AFUL PERFORMER 5 + 2/PERFORMER 7

Aful Performer 5+2 or (P7) is an advanced hybrid Iem that combines cutting-edge technology with exquisite craftsmanship. This model features a total of seven drivers per side: two dynamic drivers for impactful bass, four balanced armature drivers for detailed mids and highs, and a micro planar magnetic driver that enhances treble resolution and airiness. This combination of driver types is supported by a meticulously engineered crossover system and a proprietary air-pressure balance structure, ensuring a coherent and refined sound signature.

Disclaimer:​

I received the Aful Performer 5+2 IEM from Aful for review purposes. All opinions expressed in this review are my own, and Aful has no influence over my evaluation. This review is unbiased and reflects my honest experience with the product. I am not affiliated with Aful in any way, and I have not received any compensation beyond the product itself.


Note: I am into warm, analog sound that can produce rich and cozy tones, with enhanced bass and midrange frequencies to smoothly render it full-bodied. This captures the organic warmth of music with depth and intimacy, much like the soft texture of vinyl. Natural-sounding, relaxed, and emotionally engaging, this is perfect for immersive soothing listening. Based on my sound preference, I am writing this review.


If You are willing to buy this product you can visit AFUL. If you are from Bangladesh you can visit GeekMart and make your pre-order.

Gears Used​

• Dac Dongle: ddHifi tc44c, tc44pro e2, Fosi audio Ds1,
• Phone: LG V60.
• Desktop Dac & Amp: Xduoo XD05 Basic with (BB OPA2132p, N5532p, JRC5532DD, OPA07CP) op amps, Kaei tap 2, Zen dac V2, Earman ST-Amp.
• DAP: Tempotec V3, Ibasso DX180.

Box Content​

• Aful Performer 5+2 iems
• 2pin 4.4mm cable
• 9 pairs, 3 types of ear tips
• Carrying box

Build and Design​

Aful Performer 5+2 powerful build, comfortable design: looks amazing, works even more so. Its shells are made of the best possible resin, which makes it strong yet light to wear for extended periods without any discomfort. The faceplates are colorful and artistic, and the design seems quite unique and classy.


The well-constructed IEMs sport 3D-printed tubes for better sound quality, and an air-pressure balance system that keeps them comfortable and thus fatigues the ears much less, which is quite decent for longer listening. It uses a two-pin connector to keep the cables secure and reliable, enabling users to change cables out themselves for customization.

Fit and Comfort​

The Aful Performer 5+2 is designed for comfort and a good fit, and it's great for long listening times. Light and molded from ergonomic resin, its shell fits snugly into the ear. The construction will yield a good seal that could block outside noise effectively, not only in resulting in a better overall sound with less outside distractions.


It also includes an air-pressure balance system for comfort in reducing the ear fatigue that may result from its continued use. The IEMs are designed to cater to different sizes of ear tips so that the user may select what best fits their ears. These will ensure that the IEMs are firmly fixed in place and would not slip off during activities like commuting or light exercises.

Sound Impression​

Aful Performer 5+2 presents a richly detailed sound signature, warm, and clear in their own right. These two dynamic drivers fire up deep, punchy bass with great texture, while four balanced armature drivers take over from the mids and serve up vocals and instruments with good naturality and articulation. The micro planar driver enriches the top with airiness and sparkle; hence, it offers crisped high frequency without harshness. Impressive width and layering point toward a great soundstage, with space and depth. Instrument separation is superb, and allows more difficult tracks with an enormous amount of elements to feel clear and well-organized. Overall, the Performer 5+2 provides a well-balanced and immersive listen.

Bass​

The AFUL Performer 5+2 has deep bass, with very good texture and layering. Due to the implementation of two dynamic drivers, the low-end can be punchy, well-controlled, and detailed. Sub-bass reaches quite low, offering a sufficient amount of rumble without bloating the midrange. Mid-bass is tight and a little emphasized to help give some desperately needed body to the signature. This strong bass manages to not get muddy or bloated. It gets tuned in a way that it's suitable for bass-heavy genres but still keeps it versatile for other styles of music. The bass performance is excellently balanced between fun and technicality, striking a pose for casual listeners and audiophiles alike.

Male Vocal​

Lead Actress Male vocals come across as warm and natural through the Aful Performer 5+2, carrying a good body of weight. The midrange drivers pick up much of the richness and depth in the male voices and cut through in a mix without sounding recessed. There's a good balance of warmth and detail to make vocals engaging yet realistic. Be it a deep baritone or a silkier tenor, male vocals sound urbane, full of life with the Performer 5+2-in. Handling them with panache, the separation makes sure they stay clear in busy tracks and don't get drowned out by bass or other instruments.

Female Vocal​

The female vocals sound clear, energetic, and smooth; it shows the balanced tuning of the Performer 5+2 in the upper midrange. The balanced armature drivers will drive the female voices with the best clarity and details to capture high-pitched voices without adding any harshness or sibilance. A hint of airiness adds to the female vocals, making them sound emotional and deep while sounding vivid and engaging. Great tuning already keeps the brightness of women's vocals and does not overwrite everything else in the song, so Performer 5+2 should easily fit into a wide variety of music genres that strongly depend on vocals.

Some of the female artist might be create fatigue. and (ss sh) can be found in those vocals.

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Instrument Separation​

Instrument Separation Combine this with correct tuning, and the instrumental separation is sensational on the Aful Performer 5+2 as a result of the hybrid driver setup. Every instrument sounds cristal clear-even on tracks that are complex or fast-paced. Layered presentation of sound keeps instruments from bleeding into each other, hence allowing space and organization. From the solo of a guitar to the jingling of piano notes, even the strings at the back are placed accordingly. This clarity enhances the listening experience, especially in genres like classical, jazz, or progressive rock, which depend greatly on good instrument separation to fully appreciate complex compositions.

Treble​

The treble on the Performer 5+2 is crisp and detailed, while good sparkle is balanced by a certain grade of smoothness. A micro planar driver ensures speed and accuracy in response, shedding light on even the most minute detail within cymbals, hi-hats, and other high-frequency instruments. Treble naturally extends without being too sharp to avoid fatigue during long listening sessions.


Airiness in the treble range enhances this general impression of space and aliveness in the sound. All in all, the Performer 5+2 loudspeaker is suitable for tracks requiring subtle high-frequency reproduction, offering clarity without harshness.

There is a BA timber, if you change the cable to a copper one and tips to Ucotech's Unifit eartips you will get a bit less BA timber.

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Soundstage​

The Aful Performer 5+2 has an enormous soundstage, and hence the listen would be more interactive. It does provide a good sense of depth and height, which makes the music sound spacious and three-dimensional. Precise imaging lets one gauge where the instruments are placed or where vocals are coming from, especially on live recordings or orchestral pieces. This air-pressure balance system, together with the advanced driver setup, works in great harmony and yields an open, airy soundstage that adds so much to the Performer 5+2. This feature will make it stand out, especially for listeners valuing a realistic and engaging sound environment.

Gaming Performance​

Be it any kind of FPS or open-world game, Aful Performer 5+2 adds immense value to in-game soundscapes and spatial awareness.

• FPS Games: With excellent instrument separation and a wide soundstage, the Performer 5+2 will go really well in FPS games where precision and clarity count a lot. Solid low-end impact driven by bass drivers means that every rustling of feet and every explosion goes with depth. Meanwhile, the treble provides the sharpness that makes high-frequency details such as gunshot, ambiance, and movement of enemies pop into prominence without being overbearing. Detailed imaging makes pinpointing the positions of enemies quite easy. also, it amplifies one's skills even in the most competitive matches. Clear separations of sounds ensure that no form of distraction deters one from crucial in-game cues.

• Open World Games: Performer 5+2 lets you create a fully immersive atmosphere in open-world games. The huge soundstage will finally present you with the real reproduction of spacious worlds from buzzing cities to the most silent woods. Clarity of mid and high frequencies would be enough to bring dialogues, ambient sounds, and even in-game music to life-actual enough to drop you just in this very world. The bass stays deep and controlled, adding some oomph to the action without overwriting the rest of the detailed audio landscape. In other words, the Performer 5+2 gets the work done in-game, from competitive precision down to adding more depth for atmosphere, making it a pretty great choice for the gamer from FPS down to open-world exploration.

Tested Games: CS2, Battlefield 2042, Valorent, GTA 5, RDR 2, Once Human.

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Conclusion​

Aful Performer 5+2 (P7)- Given the price, this promises much: a very well-set driver setting for a full harmonic balance, deep textured bass, rich midrange, smooth treble, and wide sound stages created an almost three-dimensional listen. These are comfortable to wear because of the great build quality and very ergonomic design. To add to this, this is accentuated by vivid aesthetics.

From casual listeners to hardcore audiophiles, the Performer 5+2 should please quite a wide range of music genres with very good clarity and separation. With good technicality on board and musicality on point, this IEM merely cements Aful's position as an innovative audio brand.

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You Can Read Other Reviews here.

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AFUL Performer 5+2 (equals seven…)

Configuration: 2x DD, 4x BA, 1x Planar
RRP: $239



Introduction

There has been quite a buzz or indeed ‘hype’ in the audio community around the build-up and launch of the Performer 5+2 from AFUL – probably some of the most excitement and anticipation I’ve witnessed over the last couple of years for a new set. AFUL have already made a name for themselves with sets such as the Performer 5 and 8, plus I’m reading great things about Cantor too, AFUL are definitely associated with providing excellent price-to-performance value across their line-up. Now that 5+2 is very much out there in the market, does it live up to that initial buzz? – it seems an absolutely resounding ‘yes’, they definitely have a winner on their hands.

Thanks to AFUL and HiFiGo for sending a review sample, as always there is zero input from the brand in my thoughts and photos that follow.

For simplicity in typing this review, I’m going to refer to the 5+2 simply as ‘P7’.

About Me…

I worked in the consumer electronics industry for a large part of my career and have been passionate about music and technology for as long as I can remember. Even as a small child, I would ask my mum to put records on the turntable (Abba, Supertramp, and Planxty if anyone is curious).

My music preferences are very varied—anything from classical to techno, indie rock to jazz, and everything in between. In my early teens, I was a big fan of bands like The Cure and The Smiths (still am all these years later). I was bitten by the dance music bug in the early 90s, becoming passionate about genres like techno, house, trance, and IDM. I amassed a huge collection of records and CDs, DJing at various parties and occasional pirate radio station slots. Although it remained a hobby, I still own thousands of records, and my trusty Technics 1210 turntables are still going strong 30 years later—a testament to Japanese engineering!

I am not a professional reviewer, just an enthusiast who loves music and the devices we use to listen to it. Over the last few years, I have become obsessed with IEMs and related gear. I've bought and sold many, and kept a select few—ranging from the $20 Moondrop Chu to kilobuck sets like the Aroma Jewel, Oriolus' infamous 'Traillii,' UM Mentor, and various beloved single DDs. Through this exploration, I like to share my thoughts with the Head-Fi community, hoping they might be useful to others. However, remember that this is a highly subjective hobby, and your mileage may vary.

While I've been fortunate to own and try a variety of the TOTL sets on the market, I honestly enjoy lower-priced sets as much - especially as the gap continues to close, many much cheaper sets now offering significant value and further driving diminishing returns.

I’ll admit I do suffer from happy ears—rarely do I find an IEM that I genuinely dislike. At this stage, there are very few truly "bad" IEMs; it all comes down to individual preferences. Since I listen to such a wide variety of genres, I almost always find synergy with some part of my library. Where I tend to deduct marks is in areas like value for money, poor accessories, or an uncomfortable fit—things that can detract from the overall experience.

Driver Configuration

• 2x Dynamic Driver
• 4x Balanced Armature
• 1x Planar

Specifications

• Impedance: 15Ω士20%
• Sensitivity: 109dB@1kHz
• Frequency Response: 10Hz-35kHz
• Drive Configuration: 2DD+4BA+1Micro Planar
• Cable Connector: 2Pin (0.78mm)
• Cable Length: 1.2m
• Plug Termination: 3.5mm or 4.4mm
• Working Sound Pressure Level: 20~105dB

Unboxing & Accessories

The unboxing is pretty standard at this price point—nothing overly lavish, but not underwhelming either.







From an accessory perspective, you get everything you need: a decent variety of tips in different styles and sizes, plus a puck-style case.





Fit & Design

The P7 is a wonderfully comfortable set. The compact shells sit perfectly in my ears, with no discomfort even during long listening sessions. Isolation is excellent too... I’ve worn them while walking outdoors, and they do a great job of blocking out traffic noise like cars and trucks... of which there are too many in my neighbourhood at the moment due to a lot of construction work!



One slight frustration is the lack of a lip on the nozzle, which means tips can sometimes pop off. Thankfully, I’ve never had one stuck in my ear, but they have fallen off a few times when placing the IEMs back in the case.



Cable

The P7 comes bundled with an 8-strand, 144-core high-purity copper cable with silver plating. It feels reasonably premium, with just enough heft and thickness without being cumbersome for daily use. You can choose between 3.5mm or 4.4mm terminations. I would prefer to have a modular system as has become quite standard at this price point.

The 2-pin connectors sit flush with the shells, which I really appreciate - it keeps things tidy and secure.

Listening Impressions

Straight out of the box, the P7 really impressed me - I can immediately see why it’s garnered so much praise in the community. The competition among brands in 2024 has truly driven innovation, delivering incredible performance at ever-lower price points... and the P7 is another shining example.

The signature offers excellent balance, clarity, and technical ability. It leans towards a lively, energetic sound without crossing into aggressive or fatiguing territory. However, if you’re after a smoother, more relaxed tuning, you might find the P7’s forward energy a bit much...

Over several weeks, I’ve tested the P7 with a variety of genres... everything from ambient, techno, classical, rock, to name a few. It’s proven to be an exceptional all-rounder, though I very occasionally found the upper mids a bit too forward, especially with lower-quality recordings.

The Aune M1p has been a regular with the P7, as I tend to choose for out walking or going to the office. In additon, I've had plenty of time with other sources in my collection such as the Sony ZX707 and 1ZM2.

Bass

The sub and mid-bass are well-balanced, with a slight bias toward sub-bass. I’ve mentioned before how much I enjoy the dual-DD configuration, as it allows for a distinct separation between sub-bass rumble and mid-bass thump... this is exactly what the P7 delivers.

Sub-bass extends deeply and provides satisfying rumble when required, but bass-heads may find it lacking in overall quantity. Similarly, mid-bass offers decent impact and slam but doesn’t cater to those craving more abundant bass.

What the P7 excels at, though, is clarity and separation, delivering a cohesive yet well-defined bass performance that supports its balanced tuning. Both sub and mid-bass come through authentically, handling both electronic and acoustic instruments with finesse.

Midrange

The mids are wonderfully clear, transparent, and spacious, with a slight touch of energy that brings them forward in the mix. They avoid sounding aggressive while maintaining a hint of warmth that adds body to vocals and instruments.

Male and female vocals are delivered with satisfying density, while busy passages remain clear and uncongested, no matter how complex the arrangement. As previously noted, I’ve occasionally observed slight harshness in the upper mids on lower-quality recordings, but this has been rare.

Treble

The treble extends well, with excellent air and sparkle without veering into harshness. This helps create a sense of spaciousness, with elements like hi-hats rendered with captivating realism, seeming to sit outside the headspace.

The planar treble adds a shimmering quality, lending the tuning an ethereal edge. While the treble is forward, it doesn’t cross into aggression, instead maintaining the energetic profile that defines the P7’s overall sound.

Technical Performance

The P7 offers an expansive soundstage with excellent width and reasonable depth. While not holographic, its 3D presentation benefits from strong imaging and layering.

Resolution is impressive for the price point, with micro-details rendered clearly, especially on high-quality recordings. Ultimately, the P7 leans more toward musicality than pure technicality, with its balanced tuning, warm mids, and ethereal treble delivering a highly engaging listening experience.



Comparisons

Kiwi Ears KE4 (2x DD, 2x BA - $199)

The KE4 offers a similarly neutral tuning but leans far more relaxed compared to the energetic and forward P7. The P7’s bass feels much more present, leaving the KE4 sounding thin in comparison. Likewise, the mids on the KE4 feel less engaging. Overall, the P7 comes across as the more premium and exciting IEM, though the KE4 remains a solid choice for those seeking a smoother, laid-back sound.

NiceHCK NX8 (1x DD, 6x BA, 1x PZT - $199)

While I’ve only just received the NX8, my initial impressions suggest it’s much closer in tuning to the P7 than the KE4. Both share a more energetic profile with impactful bass and forward mids. I’ll need more time to compare, but so far, they seem like evenly matched contenders in this price bracket.

TSMR Armor (2x DD, 2x BA, 1x EST - $299)

Another recent arrival, the Armor immediately captivates with a warm, smooth tuning that contrasts with the P7’s more energetic presentation. The Armor offers similarly lush mids but I would say carry more note weight, and perhaps slightly more sub-bass but lacks the forward energy of the P7. Both sets cater to different preferences and excel in their own right.

Conclusion

The P7 is a set with broad market appeal, offering balanced tuning that works across any genre at a price point that underscores the incredible value available in 2024. Its musical profile, combined with strong technical performance, makes it a standout option at $239.

For me, the P7 is undoubtedly a strong contender for one of the best-value IEMs of the year. It sets a high bar for competitors to beat, and I’m excited to see how the hobby continues to evolve in 2025!

The portable audio industry became one of the most profitable sections on the audio technology market as there are some people who have realised that listening to a music in an immersive high fidelity experience will give some new perspective on how they appreciate sonic qualities. Annually, there are new audio companies establishing themselves with their introductory product models with some new features like driver technology, material and most of all, tuning aspects and technical capabilities, and AFUL AUDIO was one of them that established itself as an independent audio company two years ago.



AFUL released the inaugural model, the PERFORMER 5 and it somehow helps to signify its brand recognition to add more credence and reputation in the audio community as it has some positive feedback from both established audio reviewers and consumers alike. But in my opinion, as an independent amateur portable audio reviewer, I actually find the PERFORMER 5 as a lacklustre one due to some noticeable driver incoherences, less appealing and mediocre tonal profile and less impressive technical performance, although it has one of the best shell contours as it fits like a glove into my lugholes.



I have this bias viewpoint on having a “First impression lasts” manner but again I'm too quick to judge being dismissive of the AFUL AUDIO brand. Their next product releases did really change my opinion on them and broke my initial impression on them as AFUL show how adaptable, innovative and willing to accept any feedbacks for the improvements of their next product line. On AFUL's succeeding models with the likes the PERFORMER 8, EXPLORER and MAGICONE shows their prowess as an audio artisans on their own right.



The product that will be featured here in this review article right now is their latest initial-level midrange set, AFUL PERFORMER 5+2. This one is a successor model of their introductory product, the AFUL PERFORMER 5 and it also has a hybrid driver configuration just like its predecessors but AFUL adds some new features in which I will explicate later.



As I mentioned that AFUL PERFORMER 5+2 has a hybrid driver set-up consisting of three types of driver technology that each of them will handle specific frequencies. The low frequency was handled by dual dynamic drivers that connected to an acoustic tube to deliver a tactile, well-bodied and deep bass response, the four custom-made balanced armature drivers that will handle the midrange up to the high frequency section will deliver a rich and natural sound on vocals and instruments along with a smooth, clear and highly resolving treble response. The unusual “micro-planar” driver that takes a physical profile similar to a balanced armature driver will add more harmonics, crispness and air on its ultra-high frequency response. All of these drivers were connected to an acoustic tube that will deliver a good passive separation for each frequency part that affects the overall tuning coherency and harmonious sound of its sound quality.



Aside from the drivers, AFUL also implemented their highly acclaimed patented audio technologies like RCL Network Frequency Division Correction Technology which an advanced electronic crossover that filters out to minimise peaks due to unwanted resonance that improves the performance of the drivers especially on balanced armatures driver ones to have clean, clear and smooth tuning curves on the treble, and the High-Damping Air-Pressure Balanced System which alleviates any possible air pressure build-up in a long listening that might cause some discomfort and ear fatigue and it also features a bass acoustic tube for deeper and clearer sub bass response.



The drivers and other components were encapsulated in a 3D-printed medical-grade resin shell moulded in a UIEM-style form profile. It has an appealing geometrical pattern that reminds me of some veins in a leaf with a glittery and vivid emerald green shade on its faceplate with a brand print on it. Like all AFUL sets, it still features a 0.78mm bi-pin connector as its interlocking mechanism for its detachable cable.




In terms of fitting, The AFUL PERFORMER 5 + 2 offers a comfortable wear as it fits well into my lugholes just like all of AFUL's previous models. Its contours give a good sealing as it offers an excellent passive noise isolation that blocks unwanted external noises from the outside.



Its stock cable, like all AFUL's previous models, looks premium and well-built as it is thick yet flexible and resistant from entanglement. The cable is constructed in a braided 8-core structured, multi-strand high purity silver-plated copper wires with a straight gold-plated 3.5mm termination plug on its end (You can select a 4.4mm balanced as an option upon ordering).



As expected, AFUL will assure that the overall product packaging of this one is well-stocked with accessories that a proper midrange set should have.



Here are the following inclusions inside of its packaging box:

• Pair of AFUL PERFORMER 5+2 IEM transducers.
• Stock cable
• Round metal alloy carrying case.
• Three (3) pairs of blue-coloured stem narrow-bored silicone ear tips on different standard sizes.
• Three (3) pairs of balanced-bored silicone ear tips on different standard sizes.
• Three (3) pairs of black balanced-bored silicone ear tips of different standard sizes.
• Paperwork like instruction manual and quality control card.

Regarding power scalability, the AFUL PERFORMER 5+2 is quite sensitive that it can be amplified easily by devices with just a usual power output in a normal gain mode. That said power output will sufficiently deliver a full-range and dynamic sound quality.



The PERFORMER 5+2 has an interesting tuning which aligns with a mild U-shaped tonality in which all parts of frequency were presented in a well-balanced and evened layout across its audio spectrum.


(FR graph was provided by @baskingshark , credits to him)




LOWS/BASS:

The low frequencies of this one in terms of quality and quantity is pretty-well balanced as it has sub bass presence and adequately textured mid bass. It delivers a punchy, responsive and incisive bass with a deep and reverberating sound while maintaining some segregation to have that clean bass response.

The sub bass presence of this set is clearly felt with rumbling generated from instruments like low tuned bass guitars and double basses, synthesisers and drum machines. The mid bass texture evidently seems more on balanced side in terms of note density as it didn't sound too lean nor too thick, just enough to give weight on bass-clef instruments and low octave male vocals. Bass guitars sound rasping and resonant while the double basses have an added tad weighty sound on it, bass kick drums sound thudding and rumbling but sometimes I wish that it has some fullness with it on every stroke. On male vocal-types such as basses and bass-baritones, the former have an enough depth for its round and full sound but appears to have less darker timbre while the latter has a sufficient weight and depth to sound at least a bit dusky.


MIDRANGE:

This is probably its strongest asset on how this set almost perfectly renders this frequency section. It presents a clean, well-balanced, neutral and transparent midrange presentation with some energy on it. With this quality, it delivers some natural tone and smoothness on male vocals and some instruments while that tad energetic sound will give more clarity and detail on female vocals and instruments like strings and woodwinds.

As the male vocals have an ample texture for its note weight, baritones sound smooth and lush, tenors have a warm, dazzling and spiciness on their vocals particularly on leggero tenors and lyric tenors, and then countertenors have a graceful and tender characters from their falsetto vocals. On female vocals, contraltos have enough richness and depth on their vocals although an added warmth is more ideal for a bit fuller and authority on this type of vocal but I think it's passable in my opinion, mezzo-sopranos have a golden, fiery and smooth transition of their distinctive vocal passage and sopranos have gleaming, silvery and crystalline vocals which makes it more a versatile on this type of vocal types from dramatic sopranos up to the coloratura sopranos.

The sound of instruments of this one sounds organic, detailed with almost accurate tonal colour for each of type; strings, woodwinds, brasses and percussions. On strings, guitars sounds crisps with a hint of warmth to sound at least more balanced on every plucking on its strings, violins sound sensuous, vibrant and sweet on every motion on its bowstrings, and then cellos have these stately sound as it has silky, warmth and bright tone. Woodwind instruments like concert flutes, piccolos, clarinets and saxophones, they sound airy, bright, lustrous and reedy respectively. The brasses with the likes of trumpets, trombones and horns, trumpets sound brilliant, trombones have brassy and dramatic sounds, and then, the horns sound clear with some fullness on them. On percussives, toms-toms have an ample warmth and resonant sound, snare drums sound sharp and precise, field/tenor drums have a sonorous, resonating with a full sound on them on every stroke, marimbas have a sonorous and velvety sound and last but not the least, the kettledrums sound deep and resonant. The pianos sound quite even and balanced as it has a sweet, rich and brilliant tone.


HIGHS/TREBLE:

Another star feature of this set is how it represents its treble response as it sounds lustrous, airy and detailed. There's a noticeable slight emphasis on the upper midrange and some parts of presence treble enough to give a clarity and definition on vocals and attack of instruments without sounding too strident nor sibilance.

It is apparent that the brilliance section of this one has a good extension on its treble air and has an intensity on its sparkle for better handling on harmonics that also affects the timbre quality of some treble-clef instruments. Cymbals have a lustrous sound while hi-hats have its own distinctive short buzzing and sizzling sound, glockenspiels have these brilliant and shimmering sounds, and celestas sound ethereal and sweet to give that “heavenly” vibe.


SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:

The overall perceived sound/speaker stage on this set is on above-average to wide in terms of spatial dimension with a sufficiently wide lateral span, excellent height and good depth. In this regard, it gives me a moderately spacious head room within my aural sphere.

It also appears that it projects a holographic stereo presentation with a well-layered soundscape with remarkable separation on each element such as tonal frequencies and dynamics on either rhythmic and percussive ones. This performance will assure an excellent playback on some complex multi-instrumental tracks like orchestras and jazz tracks.

Cohesive performance of its multi-driver set-up is commendable on how it delivers a very coherent and a responsive transient speed of its drivers without any phasing or distortion issues at all. The resolution capabilities of PERFORMER 5 + 2 is probably the most resolving set in the current portable audio market on both macro-dynamics and micro-detail capability as it highlights the certain elements of varying degrees on dynamic compression on vocals and instruments while it has a sharp definition on its micro-detail retrieval capability on extracting some nuances and subtleties from its sonic canvas like notation attacks from instruments, vocal tails and roomy/atmospheric reverberations.


PEER COMPARISONS:

AFUL PERFORMER 5

• The first model of the PERFORMER series, and like the PERFORMER 5+2, also has a hybrid driver configuration.
• But unlike its current model, it only has two driver technologies that were implemented on its internal.
• It uses a medical-grade resin shell chassis with well-thought design on its UIEM-type shape outline to ensure excellent fitting.
• The tonality of this one is more coloured as it has a U-shaped sound profile.
• It also has punchy bass response albeit noticeable slower and less textured on its mid bass, recessed and tad leaner midrange presentation and a bright and energetic treble but less refined and a bit adequate airy extension.
• On technical capabilities, it has a narrower sound/speaker stage and a bit incoherent on its driver performance as if it doesn't deliver that homogenous sound due the sluggish response of its dynamic driver.

KIWI EARS QUINTET

• KIWI EARS’ “quad-hybrid” driver IEM as it has 4 types of driver technology that were implemented inside.
• It has a single dynamic driver, dual balanced armature drivers, “micro-planar” transducer and piezo-electric driver on each side.
• It takes a UIEM-style shell design and it uses a composite materials, metal alloy on its faceplate and resin on its cavity base.
• The tonal profile of this one has a mild U-shaped as it has perceivable elevation on lows and high frequencies.
• On its overall sound profile this one has a tighter bass response which is more focused on sub bass, a neutral and a tad energetic midrange for female vocals and string instruments, and then, a bright and shimmering treble with good air extension.
• Its technical performance, it has almost similar technical performance with the PERFORMER 5+2 from sound/speaker stage dimension up to resolution capabilities in which this set is quite resolving in that aspect.

JUZEAR BUTTERFLY 61T

• Like the PERFORMER 5+2, it has hybrid driver configuration and it also has a similar material on its shell chassis.
• The driver configuration of this one consists of 1 dynamic driver and 6 balanced armature drivers in which two of them are Knowles drivers.
• Like the PERFORMER 5+2, it also has a UIEM-type shell structure and is made of medical-grade resin with a beautifully-looking abalone colourway on it.
• This set has a neutralish-warm sound profile as it presents a rather balanced and almost linear presentation on its overall frequency range spectrum.
• It has balanced bass response with good sub bass presence and sufficient ample textured mid bass, a sufficiently warmth with a well-balanced midrange presentation that makes it also an all-arounder for vocals and instruments, and a smooth and even treble response with a good airy extension.
• On the technical capabilities, it is on par with PERFORMER 5+2 but there are some differences as it sounds a bit less natural and less resolving compared to the latter.

LETSHUOER CADENZA 4

• Another contender for the best hybrid driver IEM this year but unlike the PERFORMER 5+2, it only has two driver technology but it uses a more premium balanced armature driver from reputable audio solutions.
• It has a single dynamic driver and triple balanced armature drivers provided by Knowles and Sonion inside.
• The shells are of UIEM-style with composite material on it and it was 3D-moulded by HEYGEARS.
• The CADENZA 4 has a balanced-neutral sound just like the PERFORMER 5+2 but apparently it's even more neutral sounding on how it presents its overall tonality with a well-balanced presentation of its frequency range spectrum.
• It also has balanced bass response with perceivable sub bass presence and an ample mid bass texture, a neutral, clean and and a non-scooped midrange presentation and well-balanced and even treble presentation.
• The technical performance of this one is quite eerily similar with PERFORMER 5+2 from sound/speaker stage dimensions up to the driver coherence although the latter is a tad more resolving in terms of micro-detail retrieval capabilities.

The AFUL brand continues to stamp their own statement as a reputable and innovative audio company on how they persist to evolve and introduce new features on their product offerings for every release as they fully utilise their proprietary technologies with it. The AFUL PERFORMER 5+2 is the proof that in a short time, it distinguishes itself from the previous generation as there is a noticeable improvement and a refinement between the introductory model and its current successor model.


The PERFORMER 5+2 in my opinion is indeed a highly recommended set as it delivers such a balanced tuning that has a clean, clear and detailed sound that it can be mostly found on a more pricey range at a reasonable price.


For more AFUL products, check out my reviews of their previous model below:

■ AFUL PERFORMER 5

■ AFUL PERFORMER 8

■ AFUL EXPLORER

■ AFUL MAGICONE


AFUL PERFORMER 5+2 is exclusively available on HIFIGO and if you are interested to purchase this set, here is the non-affiliate link of the said online store.

LINK:
https://hifigo.com/products/aful-performer-7?srsltid=AfmBOooE5Yd6ia68KSWKH1-34CUA9WgLz4owDaZZNw5nuPiQytPu6DYp

SPECIFICATION:

MODEL: AFUL PERFORMER 5+2
IMPEDANCE: 15Ω
SENSITIVITY: 109dB
FREQUENCY RESPONSE: 10Hz – 35KHz
CABLE LENGTH: 1.2m
PIN TYPE: 0.78 2-PIN CONNECTOR
PLUG TYPE: 3.5mm
DRIVER UNIT(S): (1) DYNAMIC DRIVER + (1) BONE CONDUCTION DRIVER + (4) BALANCED ARMATURE DRIVERS


TRACKS TESTED: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)

Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
The Sisters of Mercy – Lucretia My Reflection**
Suzanne Vega – Luka **
Lauren Christy – Steep *
Ottoman Mehter - Hucum Marsi *
Diana Damrau - Mozart: Die Zauberflöte*
Type O Negative - Black No.1 *
Felix Ayo - Vivaldi: Presto **
Three Tenors - Nessum Dorma *
Mercyful Fate - Witches' Dance *

P.S.

I am not affiliated to AFUL AUDIO nor receive any 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 Ms. Hermine Qiu and Mr. Kerwen Wu of HIFIGO for providing this review unit. I truly appreciate their generosity and trust towards me and other reviewers.

thaslaya's star rating system:
☆☆☆☆☆ - Fantastic!
☆☆☆☆ - Recommended
☆☆☆ - There are buyers but not for me
☆☆ - Can't see the appeal
☆ - Product is a failure

Disclaimer:
This product was provided to me by Aful in exchange for my impartial and honest review. I recieve no compensation and all thoughts and opinions are my own.

Gear used:
●LG v30+
●Samsung Galaxy s22 Ultra
●Samsung dongle
●Hiby FC4
●Kiwi Ears Allegro
●Letshuoer DT03
●Dunu DTC480
●BLON V1

Source:
●Listening was done through Amazon Music HD or Ultra HD.

Introduction:
Chinese-based audio company Aful has been on a hot streak recently. They have released some very well-received IEMs, including the Explorer, Cantor, and one of my all-time favorites, the MagicOne. This newest model goes by a few names: Aful refers to it as the Performer 5+2 since it's an update to their original Performer 5, but with two additional drivers. Some call it the Performer 7, and still, others jokingly refer to it more accurately as the Performer 2+4+1 since it features dual dynamic, four balanced armature, and a single micro planar driver (personally, I'm partial to calling it the P5+2). It is currently available for $239.99 and can be found at HiFiGo and other vendors. Let's break down this newest Aful release and see if their streak of great products continues.

Build, fit, ergonomics:
The packaging of the Performer 5+2 features a beautiful photograph of the shells. The unboxing experience and accessories are simple and straightforward. Its adequate for the price, but I would be lying if I said I wasn't slightly disappointed, especially compared to some of the other mid-fi sets I've reviewed recently. The shells are made of solid black resin with an attractive green/teal/blue geometric pattern on the faceplate that can change color slightly depending on the angle and lighting. According to Aful's marketing material, the design is reminiscent of a Chinese Suzhou garden, but it reminds me of a turtle shell. The shells are lightweight and offer a semi-custom shape that makes them very comfortable to wear for extended periods. The nozzle measures 5.7mm and is smooth with no lip for tips. This style of nozzle doesn't bother me, but I know some people don't prefer it as tips can slide off more easily. The stock cable is an eight-strand high-purity copper cable with silver plating. It's lightweight and malleable with a tight weave. It feels nice in the hand and is available with a 3.5 or 4.4mm termination, but it would be nice to have a modular termination at this price point. There are nine pairs of tips included in three different styles. As usual, I tried each stock variant, but the Penon Liqueurs are my current go-to tips, and the sticky texture helps keep the seal intact. I don't really care for the puck-style case, and it feels like a cheap inclusion at this price. I do wish Aful had gone with a zippered option like on the Explorer. The flat 2-pin connections on the shells are incredibly snug. It took a lot of pressure to get the stock cable to connect, and other cables that I tried were just as difficult. I'm not sure if this is a quality control issue, but I was afraid of damaging either the shells or my cables, so I didn't test as many as I would have liked. I ended up purchasing an ivipQ Welfare cable which I've paired with the P5+2 because the color matches so well.

Sound impressions:
The overall tuning is clean, well-balanced, and mostly neutral with good treble extension and a slight bass emphasis. The note weight is in a good place—not too thick or thin, but I would personally like to see it skewed a little thicker for my tastes. This set is easy to drive and get to high volumes, but more amplification can help to bring out better performance, especially in the soundstage and bass. The detail retrieval is decent with plenty of nuances and resolution, but it does have a more musical presentation to my ear. The soundstage has an impressive amount of width and depth. It's not the most expansive I've heard, but it's definitely a standout feature and punches above its weight. The only little issue I have is that it doesn't quite feel like the entire stage is filled or being utilized to its full effect. There is some space between notes that, if filled, could add a little more fullness that would elevate it further. The timbre is incredibly natural and organic, and it's another standout feature for the price range. It can't quite compete with another set I recently reviewed, the Dunu DK3001BD, but it's also half the price, so I still find it impressive. The imaging is very accurate and three-dimensional, and the dynamics are strong as the tuning remains constant no matter the volume. There is great separation and layering, which help to create an interconnected and cohesive sound. The P5+2 does a great job of striking an almost perfect balance of musicality and detail that is not often found in this price bracket.

After testing my various dongles, I found the best pairing to be the Dunu DTC480 in high gain mode. It helped to smooth out any small peaks in the treble while preserving the slightly elevated bass response and the subtle warmth of the midrange.

●Lows - The bass is a little more sub-bass focused than mid-bass. It extends fairly low, and the rumble and reverberation are adequate, but true bassheads will find it slightly lacking. I would like a slight mid-bass boost to add some weight, fullness, and warmth, but overall I'm satisfied with what's here. The bass texture might be very slightly wet, but it's not muddy or pillowy, and I prefer it to a drier texture. The impact is adequate, and the bass has a decent amount of punch without detracting from the other frequencies. There is minimal, if any, bleed into the midrange, and the bass does well to stay in its lane. The speed is very quick, and double bass kicks are incredibly smooth and resolving. The decay is also slightly fast, and I would welcome it to linger just a little longer. While the P5+2 has a smooth, punchy bass with decent rumble, resolution, and extension, it's still first and foremost a well-balanced tuning. I wouldn't tout this one as an exceptionally bassy or bass-forward tuning, but what it does, it does very well.

●Mids - I think the midrange is where the P5+2's magic is on full display. The mids provoke an emotional response while still showcasing a great affinity for detail and resolution. Vocals are pushed just forward enough without being shouty or too in your face. Both male and female artists are well represented, with neither being more recessed or of better quality than the other. Even with the lower midrange being slightly underutilized, cellos and lower brass instruments are still well represented without getting lost in the mix. The midrange exhibits a smooth and slight warm tonality with a natural vocal and instrument timbre that is a strong suit of the tuning. Instruments sound lifelike, and vocals are organic without any nasally quality. The excellent separation is on full display in the midrange, which plays well to both uptempo and mellow tracks alike. Overall, the mids are a highlight of the P5+2's tuning, and the technicalities in conjunction with the slight warmth help to showcase some of what makes this a special set.

●Highs - The treble is clear, well-separated, and has just a slight edge and brightness to keep things interesting. It's definitely not warmed over like the midrange, but neither is it overly bright. There's a decent amount of energy and excitement here while still remaining poised and controlled. Cymbals, hi-hats, claps, and snares sound crisp, clean, exciting, and accurate without being overemphasized, harsh, or splashy. There's a good amount of upper-end extension which helps to create a full sound profile. To be clear, it's not super airy or the most extended treble I've heard, but neither does it sound suffocated or underwhelming. I didn't pick up on any real sibilance, but some vocal notes and instruments can come across as ever so slightly harsh at higher volumes. If you've read this far, you'll have noticed that the theme of "balance" continues to emerge, and it's no exception here. The treble, in conjunction with the bass and midrange, creates a clean and cohesive tuning while steering clear of being overly emphasized, bright, or sibilant.


Comparisons: Credit to The Audio Store for the graphs.

●Dunu DaVinci ($300) - The DaVinci is a 2DD, 4BA hybrid versus the Performer 5+2's tribrid configuration. The P5+2 shells are smaller and more comfortable, but the DaVinci are not uncomfortable for me either. The Dunu accessories are much better than Aful's offerings, especially the modular cable and case. The DaVinci has a bigger and fuller bass response with more emphasis on the midbass than the P5+2. It's also a little bit more energetic with more bass impact and a slightly more forward midrange. In comparison, the P5+2 sounds more balanced but still has a touch of warmth. Both sets offer something special in their midrange presentations that really appeal to me. The P5+2 has a little more mid-treble energy and comes across brighter. It also has better separation, timbre, and is a bit more detailed. Its soundstage is a little bit wider, and the overall tuning sounds slightly more cohesive, smoother, and cleaner. However, the bolder bass of the DaVinci hits really nicely and is hard to resist. They do sound similar, but both have their own unique qualities and sound amazing in their own right. Basically, the DaVinci is more fun and engaging, whereas the P5+2 is slightly more balanced and well-rounded.
My pick: This one is difficult. Gun to my head, I'm taking the DaVinci, but these are both so, so good!

●Ziigaat Estrella ($300) - The Estrella has the same 2DD, 4BA hybrid configuration as the DaVinci. The P5+2 includes a better tip selection and a far superior stock cable, but the Estrella has a zipper case, which I prefer. Both have well-contoured shells and offer a comfortable fit and good seal, but the nozzle on the P5+2 lacks a lip for tips, which might be an issue for some. The Estrella is more V-shaped with a bigger bass response, more midbass impact, and better extension on both ends. It's also brighter and can be peakier in the treble, with a little harshness at times. Its vocal presentation lacks a certain special quality when compared to the P5+2, which has a more natural timbre and a warmer, fuller, and more emotionally charged vocal emphasis. The Estrella is more energetic and dynamic, with a slightly bigger soundstage. It's also better suited for more complex tracks and has superior separation, but it can come across as a bit clinical at times compared to the P5+2's more musical style. The Estrella might have a slight edge in technical performance, but the P5+2 is more balanced with a smoother and overall more enjoyable tuning for my taste.
My pick: Aful P5+2

●Intuaura Splendor II (~$250) - The Splendor II sports a single DD versus the P5+2's tribrid configuration. The Splendor II is not a super popular set and it didn't receive a lot of attention, but it is one of my favorite units that I reviewed this year. The accessories are about even but I do prefer the zipper case of the Splendor plus it includes a USB-C DAC as well. Both shells are comfortable for me but the P5+2 has a semi-custom shape that some may prefer. Compared to the P5+2, the Splendor has a warmer tonality with a more intimate overall presentation. It is also bassier, particularly in the midbass, with a thicker note weight. Vocals are clearer and more natural sounding on the P5+2 but more musical and emotional on the Splendor. The P5+2 offers a cleaner and better balanced frequency response with a wider soundstage, better detail, a more natural timbre. It also has better treble extension and a little warmth but definitely less than the Splendor. While the Splendor's warmth, mid-bass, and vocal presentation have a little more of that special quality for me, this contest's winner has to be the IEM that offers superior technicalities and an overall more balanced tuning.
My pick: Aful P5+2

● ISN H60 ($349) - Here we have yet another 2DD, 4BA hybrid against the tribrid configuration of the P5+2. Unfortunately, I can't compare accessories since the H60 was a loan and only included the IEMs. The shell and nozzle of the H60 are much larger and will likely cause fit and comfort issues for those with smaller ears. The Performer 5+2 sounds much more balanced, with cleaner bass and better-represented male vocals. The bass of the P5+2 is more sub-bass focused but still has a decent mid-bass impact and slam. The midrange is much cleaner and more resolving, thanks to the lack of mid-bass bleed. Vocals are also positioned more forward and better balanced with the overall tuning. The treble is definitely brighter and more extended, with a more distinct punch, but not overwhelming. The P5+2's technicalities are much better across the board for me. It's more resolving, has better detail retrieval, and a more natural timbre. It's honestly a massacre. That's not to say the H60 is without its own charms, but boy, what Aful has been able to do here is impressive, and the P5+2 is also over $100 cheaper. The H60 has a more unique tuning and a certain warmth and musicality that the Aful lacks, but that's not to say the P5+2 is not musical in its own right. These two are very different and fill different roles. The H60 is a strong contender and has more of a niche tuning, but the P5+2 is simply a better all-rounder and the superior performer (see what I did there?).
My pick: Aful P5+2


In conclusion:
Aful has been on an impressive streak of releases since the debut of the MagicOne late last year, which, as some of you already know, I hold in high regard. Their subsequent IEMs, the Explorer and Cantor, received a lot of praise and helped to solidify their tuning prowess. The Performer 5+2 builds on that reputation even further and is another very strong product in their lineup. From the natural and organic timbre to the fine balance of musicality and technicalities that is often only found in higher price brackets, the P5+2 is the definition of a fantastic price-to-performance set. I personally love the comfortable fit and geometric shell design, and I feel that this is a special IEM at $240. It showcases some excellent tuning and technicalities that make for a great all-rounder. The only minor issues that hold me back from awarding a full five stars are the very slight treble emphasis that falls just outside my preferences and the somewhat underwhelming accessories, specifically the case and the lack of a modular cable. However, these are minor nitpicks and are easily overlooked once this set is in your ears and the music starts playing. I wish it were possible to give a 4.75 star rating, but I will tell you here that that would be my score. The Performer 5+2 deserves all of the heaped praise from myself and others. At this point, Aful has cemented its status as one of the most consistently impressive mid-fi manufacturers, and I can't wait to see what they come up with next!

This hobby is an escapist's dream. Escape from daily routine and distress that's causing you via something as sincere and everlasting as listening to music. I believe that the power of music is still not fully understood since it works in mysterious ways. We all have our battles. Allow music to do its magic on you and let your worries dissolve in melody!

Having had the possibility to try so many different sets in a relatively short time I felt obliged to go ahead and express my gratitude by trying to help some lost souls out there, just as I was when I first stumbled upon this weird hobby about wired earphones – so yesteryear! … I thought. Possibilities are seemingly endless and only by getting to meet the right people did I manage to jump onboard the train heading the 'right' direction without getting off-track thousands of times along the way. Make sure to understand the helping person's preferences and you too can find your footing and hit the ground running in no time.


Quick Intermezzo About Me

I won't bore you for too long with personal trivia, however my quick & short background resume goes as follows. Currently I am 27 years old and more in awe of sheer power of music by the day. I have always been moved by music just that slight bit more than average, I'd say. My spending started with a roughly 200€ Bose bluetooth speaker back in my first grade of highschool. What an extraterrestrial thing that was in early 2010s. And it keeps on playing to this day – a true testament of quality. Also sounded fantastic back then, nowadays … yeah, not so much. Lots of BT speakers, TWS, car audio speakers, IEMs, etc., later bring me to this day when I truly consider myself an audiophile. What brings me the most joy beside listening to music is singing, so I am currently participating in a choir and challenging myself with solo vocal covers (check the links in my signature to hear my projects). Unsure where all this leads, but the journey itself is marvelous and life is nothing but a journey.

My preference lies somewhere in the neutral camp with just an ever so slight tilt towards warmth, but I try to keep an open mind and truly appreciate any outliers that dare do it differently and succeed. Our ears vary, so do our brain and tastes. I am an advocate for respectful discourse, especially in topics that don't even have many objective undeniable truths. Audio is one of those.

My most listened genres are, in no particular order: jazz, singer/songwriter, slow-paced electronica, ambient, rock, metal, blues, trance, techno & pop.


Disclaimer: I have received the AFUL Performer 5+2 from HiFiGo. Even if I wanted to shill this to the moon and back, I am way too mindful of others' money to overly hype stuff that does not deserve it, so there's that.

Unaffiliated link for the ones that wish to try this set after reading my review: https://hifigo.com/products/aful-performer-7?_pos=1&_sid=5c3c33c80&_ss=r&variant=45949842915567

How My Reviews Are Structured

I will start off by mentioning the packaging, accessories, design & comfort, then continue by placing the showcased IEM in my special trademarked graphs & graphics, give it an overall score on certain qualities, and describe the main sound categories to reach the final star score. Those that are seriously considering the Performer 5+2 (from here on out, P7), please do not hesitate to ask for any specifics you want me to answer via private messaging.

I have left the set to burn-in for 70+ hours and listened to songs of varied genres to better convey what one can expect from the P7. As sources I have been using my FiiO BTR7, Venture Electronics Megatron, iBasso DX180, and Venture Electronics RA2B-FE AMP + Prime DAC (in short, called the 'VE Stack'). Certainly no lack of power and quite a different taste on all. Listening was (mostly) done at a volume ranging between 75-85dB. I am using the stock tips and cable which I truly believe are worthy of an IEM at this price point.

Here is the quick and rough description of how I understand various star ratings:

Do not even think about it
It has too many drawbacks and gets demolished by competition
This item has the potential but feels a bit too bland and has multiple issues
Wonderful item with rare and mostly subjective drawbacks
Eargasmic performance with all the aspects covered at an incredibly high level

Keep in mind these ratings are certainly affected by the item's price in the overall assessment too. Sometimes that will result in slightly higher score than based solely on my scoring of bass, mids, and treble, while other times it results in a slight penalty if I deem the item a tad overpriced.

In layman's terms - anything rated below 4 stars overall does not get a space in my regular rotation and is either stored and revisited some time later again just to see if my thoughts have changed, or it gets gifted.


I am still catching my stride on how to describe the sound aspects in a clearer way. It is a slow but enjoyable learning curve. I am attempting to make my reviews as ballast-free as possible. The graphics were the step in the right direction, I feel. Capturing the essence of sound characteristics in a less wordy way is next on the list. We all have our own busy schedules and I understand reading a review for 15+ minutes is in (nearly) no-one's interest.


Let's Get Going!

Packaging, Accessories, Design & Comfort

While the box itself is as boring as can be, it soon gets better. I like the layout and sufficient space they used, but that does mean the box is twice as large as it needs to be. Faceplates are right there for you to enjoy and try to figure out if it's more green or blue.






Accessories are well done for a roughly 200USD set. The cable feels quality, very supple and a joy to use. It did not even cross my mind to do any cable rolling, but of course, having the Effect Audio Eros S II at hand, it had to be done. I'll write a quick piece about the changes that made later on. There are 3 different tips in 3 different sizes to choose from and once more I felt no need to tip roll as crazy because this sounded well with the first ones I grabbed.





Design will forever be a topic that's not really worth discussing at all, but I must say these have a sort of mystery to them in real life that I appreciate very much. They flow from blue to green and everything in between. The written 'AFUL' logo on one of the faceplates immediately associated my 12-year-old brother to 'Awful', so that is still a running joke as you can probably imagine. Despite that, I think AFUL have nailed this design in being just playful enough but not too in your face.



Comfort is pure perfection just like all other AFULs I have tried – sadly no chance to try the Cantor. These are ergonomically made and lightweight, so you could wear them for hours. No pressure buildup either. I had no problem with tips falling off due to no lip on the nozzle, so that's a non-issue as well.



Graphics, Graphs & Scores

As mentioned a little earlier, I have worked on trying to cut down on wordiness and all excess gibberish and rather improve upon my nikbr trademarked graphics to truly be able to compare IEMs visually since that offers an easier-to-comprehend, more interactive and simply more appealing experience.

These truly cover most topics in a pretty straight-forward manner. I have described each of these in a bit more detail in my previous reviews. If anything remains unclear, here I am at your service.

Six Basic Traits

These excel in just about every segment as you can see. Bass is the area that I feel has some potential to improve further, but even that is far above average.

Magic Balance Boards

These have an interesting mix of ingredients. They're just a wee bit on the lean side overall because of hugely detailed and present treble, quick in their overall demeanor, yet more musical than analytical or techy. They truly offer something fresh.

Soundstage Measurement Tool

Depth is not the best to my ears, but it's not just 2D either. Just somewhere in the middle. Height and width are very nicely done and allow enough space even for fuller sounding or crowded songs.

Quarter Circle Playground

Leans energetic and more trebleheady than bassheady. This could quickly backfire, but thanks to capable treble it works out and sounds special. The balance can be moved either way quite noticeably with a source-swap. The DX180 line out to the VE Runabout amp for example, makes this a pretty bassy set while still letting the highs shimmer.


Overall scoring sums up the impressions very well in this case. Bass has some room to improve while mids and treble really don't leave much on the table at all, especially considering the price.


Sound Descriptions

The obvious sound categories will be subcategorized into a few important aspects. It is impossible to just proclaim the bass as great or not, there are levels to this hobby and since you're reading this review, you've obviously fallen deeper into this rabbit hole than many.


Bass
(some songs I used: Soldier of fortune by Deep Purple, Summer by Emeli Sande, I'm in Love by Ayo, House of the Rising sun by alt-J&Tuka, Infinity by DJ Pastis&DJ Ninu&Wasi Distorsion, Kuwait by Mazde, Drum solo by Manu Katche, Hislerim by Serhat Durmus&Zerrin, Animamundi by The spy from Cairo)

First thing I try to unpack is how I feel about the Quantity vs Quality of bass. The P7 is one of those that strikes the middleground in quantity and feels just about spot on in that regard. Quality is good too, but there are some ways to improve. The Midbass vs subbass debate is very subjective and we all enjoy different amounts of bass. The P7 is more midbassy than subbassy which I tend to prefer, but this will of course be related to genres you listen to. Rumble of the P7 could be fuller, richer, more dimensional and ultimately bigger sounding. It is by no means lacking or horrible, though, don't get me wrong. Attack is still something I believe BAs do better than DDs, despite DDs moving more air. To this day the best attack or note onset I heard was from the AuR Audio Neon Pro, a 10BA. P7 feels just a bit unrefined around the edges and stressed when song really tries to kick. Yet again, keep in mind these descriptions are all well within a grey zone and not purely black or white. Decay is done well and kept controlled so that it doesn't overstay its welcome. This is an important and often overlooked aspect of our overall bass rating. Boominess or bloatedness are not an issue here. This is AFUL we're talking about and even their most bass-prominent set that is the Explorer is free of bloat and boom. Since hearing the DITA Project M, I will always look for that when I think about bass texture. While the P7 is by no means incapable in this regard, it stays a long step behind the Project M whose bass felt effortless and so alive.


Mids
(some songs I used: Creep by Haley Reinhart, Rosita by Coleman Hawkins&Ben Webster, Vidda by Ole Edvard Antonsen, Long after you are gone by Chris Jones, Writing's on the wall by Tom Ball, Dream on by Morgan James, Lonely island by Amble, Exhale the ash by Ulcerate, Free bird by Lynyrd Skynyrd, Eyes don't lie by Tones and I, All about you by Sophie Zelmani)

Getting timbre right is crucial in overall acceptance of any set. Always a sensitive topic. Timbre is not an easy one to unfold and pack into these little forms we call words. We also have a different understanding of 'correct timbre'. Hearing the instruments in multiple settings and played by different artists is a must to really get familiar with their intricacies. I have noticed no timbral issues on any of the instruments ranging from cellos to flutes on the P7 and that is a tremendous achievement pairing three different driver topologies. Forwardness is judged to perfection. This is the sort of tuning that I feel needs further pursuing. The way everything works together as a whole is fantastic. Among the affordable sets, the Kefine Klean is very similarly tuned and it's getting lots of attention as well. This tune allows vocals to stay upfront despite a good amount of bass and treble either side. Clarity is what we're all yearning, right? This is why we're in this hobby, otherwise a simple BT speaker or TWS would have us covered. The way this treble aids clarity is crazy, but it all starts in the mids where pinna gain is crucial. The P7 is close to perfect here, at least to my ears. Only now and then, some songs that are a bit too brightly recorded might get a bit tiring here. Vocals are well judged and function well tonally, all I am missing is a tiny bit of that indescribable soul to them. They can feel a bit grainier and digital than preferable. Nonetheless, we're talking about miniscule nitpicks that are neither here nor there and totally song-related. Note weight is one of those risky topics and it quickly segregates the field in two camps, those that prefer a thicker, rounder note weight and hence a more analog approach, and those preferring all-BA sets because those usually have a quicker, less hefty character and a more digital sound. I'm most sensitive to how the piano is played back. Hearing a grand piano live you can tell just how much body each note carries and how rich it is in under- and overtones. Mind, those are very, very severe simplifications of this layered, 50-shade-of grey topic just to carry my point across. P7 is on the subtler side and does not try to impress with note weight per se. Even still, this is a well judged call from AFUL whose primary focus here was all-aroundedness (if that's even a word). They have nailed the mix of qualities throughout the midrange to make this a cohesive and very high-end-like listening experience.


Treble
(some songs I used: Vidda by Ole Edvard Antonsen, Want by The cure, All about you by Sophie Zelmani, Morning bird by Sade, Animali in Marcia by Gianluigi Trovesi, Ain't no love in the city by Robert Haglund, Barbados by Arne Domnerus, Oh Dear by Sophie Zelmani, Liberty by Kerenza Peacock&Timothy Ridout&Hum Watkins, Shivers by Ed Sheeran)

Crispness/sharpness can be a mix of multiple qualities hidden all the way from upper mids high up into treble. There is no straight-cut rule to tackling this and having it fit all ears and preferences. Crispness has some positives, whereas sharpness is usually unwanted, yet both will be very ear- and preference-specific. The P7 is never really sharp I wouldn't say, which is one of its tremendous achievements regarding just how much treble it has, but it is crisp, very crisp. That can sometimes come back to bite it with stuff like electric guitars. This is not the set for the treble-shy out there, but even some among those would find this well done despite being in direct disagreement with their preferred warmer and more relaxed demeanor. This brings us on to sibilance and I don't know a single person that enjoys that piercing 's' or 'sh' sound, so the less the better – or is it? This is once more subject to personal sensitivity and hearing health. I am happy to report the P7 is one of those that could be used as a template for those manufacturers that still get this risky frequency area wrong. Naturalness ultimately comes down to how the whole summation of all frequencies gels, but I feel it's most easily lost by having uneven, spiky, or spicy treble. This is where risks are the greatest when tuning an IEM. Most still agree a single dynamic driver sounds the most natural, but I would argue that is simply down to us hearing those drivers the most in most all situations. I for one often prefer BAs way of transmitting string instruments. So, while I can't offer a definitive conclusion, I can say the P7 is mostly natural sounding. Character is a topic I have just added to have somewhere to leave my subjective treble assessment as well. By character I simply mean if I feel the manufacturer's pursue of a certain goal they have set out to achieve is a success or an utter failure. The P7's character is executed to perfection. Air I'm used to is usually achieved by BAs or ESTs. BAs tend to sound quite unnatural and strained when pushed above a certain point, roughly 15kHz. ESTs have a sweet tonal colour and the P7 does an amazingly well impersonation of ESTs while using a cheaper microplanar driver. It's a bit choppier and wetter in its approach, but it offers good extension and feels effortless. Hihats and cymbals are lively and zingy, just as they should be.


Technicalities

Soundstage is a very touchy subject with no objective truths, highly affected by source, and incredibly different from one pair of ears to another. Skipping the effect of our pinna, as IEMs do, is both a blessing and a curse. One has to figure out for themselves what tricks their brain into placing objects furthest away from their actual point source. P7 offers a decently wide and high stage but feels a bit limited in its depth. Depth is a tough one to do well in this mid-fi segment anyway. The stage's shape resembles a rainbow with vocals right underneath it. Imaging is in my view potentially the most crucial technical aspect in IEMs. And this is the reason why I feel soundstage might be just a bit overhyped. The outer edges of where the sound is coming from are not as important to me as their localization and size of the image. Give me a more intimate soundstage with better presented individual sounds over a huge soundstage with more diffused imaging any day of the week. This is part of why I enjoy the P7 so much, this is a set that easily challenges my twice and more as expensive IEMs in this regard. It's just as precise as those best ones I have heard thus far. All this while allowing all performers/sounds sufficient space to do their thing. A serious achievement by AFUL. Detail retrieval is a subject that should be cut into even smaller subjects to cover more easily, but I will try to explain it in one. Macro- and microdetails is how they are usually referred to. Macrodetails will be the larger items we can look into. Maybe something like a clap. How well is that clap separated and detailed in its onset and offset. While microdetails would mean delving even closer into that clap – how crisp is it, any minute detail that stands out, possibly the person is wearing rings and those hit each other when clapping. Both micro- and macrodetails are truly outstanding on the P7 except in the low end where I do occasionally miss that richness and substance of bass guitars or kickdrums or electronic subbass. Cohesiveness is such an important and often overlooked quality. We focus on bass, mids, treble, etc., but do they work together as a team or is it a bunch of talented individuals pulling to their sides? On the P7? Yes they do. This is a very cohesive listen. Something similar was attempted by Simgot with their EA500LM which is truly capable for a single DD, but the frequencies just would not come together in unison. Thus, despite the first listen being energetic and promising, it fell apart in the long run. Not the case here, the P7 remains well connected after having spent a good little while with it.


Extra

Fun factor: Very fun! Not necessarily because of what we usually associate with fun – big bass or a V-shape, but there are lots of other factors that make my ears happy. In this case, I'd say the most prominent quality is the treble which is different to anything I've heard before.

Q: What kind of source to pair it with?
A: Depends on how you want to tilt the whole presentation. It responds well to different source characters.

Q: What genres are its strength/weakness?
A: No real weaknesses. I enjoy it a whole lot with jazz.


Comparisons

I have chosen to compare it to these three sets: AFUL Explorer, AFUL MagicOne, & Kotori Zephyr

1. VS AFUL Explorer, a 1DD+2BA at ~100USD


The P7 is very different and I feel it's a better all-arounder. Where I was still surprised to find out that the Explorer might be a bit ahead, at least in certain instances, is the bass texture. And it's precisely due to that reason that I feel having these two alongside is actually a good little One-Two combo. They complement each other beautifully. Mids are more open and luxurious on the P7, the treble is so different that it's hard to compare the minute details, but the BA vs microplanar high treble is noticeable. The way the microplanar shimmers is something the BAs cannot reproduce, at least not in this case. These two render the same song so wildly differently. P7 is energetic and makes you groove, while the Explorer lets you calm down but still transports you into Musiclandia. P7 has the upper hand in subbass too.

2. VS AFUL MagicOne, a 1BA at ~60USD nowadays


Source-wise I needed to bring out the big guns for this comparison. The MagicOne likes power. I literally need to turn the volume up by 50% swapping from P7 to MagicOne. Just on that alone I can confidently say that those of you that do not possess and do not want to spend additional cash on a proper source should stay away from the MagicOne. But, when I paired these two with my VE Stack, things got more comparable. Starting with the MagicOne and swapping to the P7 a few things are very clear. The bass is obviously more substantial on the P7, but, and this might sound weird, I preferred the simplicity of MagicOne's midbass-forward clean bass in many songs. The P7 sounds more open and layered, the single BA in MagicOne cannot reproduce the largeness of images and stage of the P7. Treble is much snappier on the P7 too. So, essentially these are very different in their liveliness. The P7 is the groovy one, the MagicOne is the calm one. But not in the same way as the Explorer, the MagicOne relaxes with its midrange.

3. VS Kotori Zephyr, a 1DD+1BA hybrid at 150USD

These are SO different upon first A/B. The P7 are more atmospheric and provide a better separation as well as imaging. The tonality is much different too, where the Zephyr is much calmer and an everyday listen with its mid-first leaning approach. The P7 carries much more energy throughout the frequency response. This is becoming repetitive – anything I compare the P7 to, feels much less spicy and rhythmic. Whatever magic they have mixed in with the P7 is certainly working. P7 feels much more V-shaped overall than the Zephyr. So tonally I would say these two fit two different purposes, but the technical aspect is ahead on the P7, especially noticeable in note definition or detail retrieval as well as dynamics. But it's not a night and day difference and the price differential depicts the performance of these two quite well. I prefer vocal placement and male vocals on the Zephyr.



Impressions with Effect Audio Eros S II Cable



Right, so let's pair these with a cable that costs more than the IEMs themselves and try to spot the differences. I will write a separate piece on the Effect Audio Eros S II as well, where I will tell you more about it and describe how it pairs with some other IEMs.

I have received the Eros S II from HiFiGo and it is in 3.5 termination, so direct comparison with AFUL P7's stock 4.4 might be compromised. I will balance the volume between the two and search for any tonal or technical differences.

The P7 were a nightmare to cable-roll. Their 2-pin connector is stiff and very difficult to insert and detach from, so it took me way longer to swap than optimal. This is not the set for those who want to cable roll daily. I was not far from breaking something while swapping back and forth.

Either way, those battles aside, I was able to hear some pretty astounding differences. Were all of these changes for the better? No, some were actually weird and unwanted in my opinion.

Let's start with the good. The bass became more descriptive meaning it cleared up and became more precise, the stage gained a bit of that third dimension to help make the notes feel more full, midrange sounds cleaner and easier to follow, treble took a bit of a step back with its crispness and incisiveness – both a positive or a negative.
The negative thing I noticed was female vocals becoming grainier and less feminine almost. They get this slightly smoky texture that mostly feels out of place to my ears. Now, this is a minor change and does not counter all the good this cable does for the sound.
Stuff like Two Steps From Hell sounds more epic than ever! The separation is crazy, truly unexpected. I needed to do a few more swaps just to affirm this suspicion of mine. It's like all drivers work at their maximum whereas before some of them simply didn't feel like giving it their best effort.



Worth the ~300USD price tag of the Eros S II?
That's up to you to decide, but the differences are more than negligible, so those that think the P5+2 might be their endgame IEM for a little while, at the very least considering the Eros S II is not as wild as it seems.


Summing Up The AFUL Performer 5+2



This set surprised me even after being one of the later reviewers to have received it and thus hearing lots of good about it before ever laying my ears on them. Having heard the Explorer before, I thought these would be largely the same, but have their treble turned up to 11. While the treble really is much more in quantity, it is also tremendously executed. Just like the midrange, where the clarity is up to par with some of my more expensive sets. The bass needs some help either by a well-judged cable-roll or the correct source. These are no doubt the set that I will suggest as an all-arounder to anyone with a budget of sub 300USD going forward – until something better comes along, but that might take a little while.

Thanks for reading and stay wonderful.

Aful Performer 5+2 Review

This is my second encounter with an Aful IEM, having previously reviewed their flagship Cantor and absolutely loving it. With the same excitement and expectations, I’ve listened and reviewed the P5+2.

Driver
* High-Performance 2DD + 4BA + 1 Micro Planar Hybrid Drivers Configuration
* Dual Low-Frequency Drivers with Y-Shaped Structure
* RLC Frequency Network Division Technology
* Precision 3D Printed Acoustic Tube Chamber
* Highly-Damping Air-Pressure Balance System
* Inspired Chinese Suzhou garden Faceplate Design
* High-Purity 8 Core Silver Plated Copper Cable

Box Contents

* 1x AFUL Performer 7(5+2) IEM
* 1x Silver-Plated Copper Cable
* 9x Pair Eartips
* 1x Carrying Case
* 1x User Manual

Disclaimer

This review reflects my personal and subjective listening experience with the mentioned audio gear product. I would like to thank Hifigo for organizing this review tour in my country and allowing me to share my thoughts on the product. Please note, this review is not influenced by any form of compensation.

Before proceeding, it is important to mention that most of my impressions of the gear are based on the sources mentioned, so your mileage may vary.

Sources: Earmen Angel and Cayin RU7

The Aful Performer 5+2 IEM is a solid contender in the mid-range market, offering a thoughtful design and balanced sound profile that makes it a versatile choice for a range of genres.

Build and Comfort:
The IEMs feature a compact shell that sits snugly in the ear, providing a secure and comfortable fit, which is ideal for long listening sessions. The design is both functional and stylish, and the build quality feels sturdy and durable.

Sound Quality:
The Performer 5+2 delivers an overall clean and musical sound signature with a slight lean toward detail. The resolution is impressive for its price range, allowing for a good amount of detail retrieval in most tracks. It’s easy to drive, which makes it convenient for use with portable devices without the need for a dedicated amplifier. A dongle would be more than enough, I thoroughly enjoyed it with Cayin RU7, high gain at about 45% volume driving it at its full potential, it doesn’t seem to scale much with power though when I plugged it into Earmen Angel it did smoothen the response a bit though

Highs
In the high frequencies, the Performer 5+2 provides decent clarity, though certain tracks can bring out a bit of sharpness in “S” sounds, which might become fatiguing over extended listening, this is fixable with ear tip rolling and source matching, I has this experience with RU7, not so much evident with Earmen Angel.

Mids
Midrange frequencies are somewhat recessed, which means that vocals and certain mid-focused instruments may feel slightly distant. This also gives it a sense of space and vocal clarity, it’s not too much in the face, hope you understand what I mean hear. Despite this, the sound signature remains musical and engaging, suitable for a variety of genres.

Bass and Sub-Bass:
One area where the Performer 5+2 could improve is in the bass response. While it provides an adequate amount of punch in the mid-bass region, it lacks sub-bass extension, which may leave some listeners wanting more depth and impact, particularly in bass-heavy genres. This lack of extension in the low end can be noticeable in tracks where a rich, full bass is essential.

Instrument Separation and Imaging:
The IEMs perform well with separation in less complex tracks, offering a satisfying sense of space between instruments. However, in more congested or layered tracks, it struggles to keep every detail distinct, causing the sound to feel a bit compressed. Imaging is good but not remarkable; while you can get a decent sense of instrument placement, it lacks the pinpoint accuracy found in higher-end IEMs.

Tone and Timbre:
The overall tonality leans toward a leaner, brighter side, which some may find more analytical, though it still retains enough warmth to feel musical. Guitars, for instance, could use a bit more body and weight in the notes, especially for rock or metal genres. This tonal balance might not satisfy those looking for a full-bodied sound, but it does offer a clean and crisp presentation that works well with acoustic, vocal, and lighter genres.

Conclusion:
The Aful Performer 5+2 IEM offers great value with its compact design, comfort, and impressive resolution. It’s an IEM suited for listeners who prioritize detail and a musical, slightly leaner sound signature. However, it may not fully satisfy bass enthusiasts or those looking for a more robust, rich sound. At this price point, some trade-offs are expected, and while it could improve in areas like imaging precision and sub-bass depth, it remains a strong choice for its affordability.

For listeners looking for a reasonably priced IEM with good detail and versatility, the Aful Performer 5+2 is worth a try.

DISCLAIMER

I would like to thank HIFIGO for providing this tour unit.

The AFUL Performer 5+2 can be gotten here: https://hifigo.com/products/aful-performer-7 (no affiliate links).




INTRODUCTION

The Performer 5+2 is a sequel to the lauded original Performer 5, but this newer iteration has an added DD and planar driver. Yes some wise-folks are gonna ask why isn't it called the Performer 7, but oh well, this is beyond our level.


SPECIFICATIONS

• Driver configuration: 2 x 6 mm dynamic drivers + 4 x balanced armature drivers + 1 x micro planar driver
• Frequency response: 10 Hz - 35000 Hz
• Impedance: 15 Ω
• Sensitivity: 109 dB
• Cable: 2-pin 0.78 mm; copper silver-plated cable; 3.5 mm or 4.4 mm termination
• Tested at: $239.99 USD

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of wide-bore silicone eartips (S/M/L)
- 3 pairs of medium-bore silicone eartips (S/M/L)
- 3 pairs of narrow-bore silicone eartips (S/M/L)
- Cable
- Carrying case

For a $200ish set, the accessories are par for the course, other than the absence of foam tips and a modular cable.




Nevertheless, the stock cable is well-braided and tangle-free. It has a chin cinch for added grip, with an acceptable level of microphonics. During ordering, one can opt for a 3.5 mm (single-ended) or 4.4 mm (balanced) cable, depending on your source needs.




AFUL has included 3 types of silicone tips, ranging from narrow-bore to wide-bore ones. The latter furnish the best soundstage with some treble-boost, whereas the former increase bass with some compromise in staging. The medium-bore ones are a mid-point between the above two sonically.




Lastly, have a round hard case with inner cushioning and a tough exterior to withstand compression or drops.

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


BUILD/COMFORT



The housings are fashioned from 3D-printed resin, with faceplates drawing inspiration from the spider-web motif of ancient Chinese windows.



The earpieces are lightweight and ergonomic - with a concha protrusion - and comfort is excellent. However, the lack of a lip on the nozzle may be a bit polarizing for some users: possibly eartips may get stuck in the ear during removal for example.




AFUL has introduced a highly damped pressure-balancing system, utilizing air pressure. This may be no hyperbole, as passive isolation is good, with no driver flex detected.




INTERNALS

The Performer 5+2 packs an eclectic array of drivers:

• 2 x 6 mm dynamic drivers settle the bass. These incorporate a 3D-printed Y acoustic tube, which bleeds away higher frequencies to concentrate and increase sub-bass rumble.
• 2 x balanced armature drivers handle the midrange, and another 2 x balanced armature drivers take care of the lower treble. We do not have any information on the brand of these BAs however.
• 1 x micro planar driver replicates the upper treble, to bring some air to the table.

Like some other AFUL predecessors, the Performer 5+2 embraces a gamut of exotic tech. Other than the aforementioned air-pressure damping system, there is an LC network frequency division correction tech, in addition to RLC network crossovers with 3D printed sound tubes inside this IEM.


DRIVABILITY

I tested the Performer 5+2 with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA15 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is easily driven, and amplification is not necessary.


SOUND & TECHNICALITIES


Graph of the AFUL Performer 5+2 via IEC711 coupler. 8 kHz is a coupler artefact peak.

Tonally, this IEM has a gentle U-shaped predisposition, which is quite balanced. The tone is full and not anemic, and this tuning choice should cover most music genres and preferences.

The Performer 5+2 is sub-bass focused, with the previously discussed lengthened sound tubes contributing to a hefty sub-bass rumble. This is just shy of true basshead levels, and this set does not neglect quality, as the mid-bass is speedy, with good texturing and minimal bleed.

The lower midrange is a pulled back a hair, but there is good transparency without a scoop-out seen in other Harmanish fare. With a mere 4 dB ear gain in the upper mids, this will please the anti-pinna gain gang (ie we hear no shout on female vocals).

Treble is quite extended - courtesy of the micro planar driver - and this region is very resolving for the coin. There's just a hint of sibilance at the lower treble - perhaps detectable by the bat-eared treble-sensitive and youngsters with perfect hearing health - but by and large, my treble-sensitive self would say the Performer 5+2 threads a fine line between a forward treble without overstaying its welcome. Thus clarity is not compromised by being shrill and fatiguing.

The Performer 5+2 has minute issues of BA timbre heard at the upper regions - more apparent when acoustic instruments come out to play - but it definitely is not the most egregious offender here. Indeed, as we will read below, the Performer 5+2 is superior in timbre compared to the predecessor Performer 5.

In technicalities, the Performer 5+2 is one of the heavy weights at the $200 bracket. While soundstage is just above average, this IEM has nuanced micro-detailing and beautiful layering. Imaging and instrument separation are also strong suits. The Performer 5+2 also doesn't run into coherency problems such as a sluggish bass being tugged along by a too rapid treble BA.


COMPARISONS

The Performer 5+2 has a unique driver setup, with not many competitors having a similar 2 DD + 4 BA + 1 micro planar configuration. Nevertheless, it will be compared against some MidFI hybrid types residing around 200 bucks.




AFUL Performer 5

First up, we pit its very own older brother - the original Performer 5 - which has a DD and micro-planar driver less.

The 5+2 edition earns its keep, besting the elder sibling Performer 5 in all technical departments (it is not close actually). Although the Performer 5+2 has a hair of BA timbre, it is an improvement over the original Performer 5 in timbral accuracy. The 5+2 edition also has a less spiky treble but better resolution and clarity.

One bugbear noted by consumers of the original Performer 5 was coherency - the bass DD was slow and muddy, in contrast to the quicker treble BAs - and thankfully, we do not face this issue with the P5+2.

With the advent of the Performer 5+2, it has truly made the original rendition obsolete.


ZiiGaat Doscinco

The Doscinco is an L-shaped basshead hybrid. The Dosinco has weaker technicalities, losing in soundstage, imaging and micro-detailing. It may be bassier, but the Doscinco's bass isn't as tight, and bleeds, coming second in texturing.

Notably, the Doscinco has driver flex, which may be a deal-breaker for some.


DUNU x Gizaudio Da Vinci

The Da Vinci is better accessorized, and sports a warm U-shaped tuning. The Da Vinci has a bit more bass quantity, though this isn't as clean.

The Da Vinci is behind in soundstage and micro-detailing and imaging, and sounds more veiled.




CONCLUSIONS

I enjoyed my time with the AFUL Performer 5+2. Some reviews are a major chore to write - especially for bad or meh gear - but the P5+2 was a breeze to evaluate, and I continued to listen to it long after penning down my impressions for this writeup.

It is an all-round improvement over the Performer 5 predecessor, and adeptly melds great technical performance with a well-balanced tone. Bass is fast and clean, with a visceral sub-bass rumble - courtesy of deliberately lengthened acoustic tubes - and the midrange is clean without pinna glare. Treble is well extended and resolving without veering too much to sibilance.

For non-sonic aspects, the Performer 5+2 is easily driven, and boasts of good passive isolation and comfortable ergonomics.



Well, nothing is perfect, and there are some nitpicks to be spoken of, such as no lip nozzles - which may potentially cause eartips to get stuck in the ears on removal - and the very treble-sensitive or timbre-fastidious folk amongst us may find mild treble peaks and minute sibilance (treble-sensitivity is after all, quite dependent on ear anatomy, hearing health and the Fletcher Munson curve).

Looking past these minor blemishes, the AFUL Performer 5+2 easily usurps the current benchmarks at the $200 USD price range and it has my heartfelt recommendation. This might very well be the new gatekeeper for this season!

AFUL Performer 5 + 2 aka P7

Let's get started. So before I begin, I would like to thank Kerwen and HiFiGo for providing me with this sample set for review. This absolutely does not sway my impressions in any way, but I still want to remark that Kerwen has been such a gentleman and top rate communicator. This is my first AFUL product I've had the opportunity to listen to, so I was very excited to get the change to try one of their sets out. So buckle your seatbelts and prepare for a 100% unbiased review with heartfelt observations and thoughts. now on to the fun stuff.


The unboxing experience was nice, but nothing to write home about. It's about par. You get the IEMs, which are in their holder, a metal puck carrying case, and three sets of tips (s/m/l) in a special holder. The cable is really nice. As far as stock cables are concerned, this is one of the better ones I've come across. 2 pin, compliant, soft, and thick, nice metal accents, and a chin slider that actually works. As is the case with 99% of stock tips, even the large is too small for my ear holes, so I went with Spinfit CP100 tips and kept the nice stock cable intact. The shells are medium sized, but with the long thin nozzle, tips insert deeply and firmly, and the contoured resin lets the IEM sit flush without much discomfort for long listening sessions. The faceplate is a gorgeous geometric design, that happens to change colors from green to blue depending on light.


So now that we have the unboxing experience out of the way, let's move on to the sound? That's what you're all here for anyways!! Very well, let's do this...but first, let me share with all of you some information about the IEMs themselves. Internals, specs, and a graph. Cool? Ok.

THE SPECS :

AFUL Performer 5+2/7:

Technical Information: -​

Impedance: 15Ω士20%

Sensitivity: 109dB@1kHz

Frequency Response: 10Hz-35kHz

Drive Configuration: 2DD+4BA+1Micro Planar

Cable Connector: 2Pin (0.78mm)

Cable Length: 1.2m

PlugTermination: 3.5mm or 4.4mm

Working Sound Pressure Level: 20~105dB

>High-precision 3D Printed Acoustic Tube Structure

>LC Network Frequency Division Correction Technology

>High-Damping Air-Pressure Balance System

By integrating precise and complex 3D acoustic structures with RLC network crossovers, AFUL has significantly elevated acoustic performance. This advanced modeling and design of the "acoustic structure-speaker-RLC network" has achieved a substantial leap in sound quality.







Frequency response graph courtesy of Squiglink.

PRICE : $239.99

Available for purchase at this location.

The Gear :

What did I use for my listening sessions for my review??

Though I source rolled quite a bit, from the Little Bear B4-X, iBasso DC Elite, Hiby R3 II, and Sony NW-A306 and NW-A55, my primary sources were two untethered (no amps or DACs) DAPs. The most used was the Cayin N3 Ultra (Modern Tube mode, M gain, no EQ, slow roll off filter) and the iBasso DX170 (NOs filter, H gain, no EQ).



Music used for the review and all my reviews in general?

Ezra Collective - Where I'm Meant to Be
Robert Glasper - Canvas
Alfa Mist - Antiphon
Hugo Kant - Far From Home
Alfredo Rodriguez - Coral Way
Bob Marley & the Wailers - Survival
Rob Van Bavel Trio - Dutch Weather
Junior Kelly, Bounty Killer, and Capleton - The Good, The Bad, and the Blazin'
Dominik Eulberg - Avichrom
Abysmal Dawn - Phylogenesis
Megadeth - Rust in Peace
Drive By Jehu - Self Titled
Cognizance - Phantazein
Adon - Adon
In Aphelion - Reaperdawn

SOUND IMPRESSIONS :

Dynamics : 5
Resolution : 4
Details : 5
Instrument separation : 5
Imaging : 4
Sibilance : 2
Soundstage : 4.5

Overall score : 5

BASS/MIDRANGE/TREBLE :

The AFUL Performer 5+2 aka the 7 is one of the best values in mid-fi audio. PERIOD! Wait, I'm getting way ahead of myself here. So let me slow my roll and let's talk bass. So when we talk P7 bass, we're talking about expertly tuned dual dynamic drivers. We're talking a resolution that's sheer majesty. Like, you can hear every little detail in the bass. The lightest pluck, slide, or slap, is laid bare for you. This was especially noticeable listening to jazz and reggae tracks. But does that mean you are getting a linear bass response? NO WAY, JOSE! We're talking snappy when called upon and slam when called upon. Notice I said "when called upon", because I mean just that. The bass is present, thumpy, and fun, but only when it's required in the mix. It's not a heavy handed bass, where it's shadow looms large over the mix no matter what you're listening to. So when I played some extreme metal tracks, the bass was able to go from nimble on jazz tracks to hefty and impactful on reggae tracks to downright elastic and snappy on metal double bass. No track got congested or too busy. The word I'm thinking of was nimble. The bass is resolute, nimble, yet impactful and present in the mix, with excellent depth in the sub bass, but lacking just a bit of punch and "bleed" in the mid bass region, but enough elasticity to keep it interesting.

Midrange is resolving, technical, with excellent spatial cues and imaging and clarity. Instrument separation is above average, and there's depth of field to go along with wide left right. Not the tallest, so I wouldn't call it orbital, but it's not too far off. This picks up subtle and also does it with a high degree of resolution with a clean edge. The resolution is something you notice right off the bat. The timbre has noticeably moved away from BA timbre, and provides a smooth natural tonality, with uncanny ability to let minutia come through a mix. Whispers, coughs, faint laughs, and details buried in a mix will be revealed, and positioning is easily picked out on the stage. The trick here though, is that the P5+2 is NOT analytical though. This is NOT a dull tuning. This is all about fullness, excitement, and fun, but with the technical chops to boot, but stopping short of being an analytical signature. The balancing act the AFUL tuners did was magnificent, and reminds me of the balancing act done by ISN's tuners on the H60.

The micro-planar treble is incisive with above average air, control, timbre, and shimmery extension, but as I mentioned, controlled and not strident in any way. It's one of the better tuned trebles in my collection, and as many of you know, I'm a treble connoisseur, so this speaks volumes. The treble reaches high, and though not as ethereal as say, the Tri i3 Mk III, it's pretty darned close. The tonality is top notch, and the upper mids and lower treble never reach sibilant status, unless there is that type of pronunciation baked into a track. So admittedly, these aren't as smooth as say, the AFUL Explorer, so that any sibilance is masked, but it's smooth enough and natural enough that what you get is a smooth delivery 95% of the time, and for treble this airy and extended, that's a triumph all in itself. It's the special sauce in this recipe, even though you could say the bass is a close second due to it's equal incisiveness and resolution, the lack of warmth in the mid bass defaults the special sauce moniker to the treble. This is certainly a treble heads dream, but not at the expense of anyone who might be treble sensitive. Again, being able to walk that fine like and still be balanced, extended and smooth is a superhero act, and the wispiness and character of the top end is capable of taking you places like a dream, like a cloud. There's a brilliance that cannot be overstated.

OVERALL :

The P7 has been my favorite IEM since the first few hours of listening for a few reasons. One, it checks all the boxes I look for in a sound signature. I love my trebles, and this provides such an incisive and wispy treble, that it's addicting. Equally as impressive is the bass response, which gives me not just heft and thump, but snap and resolution. It's a dual dynamic bass that's ahead of the Thieaudio Oracle III, ISN H60, and Penon FAN 3 as far as dual DD performance goes. It's probably one of the best bass performances in the $200-$800 price bracket? If I had to whittle down my IEM collection to a rotation of 3, then surely the P7 would be among the trio that I would keep. Yes, mark my words. These are desert island level performers. I would stake my reputation on it day in and day out. AFUL did a masterful job tuning the AFUL Explorer, and followed that up by presenting a masterclass IEM in the AFUL Performer 5+2 aka 7, and leaving us all to reap the benefits of such a class act. In price to performance, it's unbeatable, and I defy anyone to provide an example of an IEM in it's price range that can outclass or out perform the P7? Come on! I'm waiting. The P5+2 played back my shared library highlighted above with aplomb, and can pretty much handle any playlist or genre, and not leave anyone complaining or wanting, with the exception of the basshead playlist, where I would concede, it might not live up to expectations, but aside from the more extreme needs for bass response, the P7 would still provide enough fun, excitement, and bass impact to satisfy most people, and with that, surely would live up to the expectations of the majority. You can't win 'em all, but going 16-1 and winning the price to performance championship, is taking home the brass ring. You can't ask for better.

COMPARISONS :

Thieaudio Oracle MK III : The Thieaudio Oracle MK III is $589.00. It's got a dual dynamic config like the P7. It also has 2 BAs and 2 ESTs. So a 2+2+2 config. Of course, the P7 has a 4+1 +2 config, so missing the EST tech. It doesn't need it. The treble performance of the AFUL is actually superior to that of the Oracle III, which sports that EST action. The tonality is also more natural, with equal amounts of wispiness, and air. The ESTs are no slouches, and do provide amazing extension and shimmer, but the P5+2's micro-planar shimmer is just slightly more controlled and mature sounding, wheras the Oracle III can sometimes be caught being strident, due to the off timbre. Midrange is very similar. Both lay bare that transparent, spatially wide stage within the midrange, and provide utmost clarity and incisiveness. The bass is where the AFUL wins again. The Oracle III's bass can be a bit blurry at times, whereas the bass of the P7 is incisive and resolving, with a presentation of finer details, while the OIII has more weight and heft. There's slightly more mid bass punch and warmth, that makes the bass of the OIII hit with more impact and presence, but it's not as refined. Ali vs Tyson. Stage is similar, with an almost but not quite orbital space, and fullness. Advantage : AFUL Performer 5+2.

Dita Project M : The Dita's are $325.00. This now legendary IEM sports a 1+1 config, with one special dynamic driver encased in metal, and one Knowles BA. Both IEMs have very comfortable medium sized shells, and engaging treble. The wispiness and incisiveness of both are presented by a micro-planar, and tonally, are very close. I hear the AFUL as being slightly more airy, with a crispness that's slightly more on the side of controlled, though to be honest, that might be a bit of a quibble. The AFUL is smoother, and less likely to show sibilance in the lower treble and upper mids region. The midrange is far warmer with the P-M, and less spread out, so details and transparency are easily on the side of the P5+2. Instrument separation and imaging are fairly close to negligible. It's a bit of a back and forth in terms of the technicalities present in the midrange, but ultimately, the sheer clarity and cleanliness of the P7 tips it in it's favor, as far as I'm concerned. Bass is punchier with the P-M, and warmer in tonality. Sub bass extension and thump goes to the P7, as well as sheer resolution and detail retrieval, but there's a fun and addicting quality to the P-M that cannot go understated. It's special. It's got a defining quality that allows it to hold it's own, in it's own way, and presents an engaging and unique listen, just as the P5+2 does in it's low end. So if you want punchy and warm, it's the P-M. Clear and concise with thump? P7. Advantage : Toss up (slight edge to P7).

CONCLUSION :

Personally, the AFUL Performer 5+2/7 is currently my favorite IEM release of 2024. Why is that? It's this IEMs ability to provide elite performance on any playlist or genre in my entire collection. At no point do I start a track and think to myself "I need to switch this out." The IEM plays and sounds great out of tubes, solid state, and DACs. Didn't matter the source I threw at it, it sounds brilliant!!! I don't know how I can frame this any more clearly? This is a BOSS for price to performance, sonic cohesiveness, and tonality. Couple with that the very comfortable shells, excellent cable, and heavenly treble special sauce, and frankly, I cannot give this IEM a higher recommendation as a blind buy or must purchase. If you can afford it, then make it happen. You won't regret it, and you'll thank me later.

Thank you so much for reading and remember to be water with your audio luv! When you do...AUDITORY ZEN UNLOCKED!

Thank you for taking your time to read my brief review of the Performer 5+2. I will refer to the Performer 5+2 as the P7, and I will refer to the original Performer 5 as the P5.



A little about myself...

I was born deaf in one ear. My listening experience is the same if you convert the left and right stereo channels to mono and listen to music using only one of your ears. I am unable to talk about soundstage or imaging or the perceived positions of the instruments and musicians. I can talk about the overall tuning, impact and slam, and the fidelity of details. I am 60 years old. Anything above 8 kHz quickly becomes fainter and I can’t hear anything above 12 kHz.

My P7 purchase…

I received the P7 last Friday afternoon. I purchased the P7 on October 31 from HiFiGo. This was the day that it was announced by a redditer here that the P7 was available for purchase and that the price is $240. I received the P7 in only eight days. Thank you HiFiGo for the fast and well tracked shipping!

P7 fit and comfort…

The P7 shells appear to be 2 or 3 mm thicker than the P5 shells. Aside from the thickness, the rest of the shells appear to be the same in terms of size and shape. The nozzle dimensions are identical on both IEMs. The angle of the nozzles appears to be the same as well. The P5 is one of my most comfortably fitting IEMs. The P7 fits just as comfortably was well.

The tuning…

The P7 and the P5 have very similar overall tuning. The overall tuning is very close to my preferred HBB tuning. I agree with a reviewer who commented that tuning is roughly 80% in terms of whether or not a person likes any IEM. I really like the tuning of the P5 and the P7. Both of these IEMs easily pass my initial listening tests for the overall tuning.

The eartips which I used for my evaluation…

I initially used the stock eartips that were installed on the P7. These are small size dark grey eartips with blue inner bores. The bass with the stock eartips was slightly weak in intensity. I did some eartip rolling.

I used Azla SednaEarfitLight eartips on both the P5 and the P7 since even though these are wide bore eartips, they actually improved the P7’s bass in comparison to the stock eartips. Although the stock eartips are rather nice, the Azla eartips are nicer for me since I wanted a bit more bass. The slick thing about the stock eartips is that things get noticeably shifted to a more technical side if this is your thing.

The bass…

The P7 has a noticeably more dynamic bass when compared to the P5. I really like the P5’s natural sounding bass. I like the P7’s bass even more than the P5’s bass. You can read the blah blah blah for the P7’s bass tube technology elsewhere. This technology appears to work amazingly well.

The midrange and upper midrange…

The P7 midrange and upper midrange are very nice and has somewhat yet noticeably better details in comparison to the P5. The midrange and upper midrange are not recessed at all and instead are the proper amount for my tastes. The upper midrange on the P7 sounds more correct than the slightly wonky upper midrange tuning on the P5. Note that the P5’s slightly wonky upper midrange was easy to correct by using a couple of simple parametric EQ tweaks.

I really enjoyed the additional details which the P7 has in the midrange and in the upper midrange. The P5 was my favorite IEM. The P7 now is my favorite IEM. This is not to say that I am no longer satisfied with listening to the P5 since the opposite is true. Cymbals sound nicer and crisper on the P7. I really enjoyed listening to the cymbals in various music tracks when I was using the P7.

The air region…

I can’t hear the air or upper treble region. So, nothing from me!

A simple conclusion…

I am pleasantly satisfied with my purchase of the p7. Even though I really like my P5, I think that my P7 purchase was worth the price in terms of my perceived improvements for the overall sound signature in addition to the improved bass and the improved overall details.

I hope that you enjoyed reading my review.

Introduction
Wow, AFUL has been on a tear. The brand may have been the target of countless memes but with every successful product they have launched this year so far has not been short of stellar. From the MagicOne, the Explorer and their recent flagship the Cantor, they've proven their consistency time and again. Now with their successor to their introduction to the mainstream, they are looking to continue the momentum with the Performer 5+2. Let's take a look as this is just more than just adding a couple of drivers as it seems that they have taken everything that they've learned so far and somehow came out with a different product altogether that stands to redefine the performance value tier at below the $250 range.



Build and Inclusions
The Performer 5+2 comes in a dual 10mm dynamic drivers + 4 balanced armatures and a micro planar driver configuration hence the total of 7 transducers. Along with its proprietary technologies such as the 3D-Printed acoustic tube for extension and decay, RLC network frequency division correction technology for proper crossover and avoid frequency bleeding, and high damping air-pressure balance system to prevent pressure buildup and fatigue - all these are signature features that made AFUL standout above the competition. Not to mention the beautiful aesthetics and build, with its oriental blue-greenish pattern which looks very classy. The Performer 5+2 comes in black flip-top box with a sleeve outer cover, unveiling the IEMs themselves. It comes with a supple, quality premium feeling cable which is terminated either in 3.5mm SE or 4.4mm BAL depending on your order inside a puck case where you can put your IEMs. Also comes with 6 pairs of silicon eartips in different sizes and documentations. The core package is not that generous in terms of accessory inclusions but is more than enough to make you feel that the quality of every inclusion never felt cheap and is worth what you paid for. Lastly, I would like to note the comfort fitting on these as you can wear them for hours without pressure buildup and fatigue. They do not feel bulky at all.



Sound and Comparisons
Right out of the gate, one can already tell that AFUL Performer 5+2 is better than its predecessor in all fronts especially the timbre. The apparent BA timbre from the original Performer 5 which I really disliked is now gone. Also, it now favors a balanced sound signature with a bit of vocal forwardness. The bass has more than adequate subbass rumble decay as well as slam to keep the overall lows engaging without overbearing, they are there when called upon at just the right amount and never felt lacking. The mids are a bit highlighted but now sounds more natural than the artificial sounding vocals of its predecessor. It's a tad forward but sounds so satisfying with lushness and body, sounding correct for both male and female vocal tracks. The treble in this set is sparkly and has the right amount of crispness and air extension, quite smooth actually. Not laid-back but fits the overall balance really well which makes you listen to it longer than you should. That microplanar is doing wonders without any peakiness and just satisfies what you need out of it. It is like another rendition of the AFUL Explorer but more lively and engaging with more technicalities as well. Layering and separation is also remarkable in this set especially at this pricepoint, besting even the likes of the DUNU DaVinci which is $50 higher. Has quite a wide soundstage though depth is a bit more simulated since the midrange tend to sound a bit forward and close. It is also a showcase of detail, as it is more resolving than most $300 sets like the Ziigaat Estrella and just behind its big brother the AFUL Performer 8. The holistic sound appeal of the Performer 5+2 is just difficult to match especially at this price tier. The smoothness and overall balanced tonality reminds me of the 7th Acoustics Supernova. The Supernova though is definitely levels higher in tuning and timbre but I can even say that the Performer 5+2 has a bit more air, decay, and extension which makes it breath music compared to the Supernova's somewhat studio presentation.



Conclusion
Overall, it would be very difficult to find fault or be disappointed with the Performer 5+2. It is smoothly balanced, has the right amount of subbass boost and treble air to keep it lively and engaging without being fatiguing while still presenting its midrange as the star of the show. The technicalities, layering, and separation are also befitting of a $250 set, besting even the other popular sub-$300 sets in a majority of aspects. If you're looking for a set that will do well in a lot of genres while still retaining that funfactor without going to to boring JM-1 tuning territory then this is the one set to get. Another winner in AFUL's stable indeed!



Sidenotes:
IEM set has been listened via the Sony ZX-707, AK Kann Alpha, AFUL SnowyNight, and ifi Go Bar Kensei separately using the stock eartips and alternating the stock cable as well as Effect Audio Eros S II over the course of multiple genres across FLACs (16bit&24bit) and streaming (Tidal). The AFUL Performer 5+2 is available in HiFiGo for $239.99 - https://hifigo.com/products/aful-pe...fOOGXOB6myzWs9syWCqafLZumeoHi4S6iUr7-a0ZQhoP_

for the Effect Audio Eros S II it's available through HiFiGo for $299, check it out here as well - https://hifigo.com/products/effect-audio-signature-series-ii-eros-s-ii?variant=45954614198511

I received this sample from Hifigo, and while I strive to keep my reviews unbiased, I believe in being transparent about my sources.

The Aful brand holds a special place in my heart. The P5 is one of my all-time favorites, so I was both excited and apprehensive about the release of the P7. Transitioning from a beloved model is never easy!

For this review, I’m assuming the P7 will be priced around $300. If the price changes, I’ll update my review accordingly.

As a long-time fan of Aful since the P5, I want to share my journey. My first Head-Fi review was about the P5, and it significantly influenced my switch from headphones to IEMs. Although I’ve tried several others, the P5 remains a standout for me. Its fit is almost custom-like, although I found it challenging for prolonged listening due to some minor issues with bass texture.

Admittedly, I have a bias towards Aful, but all reviews carry some degree of bias, especially when involving early fan units. I’m here to share honest impressions, not to promote any product. My goal is to provide solid advice for potential buyers as a passionate hobbyist.

### Potential Issues with the P7

Let’s address some potential drawbacks. Firstly, the treble can be quite crisp and incisive, offering clarity that might be overwhelming for some listeners. Secondly, the expected price point of around $300 raises concerns when considering alternatives like the Explorer, which some argue provides better airiness. Personally, I appreciate the detail and tonal accuracy of the P7, but I can understand why others might prefer the Explorer or P8 for their upper frequency performance. Some may even find the P5 more energetic in the 5-6k range, yet I clearly see the P7 as an upgrade. It offers excellent tonal balance and bass texture, making it my second favorite Aful IEM.

The treble can be a double-edged sword. To my ears, it’s fantastic, but I respect that others might perceive it as too incisive. It's akin to experiencing vibrant color on a screen for the first time; it may require an adjustment period for some listeners.

While the tuning leans towards neutrality with enhanced upper air, I personally prefer Binary’s bass-boosted tuning for certain genres. However, the Aful P7 delivers a more balanced overall sound. Although it may not meet the expectations of those seeking a JM-1 level tuning, it offers a clean, relaxed sound without the midrange flatness I've encountered with some other IEMs.

Tuning and Sound Quality

The P7 features a mild V-shaped tuning, which I believe would appeal to fans of Crinacle's preferences, even if he hasn’t specifically reviewed the P5.

For Bass Lovers:
The bass is boosted yet impressively clean. It offers tonal accuracy without excessive boominess. While I’m known for my love of bass, the P7 stands out for its clarity and dynamics, surpassing both the Explorer and P5 in bass quality. It strikes a balance, delivering impactful sound without overwhelming thump.



Design and Comfort

The P7’s nozzle design is reminiscent of the P5, offering similar comfort for fans. Switching tips from wide to narrow boar resulted in a noticeable improvement in sound quality—something worth trying for new users.

The faceplate design is visually striking, with rumors of a blue version on the horizon. It adds a unique touch to the overall aesthetic.

Cable and Drivability

The cable feels like an upgrade from the P5, with quality connectors and a pleasing design. I prefer a single, durable cable to avoid issues with multi-connector systems. The P7 is easy to drive, performing well across multiple sources without difficulty.

### Sound Breakdown

Bass:
The bass is powerful and well-controlled, outperforming the P5 with richer dynamics.

Midrange:
The midrange is energetic and detailed, addressing some shortcomings of the Aful Explorer. Vocals are clear and strong, comparable to top competitors like the Crinacle Dusk.

Treble:
The upper air stands out with a sharpness that might be polarizing. While it’s enjoyable for me, some might prefer the more subtle treble of other models. It doesn’t match the refinement of the P8 or Cantor, but it offers a different kind of excitement.

Gaming Performance

The P7 performs excellently in gaming scenarios, providing a balanced soundstage and exceptional detail retrieval. Its comfort and lack of fatigue make it a solid choice for extended sessions, earning a fun 10/10 in my gaming score.

Comparisons

Vs. Dyna Quatro:
The P7 feels more refined and clearer, while the Dynaquatro has its own charm. Both have unique strengths, but the P7 offers a more natural listening experience.

Vs. Estrella:
Though the Estrella has its merits, I find the P7 to be a more versatile all-rounder with superior bass texture.

**Vs. Explorer:**
If priced at $300, the P7 is a step up from the Explorer, providing a more accurate sound while justifying the price difference.

Vs. Davinci
While the Davinci is a great option, I personally prefer the P7 for its overall performance and less spiky treble.

Conclusion

In summary, the Aful P7 is a strong mid-fi option with a tuning that I wholeheartedly endorse. While it may not be the absolute best IEM out there, it represents a significant value for its price. For anyone looking for an upgrade or a slightly different flavor from the P5 or Explorer, the P7 is a compelling choice.

Recommended EQ:

I use Peace APO for EQ adjustments on my PC, tailored to my preferences. I set up a preference curve on My Squig, allowing me to utilize my own graphs for in-ear monitors (IEMs). Feel free to explore the measurements here: [Jaytiss.squig.link](https://Jaytiss.squig.link).

Overall, this IEM is exceptional and could easily become a favorite for many. My goal with any IEM is to find one that doesn’t require EQ. While this model can be enjoyed without EQ, I find that it sounds more neutral and less colored with my adjustments. It’s slightly off my ideal target, but I understand that some listeners may prefer a bit of EQ for a more customized experience. The bass performance is outstanding!

For those who aren’t particularly bass-focused, you might find that no EQ is necessary. Although I believe EQ isn’t required for optimal performance, in my opinion, my adjustments do enhance the tuning. EQ can significantly elevate an average IEM to something fantastic.

Preamp: -4.4 dB
Filter Settings:
- Filter 1: ON PK Fc 28 Hz Gain +2.2 dB Q 0.600
- Filter 2: ON PK Fc 100 Hz Gain -0.8 dB Q 2.000
- Filter 3: ON PK Fc 220 Hz Gain -1.3 dB Q 1.500
- Filter 4: ON PK Fc 470 Hz Gain +0.5 dB Q 1.600
- Filter 5: ON PK Fc 1100 Hz Gain -1.5 dB Q 2.000
- Filter 6: ON PK Fc 3300 Hz Gain +3.3 dB Q 1.000
- Filter 7: ON PK Fc 5900 Hz Gain -4.4 dB Q 2.000
- Filter 8: ON PK Fc 8000 Hz Gain -1.4 dB Q 2.000
- Filter 9: ON PK Fc 11000 Hz Gain +4.9 dB Q 1.700
- Filter 10: OFF PK Fc 0 Hz Gain 0.0 dB Q 0.000


I’ll be releasing a video on YouTube alongside this review to share my impressions further. The P7 is an attractive, well-packaged IEM that would make a wonderful gift for any audiophile.

Specs And Driver Configuration

• 2 DD + 4 BA Driver + 1 Micro planar Setup Per Side
• RLC network crossovers
• Impedance: 15Ω ± 20%
• Sensitivity: 109dB @1kHz
• Shell weight: 10.76gm

Before starting the review, I want to thank Hifigo for arranging the review tour of this iem in my country. Purchase link - https://hifigo.com/products/aful-performer-7?variant=45949842915567

Unboxing Experience and Accessories Package

The unboxing experience is excellent. You have to side the outer sleeve (which has no waifu) to get to the inner box.



When you open the magnetic flaps of the inner box, the IEMs are elegantly displayed in front of you, with a hockey puck-style case on the opposite side. Below them, you’ll find a selection of eartips neatly arranged for easy access.



The accessories provided are very good. Things provided in the box are 1. hockey puck style case 2. non modular cable 3. three sizes of three different types of tips. The cable provided looks and feels very good. It feels very supple and robust at the same time. It behaves very well as well. One drawback is that it is non modular, many iems in the same price category provide modular termination system.



Eartips provided are very high quality as well, they provide excellent seal and comfort.



The included case is well-built, but its size poses a challenge. It’s cumbersome to fit the IEMs in or take them out with each use. A slightly larger case would have greatly improved usability.



Design, Fit, and Comfort

Aful’s iem design and looks have always been their strong suit. This time is no different. The faceplate design of this IEM is visually striking, featuring a textured, gemstone-like pattern in vibrant shades of blue and green. The triangular geometric lines create a dynamic, fractured look, resembling stained glass or crystal shards, giving the IEMs a sophisticated, high-end appearance. The design strikes a perfect balance between elegance and bling.



The build of this iem is equally as good as it looks. The full resin build feels very sturdy and robust. No, complaints about build quality.

The fit and comfort of this IEM are outstanding, thanks to its compact and ergonomically contoured shell. The small shell size allows it to sit securely in the ear, offering a stable, snug fit that’s comfortable even during extended listening sessions. This shows they put alot of effort into engineering their iems. Additionally, the nozzle diameter is 5.8mm which also aids in excellent fit and comfort.

Sources Used

For my sound testing, I used the Chord Mojo 2, and I found that it drove the IEM effortlessly. I didn't need to push the Mojo 2 hard to achieve optimal volume levels, indicating that the IEM is easy to power



Frequency Response

I used the stock tips for sound evaluation. Performer 5+2 has a slight U-shaped sound signature.



Bass

Let me say this upfront: this IEM delivers some of the best bass quality in its class, if not the very best. The bass profile is sub bass over mid bass. The bass glides smoothly from sub bass to mid bass. The bass region overall comes across as very dynamic and punchy.

The sub-bass hits deep and low. The sub-bass rumble and texture is also excellent for the price. The sub-bass has sense of depth to it, it's like it envelops around you. It easily plays the triple drop in the track Kill Jill by Big Boi. The mid-bass thumps and slam is also good. The bass attack is well-defined with just the right amount of decay, leaving nothing to be desired. The tuning strikes a balance that complements nearly all genres, delivering versatility and quality across the board.

Mids

The mids on the Performer 5+2 are expertly tuned, offering a well-textured midrange with impressive detail retrieval. The transition from mid-bass to lower mids is smooth, giving the lower mids a natural heft and body. The upper mids feature an early rise with a flatter pinna gain, which effectively prevents any shoutiness or fatigue. This tuning approach keeps vocals powerful, giving them a subtle boost in the mix without overwhelming other elements.
Overall, the midrange is balanced and cohesive, with a slight boost in the presence region that adds bite to instruments and vocals, avoiding a too-safe or dull sound. Both male and female vocals shine on this IEM, though male vocals, in particular, have a touch more richness. Instruments also come through with a natural timbre, enhancing the realism of the listening experience

Treble

The treble on this IEM is impressive, offering a smooth yet well-extended response. It has an incisive quality, likely due to the micro planar drivers, delivering remarkable clarity and detail. A boost in the mid-treble region adds energy, giving cymbals and hi-hats a slight emphasis. Personally, I feel that the mid-treble could be toned down a bit for a more balanced presentation. The air region is well extended, making the sound feel airy and open. Overall, the treble is incredibly revealing and picks up every little detail in the tracks

Detail retrieval and Technical Performance

Aful performer 5+2 is one the best detail retrieval in its class. It extracts each and every macro and macro nuances from the track. The technical performance is also excellent for the price, especially the staging. Staging is one of the strong suits of this iem. Stage feels very holographic and wide with excellent front and back depth pickup. The instrument separation and laying is also very good. The same goes for imaging as well. You can easily pinpoint all the instruments in the track. The Performer 5+2 also handles busier passages of a track with ease

Aful Performer 5+2 vs Ziigaat Estrella vs Dunu Davinci

So, now let’s start with the comparison. I have chosen dunu davinci and ziigaat estrella. In terms of accessories package performer 5+2 and davinci are almost neck and neck estrella is in last place. But, if have to choose one I will pick davinci. Davinci’s carry case is much better. Performer 5+2’s case is not that good, it is small, and putting iems in after use is very hard. In terms of tips both performer and davinci provide a lot of tips to choose from and ziigaat lags behind in this aspect as well. In terms of cables again estrella is last and performer and davinci are tied both of their cables are robust and sturdy feeling.



In terms of looks and aesthetics, davinci is very royal feeling with its stabilized wood faceplate, estrella is very eye-catching with glitter and speckles in its shell and face plate, and performer 5+2 is also very good looking with a very interesting face plate design. I personally like all of them and choosing between them is hard, but if I had to pick one I would pick estrella as it has more depth to its looks. In terms of build quality all of them feel well built and robust, no issues here. But, estrella has a driver flex issue, you can hear the DDs crinkle when you put the iem into the ear. Davinci and performer 5+2 have no such issues.

If I talk about fit and comfort aful performer 5+2 is the most comfortable among the three, it has the best shell shape and size. Second place goes to estrella and third place to davinci due to its not that great shell shape and thick nozzle.

Now, to the main part. Sound. Performer 5+2 has a U-shaped sound signature, DaVinci has a bassier rendition of new meta tuning and estrella has a v-shaped tuning.



Let’s start with bass. Before I say anything all three have very good bass performance and have very minor differences here and there. In terms of sub-bass rumble and texture, I have to say both performer and estrella tie and davinci is in second place. Both performer 5+2 and estrella hit deep sub-bass notes effortlessly, It’s just that estrella has more sub-bass amount than performer 5+2. In terms of mid bass, davinci takes the win here. davinci ‘s mid-bass feels satisfying and meaty with a very good thump and slam to it. With a very close margin performer 5+2 is in second place the initial attack of mid-bass is more defined in the performer but still, I find davinci’s mid bass to be more satisfying sounding. The third place goes to estrella here.

Now, let’s talk about midrange. If you want the most natural sounding mid range with both excellent male and female vocals davinci is the way to go. Performer 5+2 also has very good lower mids with flatter upper mids which overall sound very good and produces both male and female vocals that well. But, due to the flatter upper mids vocals do not feel as powerful as they can be, so if you want a slightly relaxed uppermids then aful performer 5+2 is the iem for you and when I talk about estrella I fell estrella’s mid range to be slighly recessed so male vocals do not feel that powerful when compared to davinci and performer 5+2 but upper mids are slightly boosted so female vocals feel open, powerful and extended.

In terms of treble smoothness performer 5+2 and davinci have the smoothest treble with estrella to be very close second. In terms of treble tuning, davinci has a relaxed tuning that does not attract your attention towards it, the treble is there to complement the whole sound signature. Performer 5+2’s treble tuning is more detailed and focused. To make it sound more detailed they boosted the 6-8k region, but due to this instruments in this region sound more forward. The estrella's treble is also detail focused, but there is less elevation in the 6k - 8k region. In terms of treble extension, davinci is in last place. Performer 5+2 and estrella have excellent extension and sound super airy and open.

Now, to the detail retrieval and technical performance. Before starting this segment let me say upfront detail retrieval and technical performance are not Davinci’s strong suit when compared to estrella and performer 5+2. In terms of macro and micro detail pickup it was a very tough call but I would say aful performer 5+2 edges ahead of estrella slightly. In terms of stage width and depth, the clear winner is the performer the stage feels very wide with excellent front and back depth presentation. Performer 5+2 is also better in instrument separation and layering is better on performer 5+2 as well. In terms of imaging, I would estrella is slightly better here.

Conclusion

This IEM redefines what performance in its class can be. If your budget is around $300, I’d say stop searching and just get the Performer 5+2—you won’t regret it. And if your budget is closer to $200, consider saving up a bit more, because the quality here is worth it. I thoroughly enjoyed my time with the Performer 5+2, and it’s hard to find another IEM that brings this level of detail, balance, and enjoyment in this price range. This gets a huge thumbs-up from my end.

In 2022, which feels like an eon ago in the fast moving world of IEMs, the original Performer5 was released and brought the mysterious IEM manufacturer AFUL into the limelight. Three years and a steady supply of memorable releases later, AFUL is no longer a stranger but a well-known and admired IEM R&D powerhouse within portable audio communities. And now, three years, they finally return to revamp and update their first release, the beginning of their epoch. Today, we will take a look at the brand new Performer5+2 and catch a glimpse of a new era.

Forewords​

• What I look for in an IEM is immersion. I want to feel the orchestra around my head, track individual instruments, and hear all of their textures and details. I’m not picky about tonality, as long as it does not make the orchestra, violin, cellos, and pianos sound wrong.
• I rate IEMs within with a consistent scale from 1 (Poor) to 3 (Good) to 5 (Outstanding). An overall ranking of 3/5 or above is considered positive.
• Ranking list and measurement database are on my IEM review blog.
• The terminology for subjective impressions in this review is based on the Audio Wheel for reproduced sound defined in the technical report ITU-R BS.2399-0
• This review is based on a review sample from AFUL, arranged by Hifigo (Thank you!). I have no affiliation with or financial interest in AFUL and Hifigo.
• The unit retails for AUD$366 at the time this review was published. Unaffiliated link: Hifigo web store

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General Information​

First, let’s talk about the naming situation of this IEM, and the fact that it has multiple names. Officially, this IEM is named Performer5+2, which indicates that it is a continuation of the original Performer5 and carries two additional drivers, namely a dynamic driver (DD) and a micro planar driver. Because the original Performer5 had 5 drivers, 1DD + 4 Balanced Armature (BA) drivers, adding two drivers bring the total number of drivers to 7, which means Performer5+2 is technically “Performer7”. Moreover, because Performer5+2 actually carries 2DD, 4BA, and 1 micro planar driver, technically, it should be called “Performer2+4+1.” For the sake of brevity, in this article, I would use the abbreviation “P7” to talk about Performer5+2. Many in the community also adopted the P7 abbreviation, so I hope you won’t be confused when seeing P7 across forums.

Now that we are clear about the naming situation, let’s talk about the technology inside P7. Let’s first talk about the returning technologies from previous AFUL releases before talking about the new ones. The high-precision 3D printed tube structures and the “RLC 3D frequency division” crossover circuits lay a foundation by allowing tuners fine-grained control over the response of each set of driver within P7. This time, AFUL utilises a 4-way crossover with 4 frequency bands: 10Hz-500Hz, 500Hz-3kHz, 3kHz-12kHz, and 12kHz-35kHz. The high-damping air-pressure balance system started all the way from P5, which handles both pressure release and improving the bass quality, also makes a return with P7.

P7 brings two new technologies to the entire AFUL IEM family. The first one is the use of two 6mm DD for bass. It is unknown if a true isobaric design is utilised here. It’s pretty much speculation at this moment, but it seems that the choice of two smaller DD rather than a large DD allows for a more agile transient response in the bass region without sacrificing the perceived power, leading to a rather excellent bass response and dynamic. I will discuss further in the listening impression.

The second new technology of P7 is the so-called “micro planar” driver. Unlike the prevalent 14mm drivers and the newer 6mm drivers, which have circular diaphragms and operate somewhat like miniaturized Audeze or Hifiman headphone drivers, the micro planar driver used by P7 is more akin to traditional BA drivers. In fact, the size of the driver itself is nearly identical to that of Knowles 30095, which is quite popular, both the genuine and the clone version. There are a few other IEMs using this type micro planar drivers, including Astell & Kern Zero1 and Zero2. Unfortunately, not much is known about these drivers. Still, the upper treble range where P7 utilises these drivers sounds pretty great.

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Non-sound Aspects​

Packaging and accessories P7 comes in the usual packaging of AFUL: thick cardboard box with outer sleeve, custom foam cutout inserts to hold the content. Accessories have been upgraded comparing to P5. The plastic puck case to carry the IEM is now slightly flatter to increase the storage space within. The 8-wire IEM cable is way softer and easier to handle than the older cable. The types of included ear tips were also increased from 2 to 3. Each type has a different degree of hardness, and all of them provides the optimal length for fit P7 at the appropriate depth within the ear canal.



Earpieces design Very similar. The earpieces of P7 are on the smaller end of the spectrum. They are well contoured with no sharp edge. The nozzles of P7 are also smaller and longer than average.



Fit, comfort and isolation Due to the smaller design, I find P7 to be very comfortable, even in long listening session that lasts hours. I did not experience pressure build up or driver flex in my tests, indicating that the pressure release mechanism works well. Interestingly, despite the pressure release, the isolation of P7 is rather strong, to the point that I regularly use P7 as earplugs for commute.

Ear tips recommendation: IEMs with stronger treble extension like most AFUL IEMs generally require a deeper fit. I would not recommend any ear tips that further extend the length of the nozzles and push the earpieces away from ear canal, such as Pentaconn Coreir ear tips. I did not find the need to swap ear tips with P7 and stick with the stock medium ear tips for most of my tests.

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Sonic Performance​

Testing setup:

• Sources: HiBy R3II, iBasso DX300, L&P W4
• Cable: Stock cable
• Ear tips: Stock medium ear tips

The subjective impression is captured using the lexicon in the Sound Wheel below. I’ll clarify the terminology as I use them. If you want to see more details of the lexicon and related reference, please have a look at the technical report ITU-R BS.2399-0.



Timbre: It is helpful to think of an IEM as a filter that highlights or subdues different parts of the incoming audio signal. This effect can be measured objectively by the squiggly lines below, called Frequency Response (FR) graphs, which measure how loud an IEM is at different frequencies from 20Hz (bass) to 20kHz (upper treble). Subjectivity is how your ears and brain interpret the effect of that filter on your music and decide whether it is “enjoyable.” There are some “rules of thumb” when it comes to tonality, but most interesting IEMs usually bend the rules masterfully.



Figure shows the frequency response of Performer5+2 against the Performer5 and Explorer. Measurements were done with an IEC-711-compliant coupler and might only be compared with other measurements from this same coupler. Above 8kHz, the measurement likely does not match the response at the ear drum. Visit my graph database for more comparisons.



I would describe the tonality of P7 as “mild V-shape”. It has a boosted bass, slightly lifted lower midrange, and a certain degree of emphasis in the treble. However, the boosted frequencies are not overly exaggerated, thus keeping the overall tonality and the perceived “contrast” of P7’s presentation at a level that I consider neutral. As a result, all recordings across genres sound very balanced and natural with P7. It does not lack bass, yet does not make bass overshadow other parts of the mix. It does make treble stand out, without making treble too pronounced and fatiguing. I did not detect any problem in how P7 balances different sections in a large orchestra, different voices in a piano solo, nor different voices and instruments within a rock band. If I were to really nitpick, I would say the lower voices in piano solos sound a smidgen louder than how they should be.

Where P7 truly shines is how it presents the midrange. Thanks to the subtle lift in the lower midrange and the impeccable balance against the upper midrange, the midrange of P7 has a subtle warmth to make voices and instruments more pleasing (or dare I say… “musical”), I’m particularly impressed by how P7 handles the voice of Ed Sheeran even in sibilant recordings like Shivers. I pick this recording to discuss because it’s rather difficult. “Full Harman” IEMs would make his voice to thin and sharp to the point of being unlistenable. On the other hand, IEMs can add too much warmth or subdue the upper midrange so much that makes Ed’s voice muffled. Whilst P7 does nothing to remove the sharp sibilant of this recording, it does not intensify this undesirable characteristics. Where P7 impresses is how it imbues a subtle warmth to the voice of Ed, making it natural and rather pleasing.



Other vocals are also handled with finesses. For example, Dreamland Express by John Denver and Kiwi wa Boku ni Niteiru by See-Saw both have pleasing vocals with pleasant tone and a great deal of nuances and details with P7. Cellos and strings (e.g., Now We Are Free by 2CELLOS, Ciaccona from Bach’s Violin Partita No.2 in D Minor, performed by Kavakos) also sound natural and pleasing with proper sense of body and weight, and a great deal of nuances and details. I’m particularly enjoy how P7 handles the changes in dynamic in Bach’s Violin Sonatas and Partitas. If I were to nitpick, I would say P7‘s tonality is a bit coloured, as if it is a bit “sweater” than what is dictated by a recording. Whether I prefer this presentation or a dryer presentation depends on the mood of the day.

Percussion, Bass, and perceived dynamic: In this section, my focus is the not just the bass, but rather the sense of dynamic of an IEM. Can it convey the sense of beat and rhythm? Can it reproduce transients, the fast and large jump of loudness in the music? Simply put, is this IEM toe-tapping? Creating this energy requires all parts of the frequency spectrum working together: treble energy around 4-6kHz conveys snappy attacks of stick hitting percussive instruments at the beginning of a beat, bass energy around 150Hz conveys the punchy sensation of the beat itself, whilst the subbass energy below 60Hz creates the physical rumble sensation that convey power and atmosphere. Weak treble response dulls the attacks. Weak bass makes beats hollow. Too much bass makes bassline blurry and dulls the sense of rhythm. Thus, “dynamic IEM” is a balancing art.

Bass and dynamic are where P7 shines the brightest.

The bass response of P7 strikes a balance between precision and power. The attack of bass transient is controlled and ”tight”, though not laser-sharp like the bass of BA woofers, such as the ones in AFUL Cantor. Noted that by “bass transient”, I’m not talking about the “snap” at the beginning of a bass note, such as when the drum stick hits the skin of a floor tom. That part is actually handled by treble, primarily the 4-6kHz region. I’m talking about the bass thump that immediately comes after the initial stick impact. Clean and tight transient means P7 can immediately go from pitch black background with no bass to full tilt “oomph!” without any smearing or sense of delay. And it does so without sacrificing the amount of oomph like some “reference-tuned” IEMs. Here, you have a full strength bass attack that goes from 0 to 100 quickly. The bass transient also dissipates quickly from the peak, but not too quick to trigger the uncanny “BA bass” sensation.



Another advantage of P7 is the texture, or more precisely, the detail of the bass. For example, when I listen to bass guitars or cellos, I can hear the inner details, the smaller vibrations that make up the notes of these bass instruments. As a result, I can hear and follow the pitch of bass line, rather than hearing only “boom boom boom”.

Perhaps the best way to convey the “niceness” of P7’s bass and dynamic would be how real it makes the drumkits sound and feel. Depending on the mix, it can feel like there are little drums in the virtual soundstage within and around my head, conveying real physical punches, as if I can reach out and grab them.

Resolution: To me, “resolution” can be broken down into three components: (1) Sharpness, incisiveness, or “definition” of note attacks (see the figure below). (2) The separation of instruments and vocals, especially when they overlap on the soundstage. (3) The texture and details in the decay side of the notes. The first two give music clarity and make it easy to track individual elements of a mix. The last provides music details and nuances. Whilst IEMs can “force” clarity by boosting treble to unnatural level, it might still lack resolution as it cannot “peel apart” complex tracks with overlapping instruments



Coming to P7 immediately after the extensive testing of the flagship AFUL Cantor, I expected to be disappointed by resolution of P7. In some sense, it was not a wrong statement. Coming from Cantor, I immediately find P7 less incisive, with less precise separation and layering between instruments. But that was not a fair assessment, so I used P7 exclusively for the new few days so that I can see how it stands outside the shadow of its flagship sibling. I walked away from the test, feeling rather amazed.

First, let’s talk about what I dub “macro resolution”, the overall incisiveness and definition of musical notes, especially important in complex recordings. P7 does a great job on this front indeed. It handles complex, overlapping instrumentations in tracks such as ABC feat. Sophia Black by Polyphia better than expected. It was rather easy for me to track and follow individual parts, including fainter overdubs on the sides of the stage. The dual DD woofers also handle recordings with congested lower frequencies such as Now We Are Free performed by 2CELLOS without any drama. Whilst the resolution on display here is not as effortless as the current top-class IEMs like Cantor, P7’s resolution would not be out of place from the pack of good “kilobuck IEMs” from a few years back. What more impressive is that I made these observations primarily from the HiBy R3II, a budget mini music player, and primarily on the go.



The “micro resolution”, or simply the sheer detail retrieval ability, is where the new planar driver of P7 shines. I’m impressed by the ability of this IEM to presents nuances in the music, particularly noticeable in sparse recording such as Ciaccona from Bach’s Violin Partita No. 2 in D Minor, performed by Kavakos. The violin has a lot of small details, and the decay end of the notes and reverberation are confidently conveyed. Cymbals, hi-hats, and brass instruments are also where P7 do a great job. I like how cymbals and hats have details and texture rather than simply high-pitched splashy sounds with P7.

Where does P7’s resolution fit in the large scheme? In A/B tests against my benchmark IEMs, I found that P7 comfortably matches or exceeds the venerable Andromeda 2020 in most recording. P7’s musical notes are more well-defined, instruments are more cleanly separated. It also matches, if not exceeds the detail retrieval of Andromeda across the spectrum. On the other hand, P7 sounds less precise next to Cantor and U12T.

Stereo imaging and soundstage: Stereo imaging or “soundstage” is a psychoacoustic illusion that different recording elements appear at various locations inside and around your head. Your brain creates based on the cues in the recording, which are enhanced or diminushed by your IEMs, your DAC, and your amplifier. In rare cases, with some specific songs, some IEMs can trick you into thinking that the sound comes from the environment (a.k.a., “holographic”)



One area where I didn’t expect P7 to excel was the soundstage and imaging. The reason of my scepticism was simple: soundstage has never been a strength of AFUL IEMs, particularly the original P5 which is supposed to the foundation of P7. To my surprise, P7 does an excellent job on this front.

First, let’s talk about the shape of the soundstage. Now, of course, the soundstage illusion would change across recordings, depending on how they are produced, so I’m going to talk about the “soundstage” of P7 from an aggregated view across multiple recordings. To me, the stage of P7 feels expansive, but not exaggeratedly so. The positioning of instruments starts from a “phantom centre” in the middle of my head, slightly behind the eyes and expands outward in all directions, including above and behind the ears. Higher pitches sounds, such as from cymbals and hi-hats tend to be positioned high above the ears in a way that feels like I can reach out and grab them. The positioning of singer moves from being strictly in the head at the phantom centre to hovering in front my face depending on the recording. However, singers and main instruments are rarely positioned too far away in the mix. Depending on your preference, this placement can be good or bad.



Tracks with interesting imaging such as Grandpa’s Theme from Stardew Valley soundtrack by ConcernedApe is where P7 shines. When the guitar tremolo comes around 0:40, I can position this sound as coming from slightly outside, behind my ears, whilst most other actions happen around the phantom center or in front of my head. In another track from the same album called “Settling In”, P7 can create multiple layers of sound at different distance: the keyboard at around 0:51 is positioned further to the back of my head, the main guitar is right at the center of the stage but slightly higher up, the bass guitar around 01:10 is also center but slightly tilted to the right and positioned lower in the stage. Finally, the string section joining at 0:38 is pushed further away, outside the soundstage, tricking me into thinking that it comes from the room outside the IEM.

Now, of course this IEM does not sound like I’m sitting in front of a two-channel system or “transported to a concert hall”. The soundstage of P7 is more like a bubble of sound around the head, where things can move around in an entertaining way. One of the major contribution to this illusion is the excellent noise isolation. I particularly enjoy the effect of putting wearing this IEM on commute, when the noise of bus and people cedes into the background and replaced by the soundstage of my music. It’s uncanny to the point I wonder whether people actually hear what I listen because it feels like the music fills in the space around me. (No, they don’t hear anything. I checked).

Where does P7 fit in the grand scheme? In A/B tests against my benchmark IEMs, I found that P7’s imaging is very similar to, again, the venerable Andromeda 2020. The key difference is that Andromeda concentrates everything around the phantom centre whilst P7 spreads the sound further out. This presentation gives P7 and edge as it is easier to appreciate the distribution of sound around the head than the more compact presentation of Andromeda. Moving up the scale, I found that P7 lacks the laser-sharp positioning of both Cantor and U12T, putting it half a step behind the “gatekeeper” of my outstanding class performance.

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Driveability​

One of the design goal of P7 was being easy to drive. After daily driving P7 with various DAC/amp devices, I would say AFUL has achieved their design goal.

With an impedance of 15 ohm and sensitivity of 109dB, P7 is sensitive enough to avoid stressing portable DAC/amp, and at the same time insensitive enough to not pick up hissing noise nor getting too loud to quickly. I found that I can pair P7 with a mini music player such as my HiBy R3II or even a bluetooth earhook receiver such as FiiO UTWS5 and still achieve the sound quality that is not far from listening with a full-sized player such as DX300. As a result, most of my listening with P7 was done with R3II.

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Comparisons​

Vs AFUL Cantor:

• P7 is noticeably easier to driver than Cantor.
• P7 sounds richer and “wet” whilst Cantor sounds clean and dryer.
• P7 bass has more midbass thump and more decay, whilst Cantor feels more subbass focus and more precise.
• Note definition and instrument separation is noticeably better with Cantor.
• Micro detail is quite close. I feel that the P7 is slightly more resolving in the upper treble.
• Stereo imaging of Cantor is more precise.
• I think P7 and Cantor can complete a 2-IEM setup that covers most use cases.

Vs Symphonium Titan:

• Titan is significantly more difficult to drive than P7 (48/100 vs 32/100 volume on DX300).
• Titan has more bass than P7, to the point bass starts to become the main element of the mix.
• Titan bass is more about a big wave of rumble across the soundstage, whilst P7’s bass is more about precise and impactful punch.
• The resolution of both IEMs are very close. I find Titan to have a slight edge in the note definition.
• Ultimately, Titan is a bass specialist IEM, whilst P7 is a more-exciting-than-neutral IEM, so you would pick your poison here.

Vs AFUL Explorer:

• Explorer is more difficult to drive than P7.
• Explorer’s tonal balance is more tilted toward the bass than P7.
• Midrange of Explorer sounds thicker than P7, but the overall tonality and timbre is actually quite close.
• P7’s bass and dynamic feels more precise
• Resolution of P7 is a step up from Explorer
• If you want a bass specialist IEM in your collection, I think you can still pair Explorer with P7 as one would not make the other one redundant.

Vs AFUL P8:

• Both IEMs have nearly identical sensitivity when driven by DX300.
• The tonality of P8 sounds artificial next to P7.
• When the bass drop, P7 hits harder and more satisfying than P8.
• The soundstage of P7 feels more expansive and immersive next to P8.
• I find P7 an upgrade to P8. It’s time for AFUL to upgrade the P8 as well.

Vs AFUL P5:

• P7 is better on all fronts.

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Conclusions​

Performer5+2 (P7) was a surprise. Hot on the heel of the highly anticipated flagship Cantor, P7 suddenly appears with almost no rumours, no fanfares. And what a surprise it was. For the first time, AFUL brings a new driver type (micro planar) and a new driver topology (tribrid) to their product line, yet the end result was anything but experimental. It’s a full-packaged IEM, retailed with a surprisingly accessible price tag. In many senses, to me, P7 marks the dawn of a new era. For the IEM market as a whole, it’s the sign that we are breaking into a new price/performance territory. The expectation for IEMs above $250 has been raised.

For AFUL, it’s the dawn of a new “round.” What do you have in store for us this time? I can’t wait.

Seal of approval and recommendation without reservation.

What I like about this IEM:

• Excellent bass and dynamic. I particularly enjoy the realism of drumkits with P7.
• Excellent tonality and tonal balance.
• Surprisingly good detail retrieval
• Immersive and 3D soundstage and stereo imaging
• Excellent comfort
• Surprisingly good noise isolation

What could be improved:

• There are instance of treble sharpness around 5-6kHz region
• Instrument separation and precision of stereo image could be improved to complete the package

Absolute Sonic Quality Rating: 4.5/5 - Outstanding

• Tonality: 5/5 - Outstanding
• Bass and Dynamic: 5/5 - Outstanding
• Resolution: 4/5 - Great
• Stereo imaging and soundstage: 4.5/5 - Great

Bias Score: 5/5 - I love this IEM!



Updated: November 3, 2024