shady Intentions
Zeds Dead, DNMO & GG Magree - Save My Grave
Skrillex, Noisia, josh pan & Dylan Brady - Supersonic
Skrillex & Nai Barghouti - Xena
Skrillex, Missy Elliott & Mr. Oizo - RATATA
Kaifi Khalil, Eva B & Wahab Bugti - Kana Yaari
A.R. Rahman, Javed Ali & Mohit Chauhan - Kun Faya Kun


As a conclusion to this review, I'll gladly suggest the 7Hz Sonus to anyone who prefers a more detailed, neutral, and clean sounding in-ear monitor with a good amount of sub bass; however, if you're looking for a warm, lush IEM, please stay away from these. But I can assure you that these will still astound you. I think the sound is very good considering the price, especially for an IEM with a 1DD+1BA configuration. I assure you that this is unique and very satisfying.
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Yet another great and really useful review - many thanks for your hard work!


New Head-Fier
7hz Sonus hybrid headphone review 🎧 - New budget hit!
Pros: Bass speed and decay are excellent
The texture and elaboration of the bass are at a high level it sounds very transparent and clean
Mids are weighty and tonally very pleasant
The upper mids are not bright and not tiring
High frequencies are very transparent and clean
High-level technicality and resolution
This is a real hit in this price category
The sound stage is wide and very detailed, there are no problems with image separation; they are drawn clearly and correctly
Cons: I would like the nozzle to be a little longer
The amount of bass is not basshead, keep that in mind
Today in our review we’ll talk about a very interesting latest hybrid product from the company 7Hz worth $59!
The headphones come in a small box with a nice design and an image of the headphones on the front!
And there is also the 7hz brand logo and the name of this model SONUS in large letters vertically!

And as usual, the technical characteristics of the headphones are indicated here and only 1 dynamic and 1 armature driver are responsible for the sound in this model, and the sensitivity of the headphones is 109dB and they have a 30ohm impedance.
Let's take a look at what's included!
And the first thing that greets us is a thick and embossed cardboard bright orange box with the 7hz logo!
Inside of which the headphones are neatly located!
And they look pretty good, and in my case they have such a silver back part of the case made of aircraft aluminum with the 7Hz logo and the front part is made of medical material and it is transparent, so literally the entire filling of the headphones and drivers is you can see the armature driver and large dynamic driver here!

Well, there is one acoustic hole located here on the inside of the earphone, but the nozzle of the headphones is quite short, but at least there is a protrusion on it, so the ear pads fit well and don’t fly off anywhere.
Ergonomics and convenience.
And it’s worth saying that the fit of these headphones is excellent, quite tight and they fit well to the ear, so there are no problems with sound insulation!
Well, there is also a black case that contains two bags, one of which has an excellent set of attachments of different sizes and colors, so you can choose one for yourself without any problems, and this one contains additional filters for headphones!

And of course, friends, where would we be without the included cable, which is really good here, a silver-plated, fairly heavy 4-core conductor that looks rightfully cool, and also has very comfortable shaped earhooks with a 2-pin connector for headphones, and a standard 3.5 plug which looks quite unusual.


Well, don’t forget about the manual for headphones!
How do these headphones sound?
Well, now let's talk about the sound of this model, how these headphones sound!
Friends, I was honestly shocked, I haven't seen anything like this in this price category for a long time!

Low Frequencies :
I’ll start, as always, with an analysis of the low frequencies, which, in comparison with the EM6L in the Sonus, are less accentuated and not so massive, but friends, despite this, the bass in the Sonus has excellent speed indicators and the texture and resolution are at a good level, in this price category it is really a find, and the emphasis here is noticeably shifted more to the sub-bass, which turned out to be quite deep and moderately elevated, and the midbass is a little bit distant, but nevertheless there is a good punch and a noticeably emphasized textured blow that leaves behind a very neat and smooth aftertone!
And although the amount of bass here is less than in the EM6L, its quality is really at a very high level, I was especially pleased with the fact that it does not interfere with the mid range and, on the contrary, perfectly helps to open up the vocal part without covering the lower middle with its weight.

Mid Frequencies :
But the mid frequencies here are just my respect, right from the first listen this range is felt as very clear and clean with a fairly deep well-developed space and insanely emphasized articulation in the vocals, and the weight and elaboration of the instruments simply perfectly complements the whole picture,and of course it’s worth saying that the upper mids here are not bright, and I definitely like this, since there is a very smooth and neat more neutral tone of the drums with a clear, stable transient.
And pretty drums just complement the whole picture well with their long trails of reverb, and the vocals sound a little closer to us, but don't feel at all closed and locked in one small room on the contrary, his image is very wide and tries to take up as much space as possible, and I certainly like this less intimate voice setting more!

High Frequencies :
Well, the high frequencies are just the icing on this very tasty cake.
There is also technicality here, if you want to listen to heavy genres of metal rock, yes please, if you want to analyze the music and listen to all the details and nuances and without any problems at all, if you want to have excellent detail and without sibilants then please get it.
And I’m really very surprised by the amount of air that is present in this range and how very defined and far this area is captured without any obvious pits, and the cymbals and percussion are simply a godsend, emphasized, with excellent resolution with excellent long trails and as a result we get a very balanced and monitor presentation of this area.

Stage and stereo panorama :
But the stage in these headphones turned out to be very wide with excellent immersion in depth and excellent depiction of the images of instruments and drums, everything really sounds very clear and verified in space, the images are not blurred or lost anywhere, you can separate everything from each other without any problems.
My conclusion on these headphones :
7hz Sonus headphones costing $59 which simply exceeded all my expectations, friends, these are really a godsend and in this review I tried to convey the pure emotions of what I felt when listening to these headphones, which have a very clear, clean and detailed sound without any sibilance with moderate but high-quality bass in addition to a chic and wide stage!
Link where you can buy them!
Icygenius was with you, I will be glad if you subscribe to my YouTube channel and watch this full review on 7hz Sonus:
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Headphoneus Supremus
Pros: Good price-to-performance ratio
Generous accessory line-up
Easy to drive
Decent ergonomics
Well balanced U-shaped tonality, quite all-rounded for most music
Solid technical chops for a budget hybrid
Transparent midrange
Fast and clean bass
Cons: Minor driver flex
Tangly and microphonic stock cable
BA timbre
Not for bassheads who want a huge mid-bass thump

I would like to thank Linsoul for furnishing this unit. The Sonus can be gotten here (no affiliate links): https://www.linsoul.com/products/7hz-sonus

Sonus 9.jpeg

  • Driver configuration: 1 x dynamic driver + 1 x balanced armature driver (no info on brand/material)
  • Impedance: 30 Ohms
  • Frequency response: 10 Hz - 20 kHz
  • Sensitivity: 109 dB/V
  • Cable: 0.78 mm 2-pin, 4-core silver-plated OCC
  • Tested at $59.99 USD


Other than the IEM, these are included:
- 3 pairs of narrow-bore silicone eartips
- 5 pairs of wide-bore silicone eartips
- Cable
- Leatherette carrying case
- Spare nozzle filters

Sonus 1.jpeg

Considering this is a sub $100 USD IEM, the included accessories are pretty generous, and everything is quite serviceable out-of-the-box.

Sonus 5.jpeg

While no foam tips are provided, we have 2 variants of silicone tips - a wide-bore and a narrow-bore one - with the former bestowing improved soundstaging and better treble extension, while the latter boosts bass, though with some compression of the soundstage.

Sonus 2.jpeg

The stock 2-pin, 4-core silver-plated OCC cable looks like a tapeworm, but jokes aside, it is well braided with a chin cinch. Unfortunately, it is quite microphonic, and is slightly tangly. I'm not a fan of MMCX connectors at the budget segment, due to their longevity with frequent cable swaps, so 2-pin ones like this cable are always welcome in my book.

The leatherette carrying case fastens via a button. It is quite elegant, though personally I would have preferred a semi-rigid or hard case to protect the contents better.

It is really nice that 7Hz has provided some spare nozzle filters, as these may get damaged or inundated with moisture, and sourcing for the same replacement nozzle filters is literally searching for a needle in a haystack, such are the many aftermarket variations out there.

The rest of this review was done with the stock cable and stock wide-bore tips. No aftermarket accessories were used, so as not to add any confounders to the sound.


Sonus 8.jpeg

The earpieces have decent build. The inner aspects of the housing are fashioned from medical-grade resin, while the face-plate is composed of aviation-grade aluminum. During ordering, one can opt for a black, red or grey-hued shell.

7Hz markets that the earpieces were designed after precision molding of amassed ear anatomies. Indeed, the shells are light with a concha protrusion, and ergonomics are quite good. For my average-sized ears, I did not encounter any discomfort despite using the Sonus for hour long sessions.

Sonus 12.jpeg

Being a vented IEM, isolation is bang average, though the Sonus should still be usable on-the-go. Occasional mild driver flex was noted during insertion - though this is partially dependent on ear anatomy and type of tips used - and it can be mitigated with trying other types of tips (be it foam or silicone).

Sonus 11.jpeg


I tested the Sonus with the following sources:
- Apple dongle
- Cayin RU7
- Colorfly CDA M1 DAC/AMP dongle
- Creative Sound Blaster X5
- E1DA DAC/AMP dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Khadas Tone Board -> Topping L30 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is easily driven even off the weakest of sources, though it might scale slightly with amplification.


7Hz Sonus.jpg

Graph of the 7Hz Sonus via IEC711 coupler. 8 kHz is a coupler artefact peak

Tonally, the Sonus sports a balanced U-shaped tonality, which is quite all-rounded for most music genres.

The bass is slightly north of neutral. The Sonus is sub-bass focused, with some rumble heard down to 20 Hz if a proper eartip seal is obtained. As it is not a mid-bass predominant IEM, one wouldn't hear a big bass thump in acoustic or electric bass notes, so this IEM is not for bassheads. In terms of bass quality, texturing is good, with a fast bass heard, with minimal mid-bass bleeding.

As per the U-shaped profile, there is just a slight depression in the lower midrange. Listeners will appreciate the clear and transparent midrange in view of no big bass encroaching into this frequency band. Coupled with the solid technical chops, this allows instruments and vocals to be layered nicely on a dark background. Upper mids are forwards without being shouty, with just a 6 - 7 dB ear gain. Indeed, the mids are my favourite part of this IEM's tuning.

Treble has moderate extension, and the Sonus is not an extremely airy or sparkly set. However, the treble is quite well-dosed, and balances the line very finely, in bringing decent resolution to the table, without veering to an overly-fatiguing soundscape. Sibilance is mild, and cymbals and highhats are not splashy.

Sonus 4.jpeg

In technicalities, the Sonus holds its own in the sub $100 USD realm when compared against similarly-priced hybrids. Instrument separation, layering and imaging are quite well-done, with an above average soundstage width (though it is about average in height/depth). Music never sounds congested, even on complex tracks with competing riffs. Micro-detailing and clarity are well portrayed as alluded to.

When it comes to timbral accuracy, there is a slight metallic BA timbre heard when acoustic instruments like brasses and woodwinds come out to play. Vocals have a hint of nasality, but by and large, the Sonus isn't the worst offender in timbre, when compared against some other rival hybrids.


Comparisons were made with other hybrids below $100 USD. Planars, single DDs and pure BA types were left out of the equation as the different transducers have their pros and cons.

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Tangzu Fu Du

The Fu Du is a bassier IEM, though the bass isn't as tight and bleeds, with worse texturing. The Fu Du is also not as extended in the treble, with less air.

The Fu Du loses in technicalities, sounding claustrophobic in comparison, with worse soundstaging, imaging and micro-detailing.

The Fu Du has a thicker note weight and a more natural timbre, though the Fu Du's shell feels a bit plasticky in comparison.


CVJ Mei.jpg

Graphs of the CVJ Mei on various switch settings, via IEC711 coupler. 8 kHz is a coupler artefact peak

The Mei is a hybrid with 2 tuning switches, to give 4 different tunings on offer; it is more versatile as such. Utilizing the most resolving setting (with both switches activated), this converts the Mei to a neutral bright setup.

On this configuration, the Mei is much brighter and airier, though it is very sibilant and harsh in the treble, compared to the Sonus' better tuned treble. Cymbals and highhats are very splashy on this version of the Mei, and there is an artificial metallic timbre to notes. It is quite aggressive and in-your-face, and treble-sensitive folk probably cannot tolerate this arrangement for more than a few minutes.

However, with this neutral bright profile, the Mei is a bit more resolving, furnishing better soundstaging, micro-detailing and imaging. The Sonus may be a bit more sedate, but tonally it is more balanced, with less fatigue.

The Mei has a bad hiss with some sources with poor noise control, which can be obvious during quieter parts of music tracks.

Truthear HEXA

The HEXA is tuned neutralish with a sub-bass boost. It is less bassy than the Sonus, though the HEXA is a bit grainier in the treble.

Both sets have BA timbre. The HEXA has better imaging and slightly improved micro-details, but suffers from a smaller soundstage.

Of note, the HEXA is substantially harder to drive.

Considering the HEXA is about $20 USD more expensive than the Sonus, the latter arguably has superior price-to-performance, and I would consider the Sonus to be a more cost-effective IEM.

Sonus 6.jpeg


The Sonus is a well-balanced U-shaped hybrid, which should be agreeable tonally with most consumers, other than for diehard bassheads who like a thumping mid-bass. This IEM also has good technicalities for the coin, and a clean and fast bass with a transparent midrange. Additionally, accessories and ergonomics are very polished, and it is easily driven.

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Some nitpicks are mild driver flex during insertion - this can be mitigated with tip-rolling - and BA timbre, though there are definitely hybrids out there with way worse timbral accuracy.

Boasting good price-to-performance ratio, the Sonus is quite competitive against some pricier benchmark hybrids like the Truthear HEXA. Verily, there are not many well-tuned budget hybrids below $100 USD, with compromises in some form or other in most current day releases. The Sonus does most departments well, and I would recommend this IEM to newcomers who are looking to dive into the budget hybrid game.
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100+ Head-Fier
“The Misfit”
Delete please

Thanks for reading. Any feedback is welcome.
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100+ Head-Fier
7Hz Sonus Review - "Swiss Army Knife for Sound"
Pros: - Balanced, neutral-ish tuning
- Nice set of accessories (especially the stock cable)
- Solid build quality
- Great technicalities for the price
Cons: - Stock cable only available in 3.5mm
- Large nozzle
Disclaimer: Linsoul provided me with a review unit. All thoughts and opinions are my own. Unaffiliated product link.


Introduction & Packaging​

7Hz Sonus ($60) is an entry-level IEM from 7Hertz, featuring a hybrid configuration of 1 dynamic driver and 1 balanced armature. In the recent releases, 7Hz is more known for using single-type configuration, either DD (or 2 DD) or planar, with the 7Hz Timeless being its claim to fame. Sonus is 7Hz first foray to a hybrid IEM and it is clear that they are trying hard to get it right.


Since the Dioko and the Legato, 7Hz has been experimenting with various packaging and accessories set. For Sonus, I do feel that it hits the right spot. There are 8 sets of extra eartips on top of the default one installed, which are similar to the KBEAR 07 and 08 series of eartips. There are 4 sets of spare filters as well as an excellent leather pouch. However, the best of them all is the cable, a 4-core flat wire, not braided. It is indeed a unique presentation among the typical braided design, yet still maintains a good flexibility, no microphonics, and most importantly sounds great with the Sonus.


The IEM itself is quite understated, a simple resin inner shell and aluminium outer shell with some simple design and 7Hz logo. It is also available in red and white. The body itself is quite large, but understandable considering the 11.3mm dynamic driver. You can also see from the semi-transparent shell that the BA is not in the nozzle or ran in an acoustic tube, but instead both the DD and BA output seem to be mixed in a large acoustic chamber, which would explain the good coherency (more on that later). The nozzle is quite large at 6.3mm at its thickest part.


Sound Impression​

Sources: SMSL H300+D300 stack, Quloos MUB1, Fiio M11S, Cayin RU7
Setup: Large stock eartips (transparent yellow), stock cable
Music Sources: Local FLAC (redbook/hi-res), Tidal Masters, Apple Music Lossless

The IEM has undergone a 20-hour burn-in at a medium volume for prior to the review.
Listening impression is a very subjective experience depending on individual ear shape, choice of eartips, music library, and personal preferences, so your experience may vary.

7Hz Sonus is aiming for a laid-back, relatively neutral and balanced tuning with a very well-extended subbass. It has the kind of tuning that is hard to find faults for, with relatively forward mids and decent overall technicalities. Its timbre is very enjoyable, although out of the box it does have a smidge of that metallic BA timbre. A short burn-in session overnight tamed the slight sharpness and develop into a more analogue-sounding profile. It does have some brightness in the upper registers but far from being fatiguing or sharp, while also having just enough details to hear the tidbits in your music and not being overwhelming your senses. While it is not a technicalities champ, it's a very musical and enjoyable set of IEMs. Due to these characteristics, I find Sonus to be one of the most versatile IEMs under $100, playing well with most genres from orchestra pieces to smooth jazz to pop and electronica.


Sonus's bass is more emphasized in the subbass rather than the midbass, giving it a tighter and snappier punch at the beginning, but with a slower decay, preventing it from lacking warmth. There is no aggressive bass shelf and it just glides cleanly to the mids. The bass quantity is not at the basshead level, but if you should choose to do so, you can PEQ a bass boost from 200 Hz and below by 5-6 dB and the driver is capable enough to handle it without much distortion. I really do wonder if 7Hz works on Legato's successor with this driver.


In my opinion, the mids are certainly its main strength with overall pleasant vocal presentation and no shoutiness. There is very little bleed from the midbass, leaving a relatively forward vocal presentation, no matter male or female vocalist. The details in the upper midrange is quite smoothed, but you can still somewhat discern some of the nuances in the instruments in this frequency range.


The Sonus has a decent quality treble with good amount of air and extension. It is also quite smoothed out like in the upper midrange and does not have the level of incisive details like from multi-BA setups, but it is still competitive within its price point. It has no problem handling cymbals and hi-hats without being fatiquing.


7Hz Sonus isn't one of the most technical sets in the market at under $100 price range; I would put something like the 7Hz Salnotes Dioko to be ahead of it. Soundstage is still quite intimate, maybe around 50 cm around the head. Imaging is relatively precise and the layering is sufficiently distinct. Resolution is pretty good for the price but with more emphasis on the macro details rather than the micro details. Overall, I think it is a competent performer technically, but it is not the main focus.

Driving Requirements & Pairing Suggestion​

While it is not hard to drive Sonus (most entry-level dongles can sufficiently drive it), it does scale with better amplification. The bass response gets more energy and opens up the soundstage more. I would recommend a warmer source to add a bit of midbass emphasis to go along with that excellent subbass.

Select Comparisons​

QoA Vesper 2 ($79):
The Vesper 2 is tuned toward warm and dark direction, which is quite the opposite of the direction of the Sonus. I find Vesper 2 to be more laid-back in overall sound presentation, with even more focus in musicality. Sonus does sound to be more technical, but I attribute that mostly due to the tuning direction. I see Sonus and Vesper 2 to be kind of yin-yang of each other and both have its place and purpose in my collection. The Vesper 2 also has smaller shell and nozzle, making it slightly more comfortable for some people. However, if you're not a big fan of the very warm and dark tuning, I would recommend Sonus instead.

Simgot EA500 ($79):
EA500 is the crowd favourite due to the very good technicalities at under $100, with neutral-bright tuning and natural timbre. With the Sonus, the brightness is turned down a little along with some bass improvements. I do find EA500 to be a tad fatiguing with some tracks, but I didn't find any issue with the Sonus. I would personally go with Sonus for an overall balanced listening experience, but if you prioritize technicalities above all else, the EA500 would be a good choice too.


7Hz Sonus is a great first attempt by 7Hz into the hybrid IEM market. Versatile tuning, decent technicalities, great accessories set, and solid build quality at a reasonable price... I find it hard not to recommend this unit as a daily set. Sonus has certainly taken its spot as my new daily beater set.
I really like the yellow star art, somewhat hidden inside the nozzle.