Introduction​

Aful does not need any more introduction by now, as they have established themselves as a competent brand creating beautiful sound through constant innovations. Till now, they have been creating mostly BA-based transducers, and with the SnowyNight they finally have ventured into the source segment.

Disclaimer: I received the Aful SnowyNight as a part of review tour. I will not retain this unit.

Packaging​

The SnowyNight is housed in a small and compact box.

In the box​

• SnowyNight
• Nylon sheathed type-c to lightning cable

Design​

The SnowyNight has a really nice design and build. Simple rectangular design, with just the right amount of aesthetics added via the three-pronged snowflake patterns to make it visually pleasing. The edges are not sharp. Another positive aspect is the compact size - I really do not like extra long or wide dongles. SnowyNight has just the right proportion.

The end where the 3.5mm and 4.4mm jacks are housed is a bit thicker than the rest of the part. In the snowflake pattern, an LED is hidden at the center right beneath a snowflake - looks classy.

The volume control buttons are located on a side. It is an independent volume control - much appreciated.

Aful has also selected a nice material for the cable - 6N OCC. Whether it has any actual impact on the sound - I was unable to determine that as I had to use a different cable, since the supplied cable was lightning and I do not have any apple source. The cable looks quite premium as well.

Internals​

The SnowyNight has dual Cirrus Logic CS43198 DAC embedded inside, the flagship one. It is also declared to utilise an advanced USB lossless transmission for enhanced performance.

SnowyNight Sound​

I used the SnowyNight with aftermarket type-c cable and Oriveti OH700VB for evaluation.

Click to expand...

The SnowyNight has a really refined and matured sound signature. The tonality is largely neutral with a slight hint of warmth to make the presentation comfortable and natural. Aful has struck a wonderful balance between the musicality and technicalities here.

The whole spectrum is handled in a very uniform and even manner. Nothing is emphasized over others, and yet the overall presentation is not boring. It is kept dynamic enough to grab the listener's attention.

The bass goes deep but does not have any added body here. The midrange is smooth and transparent. The treble is well-extended and has a very decent amount of energy. The notes are crisp but the edges are smooth, providing a comfortable but detailed presentation.

The soundstage has very good width, decent height and depth. The depth feels a bit less compared to the width so it might come across as a bit flat, but nevertheless, that is not a big caveat. The imaging is precise.

Comparison​

Vs. Fiio KA5​

For comparison, I have chosen another CS43198 powered dongle, the Fiio KA5 (currently my daily carry).

Not commenting on output as it is more or less comparable. Perhaps the SnowyNight is slightly more powerful than the KA5, but marginal difference.

The KA5 has a music play/pause button, along with a plethora of other functions - filter selection, volume step selection, UAC1.0 and 2.0 toggle, display rotation, S/PDIF On/Off, High and Low gain, etc. The small LED display further helps in providing the necessary information. The SnowyNight is much inferior in this, having just an LED light and High/Low gain, nothing else.

The KA5 sounds slightly more dynamic and slightly warmer. but the stage feels slightly more narrow, albeit with noticeably greater depth. It is also lighter and more compact compared to the SnowyNight. The SnowyNight is no slouch though, - the resolution and imaging seem to be at par with the KA5, and the more neutral tonality is a welcome change.

Where to Buy​

• Hifigo

Conclusion​

The Aful SnowyNight is a very morally correct source. It is like a model student - nobody can pick out any bad qualities of it, but it is also not fun in parties either. It is very hard not to like it, and yet after a while the heart will crave for something more fun. However, those who are looking for a comfortable source with no major drawbacks - SnowyNight is perfect for them. Smooth yet technical, Neutral yet enjoyable - the unique presentation of it is sure to win hearts. An altogether very mature performance, hats off to Aful for that.

The Oriveti OD100 surprise with their highly dynamic, crystal clear, and wide-open presentation.​

Thank you to Oriveti for providing the OD100 for review.

Oriveti had a fair market presence back in the day. They had some nice hybrid models like OH300 and OH500 that were somewhat positively received by the audiophile community. Some years back they released some full BA iems, O400, O800, and a variable bass option of O800 named OV800.

Only recently they came out with some single DD and premium hybrid models. Among them is their first budget single DD offering - the OD100.

Design and Build​

The OD100 get full marks from me in terms of design and build. The cylindrical shape body has a CNC milled full metal build which feels sturdy and yet surprisingly light (only 4g). The size is quite small so it never becomes uncomfortable. The spiral pattern on the backplate and the etched brand and model names add a premium touch.

Although it seems to be a bullet style, the nozzle is not straight, it is placed at an angle - which makes them difficult to wear cable down and makes them invariably fit for only over-the-ear wearing.

Cable​

The cable of the OD100 feels quite premium. It is a 4-strand cable, presumably made of silver-plated oxygen-free copper from the visual depiction. The cable is of the right thickness - not too thin to feel cheap, not too thick to become uncomfortable. Overall it is very soft and pliable with no memory effect, and minimum tangle-prone. The aluminum hardwares are properly branded, well-made, and lightweight.

Comfort​

The small cylindrical shaped body along with the angled nozzle is very ergonomic and ensures a comfortable and easy fit. In my ears they are totally a flush fit depending on the eartips used. There are no oddly protruding edges that might cause pain. The 2-pin connectors fit snugly and tightly.

The cable however has tight ear hooks that cause pain after a while for my ears. I had to partially remove them for a more comfortable fit.

Under the Hood​

The OD100 employ a single high-quality 9.2mm DLC (Diamond-like carbon) dynamic driver to deliver the sound.

How Do the OD100 Sound?​

The OD100 have a w-shaped sound. Bass, midrange, and treble - all three of them sound appropriately boosted to create a very lively and fun sound. Tonality is warm and balanced, which makes it all the more enjoyable.

I tested the OD100 with Hiby R3 II and Tanchjim Space Lite, with stock narrow and long bore eartips.

Bass​

The midbass slams quite hard and fast. The notes are thick and very well-textured. The subbass is slightly rolled-off so that physical reverberation cannot be felt to that degree. Still, the subbass is quite decently powerful and can be heard clearly. The textures are very prominent.

Oriveti has gone for a bass that is strong yet clean. The slight subbass roll-off helps to make the stage a bit clearer. The midbass punch enhances the fun and macro-dynamics. The wonderfully sculpted notes bring refinement to the mix. Altogether, this is a very unique tuning pulled off quite skillfully.

Midrange​

This is the real delight. The midrange is forward, full, transparent, highly detailed, and vibrant, with crisp notes. The life of music is in its midrange, and the OD100 provides a very rich one.

The lower midrange puts a smile on my face. This area sounds organic yet very nicely resolving. The male vocals have a beautiful throaty tone with excellent edge definition. The same goes for string instruments - acoustic guitars and cellos sound natural, full-bodied, and sometimes appropriately gritty.

The upper midrange has plenty of energy to bring out the soul. Despite the energy, there is a slight dip in the 4-6kHz that keeps the sibilance mostly in check. Hence the female vocals and the violins flow freely, and the electric guitars scream with no restraints. The slight warmth along with the unbridled energy brings out the emotion in its entirety.

Treble​

The excellence of the midrange is rightly complemented by a similarly exhilarating treble region.

Frankly, I am at a loss of words. This region sounds so effortlessly detailed that it takes my breath away. The lower treble emphasis is just the perfect amount where it sits right behind the midrange but not any further. The cymbal strikes are strikingly clear but never feel pushed forward. The notes feel tactile and highly articulated.

The upper treble is another level of delicacy. It is very well extended and superbly resolving. Even the finest amount of details are brought forward without any uncomfortable peak. The airy presentation is moderated by a controlled amount of energy and enhanced by distinctly defined notes.

The treble here in my opinion is at the pinnacle of refinement.

Soundstage, imaging, and details​

The soundstage is very wide and creates a nice out-of-the-head presentation. The depth and height are good as well, but not proportionate with the width. Hence, the stage is very enveloping from both sides, but not spherical.

The forward presentation slightly compromises the depth, but the first-class layering makes up for it. Imaging is pretty good - I never felt anything is blurry. The separation is very good with each note having its own field to play.

Bar the subbass, the whole spectrum has very delicately designed notes with a high degree of palpability. There is an excellent balance between the macro and micro-dynamics. The sound is abundantly exuberant all the while carefully extracting the finer details.

Comparisons​

Vs. Hiby Hela​

The Hiby Hela are an entry-level single DD offering from Hiby. The shells are the classic semi-custom shape, semi-transparent resin made, and of dark brown color. They have 10mm PU+PEEK diaphragm and dual chamber dynamic drivers powered by dual magnets.

Comfortwise both are identical. Even though the shells of Hela are slightly larger than the OD100, the shape is such that it provides a very comfortable fit. Although the OD100’s full metal build feels more sturdy than the Hela.

The Hela have a more pronounced V-shaped sound compared to the OD100. The subbass is deeper, the midbass is almost similar (maybe slightly bolder), and the notes are thicker. The midrange is a bit pushed back compared to OD100, and sounds slightly thinner and edgier. The treble is a bit more forward with sharper notes. The presentation is a tiny bit more holographic.

The OD100 feel more mature in comparison. The midrange feels fuller and more organic. The treble is more controlled yet with a similar technical performance. The midbass is dynamic and the subbass supports it well. The presentation is sufficiently spacious. Nothing to complain really.

Where to Buy​

• Official Website
• Amazon

Who Should Buy This?​

Anyone who is interested in dynamic yet refined sound from an easy-to-drive pair of earphones should buy this. They should also have a tolerance for slightly bright midrange.

Final Thoughts​

The Oriveti OD100 is the surprise of the year for me, especially considering they are priced at around 70 USD. Very rarely a iem comes around with good sound paired with classy looks - and OD100 is exactly the same. The sturdy and compact metal shells scream quality, along with the well-built cable and carrying case.

And then when you put them into your ears, you are greeted with a bold and beautiful sound, that shakes your core and makes you tap your foot along with the rhythm. The strong and dynamic bass starts the party, the lush and charming midrange woos the heart, and the phenomenally exhilarating treble gives an exquisite finishing touch while maintaining an excellent separation and immersive stage.

I love the OD100. They are my daily carry iems when I want a casual listen straight from my phone without wanting to compromise on the quality. Their robust build ensures safety while being carried in pockets while the light weight means zero ear fatigue. Frankly, I cannot ask for anything more for their asking price.

Company Overview​

Oriveti was founded in 2015. The founders had years of engineering and design experience in the earphone industry. They are based out of Hong Kong.

Their initial releases were more or less warmly received by the audiophiles. Their all BA offerings like O800, O400, and OV800 garnered numerous praises as well.

What’s in the Box​

• OD100 iems
• 2-Pin silver plated OFC cable with 3.5mm single-ended plug
• Carrying case
• 3 different types of eartips (S, M, L)

Oriveti has provided two different sets of silicone eartips - long & narrow bore, and short & wide bore, and foam eartips.

The carrying case is superb. Very robust design with thick shells and the insiders are soft and velvety, with an elastic strap on the bottom lid to secure the iems and a netted pocket on the top lid to house any accessories.

Technical Specifications​

• Form: IEM
• Driver: 1 x 9.2mm Diamond Like Carbon diaphragm
• Impedance (Ohm): 16 Ohm
• Sensitivity (dB): 105+3dB/mW
• Weight (g): 4g (per IEM)
• Frequency Response (Hz): 20Hz - 20KHz
• Removable Cable: Y/N
• Source Jack: 3.5mm
• Cup/Shell Jack: 2-pin
• Mic: N

Evaluation Time: 6 weeks

Introduction​

Tanchjim, a well-known audio brand from China, has a strong presence in the ChiFi audio market. They're known for their unique sound signature that's neutral, smooth, and engaging. Following the success of their Zero model, which had a great neutral sound, they've introduced the One. The Tanchjim ONE Earphones (Without Microphone) is their latest offering. I reviewed the Ola earlier, which I found very unique and quite worthy of its price. In this review, we'll explore the One’s sound quality, design, and comfort.

Disclaimer​

I was sent this IEM by ForHiFi Store for an honest review. You can purchase this from the following link:
https://www.aliexpress.us/item/3256805717722491.html?gatewayAdapt=glo2usa4itemAdapt

Specifications​

Driver Unit: 10mm Dynamic Driver
Sensitivity: 126dB
Impedance: 16Ω
Frequency Range: 7Hz-45kHz
Connector: 0.78mm 2 Pin
Plug: 3.5mm/Type-C (DSP Variant)

In the Box​

The Tanchjim One comes with a simple box which I find is the standard philosophy of all of their gears - be it IEM or source. The minimalistic design of the packaging is attractive. In the box the following can be found:

• One earphones
• DSP Cable
• 3.5mm cable with mic (extra for review)
• 1 set of narrow bore eartips
• 1 set of wide bore eartips
• Branded carrying pouch
• Literatures

The cable is really good. Soft, pliable, and absolutely no microphonics. Mic performance is quite good as well.

Design and Fit​

The earphones are made of two parts - the front housing is made of ABS plastic and the back housing is made of Aluminium, with the Tanchjim logo and One etched on either side. The transparent shells display the clean innards and the DD. The angled nozzles and the very lightweight design provide a secure fit.

Sound​

The TANCHJIM ONE Earphones offer a well-balanced sound profile that will please both new and seasoned audiophiles. The tuning is quite refined for its price range. It has a distinct V-shaped sound with the stock 3.5mm cable but does not sound overly dark or bright at any point.

Bass​

The bass on the TANCHJIM ONE is well-bodied and impactful. It maintains a distinct presence without overwhelming the rest of the spectrum. However, there still is a slight midbass bloom that I can detect. It adds to the fun rather than muddying the stage. The subbass reaches really deep but does not sound bloated or overly slow. The textures in the bass notes are pretty fine. The tastefully powerful bass ensures listening comfort and avoids blending into the midrange.

Midrange​

The midrange is where the TANCHJIM ONE truly excels. It offers a very pleasantly natural tonality in the lower midrange that places you right in front of the artist. The instruments have quite enjoyable crunch and bite with the correct amount of note weight. The textures and details also surprised me.
There is a slight but noticeable hint of harshness or sharpness in the upper midrange, making it sound a bit metallic and spicy. This becomes evident in mostly the coarse male and energetic female vocals. This throws the overall tonal balance slightly off, but nothing severely objectionable. Apart from that the upper midrange sounds quite pleasant.

Treble​

The lower treble in the TANCHJIM ONE is decently energetic. It has a very clear and slightly forward presence. The upper treble is also very prominent in the mix and sounds airy. Notes seem to have a proper body, tonality is neutral. On a handful of tracks, the lower treble may sound slightly spicy but still retains the tonal balance.

Technicalities​

While not very large, the soundstage is very well-rounded with very nicely proportionate width, depth, and height. The overall presentation is reasonably clean. Imaging is good.
The notes are well-bodied and crisp, despite having an overall smooth tonality (except the upper-mids). Details produced are exceeding expectations in this price range, to be honest. Simply put - the technicalities are more than enough one can expect for the price.

DSP Vs. 3.5mm​

The main differences I noticed between the two are that the bass is livelier in the sub-bass and better controlled in the midbass, making the mid-range clearer and more distinct. The treble also sounds a bit crisper.
The vocals sound more pronounced with better perceptible details and instruments sound more vibrant. Female vocals have a livelier, lighter response, and the midrange sounds more spacious and more precise. The lower mid-range has a more transparent, expressive quality.
Technically, the details seem to be a bit more prominent, and the imaging seems clearer and more defined.

Conclusion​

The Tanchjim One is an outstanding IEM for the price. Discounting the slightly metallic spiciness in the upper-mid, the rest of the sound is very pleasant for general on-the-go casual listening. The addition of mic makes it all the more desirable. This is a very capable introductory offering from Tanchjim, showcasing what they are capable of doing in higher price brackets. Newbie audiophiles who are just trying to take an entry into the hobby but unsure of what to get - this is a great start. I definitely recommend them.

Introduction​

BQEYZ has been a long-standing player by now, and their offerings have continued to impress audiophiles around the world. They introduced the Winter as the fourth and the last offering in their seasonal series of IEMs (Summer, Autumn, Spring, and Winter). I have heard the Autumn and honestly liked it really. You can find it here.

The Winter had a pretty unique driver combination - one full-range DD with a Bone Conduction Driver. Winter Ultra is a retuned and improved version of the same, designed as a collaboration project between Angel Ears and BQEYZ. The cable and the tuning both are improved.

Disclaimer​

I received the Winter Ultra as a review tour unit from Hifigo. This is a loaner unit and not a keeper. Here is the product link: https://hifigo.com/products/bqeyz-winter-ultra

Design, Build Quality, and Accessories​

When you look at the original Winter IEMs and compare them to the new Winter Ultra, you'll notice some differences. The Winter Ultra has a special filter that makes the low-pitched sounds even better. The pair now sounds more even compared to the original version. There's a smaller peak in the sound around 5kHz, which makes the sound smoother and cleaner. The eartips that come with it are balanced, so you can hear things clearly. The cable that comes with it is better now, made from high-quality materials that can be changed around. And if you like cool colors, you'll be happy to know that the Winter Ultra comes in a beautiful blue color.

The Winter Ultra has a nice curved design on the front cover and a shape that fits well in my ears. There's a silver line on the front cover that matches the deep blue color of the shells. The BQEYZ Winter Ultra is actually the brand's top model right now, and it's made to be just like that. The parts inside are made of metal, and the color looks really fancy and high-quality.

It has two kinds of drivers inside: special 11.6mm PZT bone conduction drivers and 12mm Dual cavity PAR dynamic drivers. The dynamic driver takes care of the whole frequency, whereas the PZT driver enhances the treble region.

The IEM comes with a high-purity single-crystal copper silver-plated cable with swappable termination plugs - 3.5mm and 4.4mm. It's not heavy when you hold it, but it feels really nice and high-quality. The IEMs also have a case for carrying them, a brush for cleaning, and nine sets of eartips in three kinds (Atmosphere, Reference, and Balanced) and three sizes (Small, Medium, and Large).

Source​

I used the Winter Ultra with Fosi Audio DS2, and Tempotec V6.

Sound​

The Winter Ultra has above-average macrodynamics, clear highs, and impactful bass. The midrange is smooth and clear. Overall these have an excellently engaging sound profile.

The low end is fun yet controlled. The midbass slams well, subbass goes deep and rumbles fine. But everything is under control. There is no overabundance of power here. Midbass slams are a little bit more highlighted than the subbass rumble. The decay is pretty natural as well - does not feel too slow or too snappy. It injects just the right amount of energy to keep things lively.



The midrange is slightly behind the bass, however, it is not particularly V-shaped. The lower midrange stands clear and prominent. They sound sweet and well-textured - both the male and female vocals. The instruments have a focused presentation - the notes are crisp but not peaky. This region is smooth but is cleanly recreated. String instruments sound especially delightful - both acoustic and electric alike.



The treble is a really nice sparkle and vividness, without being piercing. The lower treble has a distinct forwardness that adds spice to the music. The upper treble extension is above average. There is a hint of sibilance but does not get very uncomfortable. The details are easily noticeable, but the notes are not particularly edgy. I believe this is the working of the PZT Bone Conduction Driver - I have to say, very deftly implemented.



The soundstage has above-average width and depth, with average height. But what won me over is the very clean yet smooth presentation of the sound. Layering and imaging are above average. It is mostly an intimate presentation. The slightly warm tilt and the cohesiveness of the tuning make it extremely pleasing to the ears.

Conclusion​

BQEYZ has made a really attractive iem with Winter ultra, consisting of a well-rounded performance altogether. For its price point, there are many more that can surpass it in technical chops but cannot match in terms of providing musical engagement. While I crave a bit more energy in the sound signature, and a bit more bite in the notes, I do admit for those who want a slightly more laid-back yet crisp sound - Winter Ultra will satisfy them without a doubt.

The implementation of the two types of drivers are done such exquisitely that both of their individual contribution merges very cohesively. Another point to note is the extreme comfort it offers. There is no uncomfortable pressure build-up, and yet they feel quite secure in place. The stock eartips are quite nice for varied preferences.

My review of Simgot EW200 is posted on Headphonesty:

Review: Simgot EW200 Maze – Nearly Flawless​

The Simgot EW200 sound practically perfect, with unprecedented finesse at their low price point.​

Introduction​

Well, by now RIkubuds needs no new introduction. But for those that are not familiar with them, let me tell you a bit about the man behind them - @RikudouGoku . He is a beloved and respected individual in the audiophile community. A quite competent reviewer and overall a very nice person. Rikubuds is his venture into the earbuds world.

I was not a very big fan of earbuds, to be honest. The fit sometimes gave me pain in the ears and the lack of sealing made the ambient noise a bit intrusive into the music. However, after owning and enjoying multiple iems, I got curious enough, and reasoned with myself that it will be same as listening music through speakers, which I enjoy despite the presence of ambient noise. So I got something else, and then thought of getting the Rider 1 as well.

Specification​

Packaging, Design, & Fit​

Rikubuds comes in a very spartan packaging. Just a cheap small carrying case, housing the earbuds, spare foam covers of two different colours (black and blue), and the class card.

While making the product page, I have not included a photo of the same because the appearance of Rider 1 can be modded slightly by choosing the mx500 shell colour and cable colour. Remember, just the colour, as the inside is same - silver plated copper. I chose a dark blue shell (red being the other option) with matching blue/white cable. Looks stunning, as you can see below. Termination is 3.5 mm single ended.



Initially I had to struggle with the fit a bit, my ears took time to accustom to it and I went through slight pain on the concha. However, to search for a better fit and to get a bit more bass, I chose to put two foam covers back to back on the buds, and voila! Now it is much pleasant to wear with a slight more bass boost. Presently using them with Hiegi foams, better clarity over double foam while preserving the bass boost.

Disclaimer: I bought it at full price (50 Euro + 16 Euro shipping). I was not obliged to write a review but I love it so very much I have decided to write my opinions about them. I believe I am the first one from India to be an owner of a Rikubuds earbud.

Sound​

Source: Phone 3.5mm port, Venture Electronics Abigail, Fosi Audio DS1 single ended port

Let me tell you this - I was NOT prepared for the sound that came out of Rider 1. It immediately felt as if I was swimming in a world full of music. The projection was well beyond the boundaries of my head - very similar to having a speaker arrangement around my head at a slight distance. I was lost in a musical euphoria.

Tonality wise it can be classified as warm neutral. Previously it was neutral with a hint of warmth, but putting two foam covers back to back has introduced a hair bit more warmth.

Bass surprised me with its slam in the midbass. It is not that I have not experienced the same with other earbuds before, but they did not come with such awesome transparency. Now, coming from IEMs, the bass definitely did not sound as powerful or visceral in the beginning, but once my ears got used to it, I actually found it sufficiently full in most occasions. The midbass has a really nice punch and a volume that feels just right. Subbass extension is not bad either, but ultimately it does not get very tactile. Still, there is a very nice weight in the whole bass region that makes it sound natural, and the textures are wonderfully reproduced. If I have to nitpick, the decay sometimes seems to be a bit faster than my preference.

The drums in Metallica - Enter Sandman and The Four Horsemen sound quite impactful and fun. But the bass drums in Battlestar Galactica Season 2 OST - Prelude To War does not thunder to their best capacity, they do still sound quite punchy, but not as full because of the slight compromise in the subbass and the decay. The bassline of Massive Attack - Angel has enough pressure

Midrange took my breath away. I did not expect such effortlessly natural mids with outstanding separation, textures, a fair bit of crunchiness but completely devoid of sharpness. This is a refinement unexperienced beforehand. Yeah they are not overly juicy and thick, but still sufficiently organic. The notes sit forward, and strike a perfect balance between organic and textured, having a fair amount of body & weight with well-defined edges. Male vocals have an hint of that throaty feel. Female vocals sound delightfully emotional and euphonic. String instruments are sublime. The magic lies in how well each and every instrument are reproduced without overlapping each other, and even the faintest sound can be distinctly heard in the mix. Nothing dominates anything - it is a masterful cohabitation of all of them to their best capacity. What fascinates me most is that sometimes the instruments sound so alive that I feel I could just touch them.

Listening to Lana Del Rey has simply been a treat with them. Not just that, they also handled Bloodhunter quite nice!

Treble is smooth, yes, but very prominent. This region feels very present, and yet not pushed forward. They are placed slightly behind the midrange, but only in position, not in presence. The notes have a very realistic timbre - feel very tactile, and have very well defined body. The energy feels adequate. Details are easily noticeable. Upper treble extends very nicely and is quite airy.

The cymbals in Metallica - Enter Sandman, and Steely Dan - Do It Again sounded smooth but quite present.

Technicalities are fairly strong also. The stage is large with lots of space between the notes, owing to the open nature. It extends more in height than in width, although the width isn't bad either. Due to the forward midrange the presentation might sound a bit intimate, but the spacious presentation helps to keep it from being congested. Separation is outstanding, and imaging is quite fairly articulated as well.

Conclusion​

Rider 1 is just a glimpse of Kevin's tuning prowess. And it left me amazed since the get go. I honestly do not know what is not to like about this pair except perhaps a bit more rumble and body in the subbass, which I cannot really fault them with since it is not exactly a forte of any earbuds. The highly organic midrange, the punchy bass, and the smooth but prominent treble, coupled with an airy soundstage simply blows you away with a wave of pure musicality. Your only choice is to get on top of it and ride along! So godspeed!

Disclaimer
the unit was sent as a part of a review tour in my country, but I am not being paid or compensated otherwise for the review.



Build
the yume 2 looks a stunner and is more on the compact side, thus being a very good match for people with small ears. it is a bit smaller than i'd wanted for my ears, but it was mitigated by the correct choice of tips. it seats deep and creates a perfect seal in my ears. needless to say there is no discomfort in my ears even after extended listening, and it quite literally vanishes in my ear (fit-wise). I do have concerns regarding the nature of the shells though, and it may turn out to be scratch prone but that is something I cannot verify. As other reviews have already mentioned, it is indeed a fingerprint magnet.



Sound quality
The sound of the yume 2 is balanced for the most part. It has a detailed and musical midrange and the overall tone of the sound is very pleasant. The midbass has tight and clean attack/decay but I wish it had more bass extension in the subbass region. Due to this, there is some detail lost in the lowest bass frequencies where there is rumble and deep attack. however for most music this might not be an issue. The upper midrange is very pleasant to the ears and even harsh female vocals come out as smooth and polished. The treble region for the most part is balanced and smooth but I wish it had more extension in the ultra highs that would have given it more air and micro details and spatial cues but that is me being nitpicky. the overall tuning is very good for the price



Conclusion
yume 2 is a definitive step up from the OG Yume but I still wish it had more extensions in both ends. but it is still an excellently tuned iem for the price.

Disclaimer
The unit was sent as a part of a review tour in my country, but I am not being paid or compensated otherwise for the review.



Build quality
zetian wu heyday is a chunky iem but remarkably comfortable to my ears. it seats well and even after hours of listening there is no discomfort at any point. However, it may be too big for small ears. It is built like a tank and the materials and quality are substantial. The quality of accessories are really premium, specially the carry case, which is rare to see at this price point. I would have liked the cable more if it were thinner as it adds noticeable weight to the earphone when using.



Sound quality
The bass is tight and clean and very deep extension with a slight boost in midbass that is tastefully done. The resolution is excellent in all regions of the sound. The midrange is natural, dense enough and well centered with clean transparent clarity and great layering. The top end is very airy and extremely detailed and it offers a clean and neutral presentation that always keeps the sound engaging. the soundstage is wide and deep with laser sharp imaging. dynamics may not be the strong point of this iem and it may be overtaken with some dd iems in this market. Compared to the OG Zetian Wu, the Heyday version sounds more natural and has a better tuning overall. It is a more polished and better tuned iem than the OG Zetian Wu.



Conclusion
The Zetian Wu Heyday is a better tuned iem than OG Zetian Wu and it provides an amazing tuning aided with a highly technical performance which is unheard of in this price range.

Introduction:
ISN Audio is quite a renowned brand in the world of cables. I have had the pleasure of having the S4 cable in my possession, which provides incredible value in a very lightweight package. Recently they have released a new line with detachable plugs - C2 (copper), S2 (SPC), and H2 (Copper + SPC Hybrid). Penon Audio sent me a sample of the H2 for a review, so here I go...

Specification:
Brand: ISN Audio
Model: H2
Cable material: 6N+ OCC & silver-plated OCC hybrid
Cable Cores: 2 shares 72 cores, the wire core is 0.08
Accessory material: Aluminum alloy + carbon fiber accessory
Plug: 3-in-1 detachable gold-plated plug (3.5mm audio,2.5mm balanced ,4.4mm balanced)
Cable length: 1.2M

Disclaimer:
I was provided this item for free in exchange of my impressions. The impressions recorded below are solely mine own and as much unbiased as possible.

Packaging and Accessories:
The cable comes in a beautiful blue box with shiny ISN Audio logo and a cloth like cover on the shell. The box feels quite sturdy, although there is not much space inside. Inside the box there is the cable, the 3 connectors (2.5, 3.5, 4.5 mm), a cable tie with snap fit buttons, and a cable clip. The last two items are not in the photo below.



Build And Fit:
Now, the very first aspect of a cable that I look for is how pliable it is. I dislike stiff cables, and I dislike heavy and thick cables. So even if a cable is thin and light, if it is stiff, that is automatically a major con to me. One other aspect that I look for is how the build of the connectors, splitters, chin sliders, etc. - do they feel cheap, or do they feel well built and premium? Here again my first preference is always lightweight, as if these parts are heavy, they will create unnecessary pull on the cable and will give rise to discomfort.

And this is where it feels like ISN Audio really has considered all these aspects before making this cable. The cable is not thin at all, the individual strands are rather on the thicker side. However, since there are only 2 strands, the overall thickness of the cable is not very much, and even though it definitely is not as light as the S4, it still feels fairly light - I cannot feel any undue pull on my ears.
Just as well, the splitter, chin slider, and connectors are made primarily of metal, feel sturdy, but are not heavy at all. The matte finish black colour looks with slight carbon fibre decoration quite nice.



The detachable connectors are of 4 pin type, and fit quite snugly and tightly. Needs considerable force to detach them from the cable - which ensures no surprising detachment resulting in unexpected damages. There's a slot and white dot to properly guide the connectors. The plugs themselves feel pretty well made and fit in the respective jacks snugly.



Gears Used:
Hiby FC4 as the source, and I could not help but to pick the revered Penon Vortex to test the cable's performance - matches the colour scheme perfectly. Also, afterwards, I had a whim to try the one other blue iem I got, the MEAOES Eagle. The result was more than pleasant I must say.

Sound:
With Penon Vortex the hybrid characteristics of the cable is very distinctly evident from the very moment I played the first song. The low end has a very distinct emphasis, although not over the top, and feels full and slamming. The subbass reach is quite good, textures in the bass feel quite fleshed out and well defined. Midbass slams are tight and dynamic. From the stock cable the difference is really noticeable and multiple degrees more pleasing.

In the midrange, it feels as if the notes have grown slightly bigger and fuller, resulting in a more organic presentation. Textures are quite noticeable, but peaks are not accentuated. The midrange sounds slightly more open but not thin and peaky. Male vocals and string instruments seem to have more body with a decent grunt. Female vocals feel slightly more powerful and emotional. However, the overall transparency is in no way negatively affected by this - such is the overall improvement.

The treble region is made slightly more distinct without enhancing the peaks. This is really a wonderful effect the H2 has. The background cymbal rolls come into notice quite effortlessly, and yet the forward cymbal crashes never become piercing. Lower treble sounds very slightly more energised, while upper treble feels a bit more extended and the trailing edges are more prominent.

The overall presentation feel slightly bigger with a bit more expansion in height and depth of stage, a bit more dynamic and organic, and overall extremely pleasing. Despite the bigger notes there was no decrease in air or any hint of congestion. Separation was still the same wonderful as before.



With MEAOES Eagle, the result is very much in line with the Vortex. Eagle already has a decently powerful low end with a very slight roll off in the subbass, difficult to notice unless A/B-ing with other iems. H2 comes into play here and provides that last bit of boost in the subbass to make it fuller and bigger, but not boomy. Midbass notes similarly feel slightly bigger with more noticeable textures - which is a definite plus for Eagle.

As I already mentioned in my initial impression of Eagle, it has a very transparent midrange, albeit slightly lean. Well, H2 provides its magic touch here as well. The midrange notes become slightly fuller and bigger sounding with no loss of transparency. Male vocals and Guitars are the primary benefactors of this effect, as they become near euphoric after this. Female vocals were already quite magical in Eagle, but H2 elevates them to a slightly upper level as well.

As I already mentioned earlier, Eagle has a treble that was to die for. Seriously, I cannot emphasise enough how much I love it. It is brilliant, airy, sparkling, full of details, and never ever shouty or piercing. Well, H2 enhances this also! Imagine my surprise when with H2 I can suddenly feel the treble be more open and prominent sounding! No, it does not become overly bright or piercing, instead, the notes become slightly better defined with a wee bit more extension in the upper treble.

As a whole, H2 enhances and expands the already big sound of MEAOES Eagle. The overall presentation feels slightly bigger and bolder, with a bit more macro dynamics added. Stage was already massive, and that is not negatively affected, just the previously lean nature becomes fuller and more refined with the H2.



Conclusion:
ISN Audio H2 is a winner in my book, and it most certainly deserves its place among the default recommendations under $100. Grand sound - check, Soft and light - check, Sturdy build - check, Detachable connectors that fit tightly - check. I mean, it ticks so many checkboxes that it is very difficult to pick out any cons at all! The only con I could make out was with the carrying case, but even that was pushing it. H2 is a wonderful hybrid cable, and now it will be permanently attached to my Vortex.

Introduction:
Dunu Kima - an interesting name, a very welcome configuration, quite an extensive package, and a pretty lucrative price tag. No wonder it was winning hearts from the very moment it was introduced, and it certainly had my rapt attention. Kima in India means minced meat, just like in other places also as I understood from various facebook comments. I do not know the reason behind the name, nor the slogan Criz Faction, but those are just aesthetics and I am never much worried about them. A friend here, @gadgetgod, got the Kima for a review tour, and I willingly became a part of it for the chance to listen to it.



Specification:

• Impedance: 32Ω.
• Sensitivity: 108dB.
• THD+N: <0.3%.
• Cable: 4-core, Silver-Plated Single-Crystal Copper.
• Connectors: 0.78mm 2-pin.
• Termination: 3.5mm TRS Single-Ended.
• Weight: 15grams.

Disclaimer: I was provided this unit from Hifigo as a part of review tour. The impressions recorded below are solely mine and in no way affected by any outside influence. You can buy it from here: https://hifigo.com/products/dunu-kima-iems

Packaging and Accessories:
I did not receive the whole package, just the orange carrying case inside which all the accessories and the IEM were packed. The carrying case is as always beautiful and I so very want to get one from Dunu, but cannot due to the already multiple cases that I have.



There are three different sets of eartips, but I only ever used the S&S one. The others seemed a bit too narrow bore, and considering the sound profile I was not inclined to use narrow bore tips.

The silver plated single crystal copper looked mesmerising to say the least. On top of that, it was soft and supple - one of the most important characteristics I look for in cables.



Build and Fit:
The Kima is built solid. The aluminium body is small, has a fair amount of weight, and feels quite sturdy. The matte finish is quite beautiful, although I cannot say I liked the geometric contours a lot - felt rather odd and incoherent.
Because of the small form factor, it fit inside my ears pretty snugly. Never could I feel the weight, nor did it ever popped off from my ears due to the weight.



Source:
Hiby FC4
Hiby R3 Pro Saber
Shanling M7

Sound:
Kima is a very…safe sounding IEM in my opinion, but that isn’t necessarily a bad thing. Despite having a safe tuning, Dunu has managed to include enough elements of excitement to keep the listener entertained. The sound profile is very balanced, with perhaps the most emphasis given in the midrange. Tonality is neutral with a hint of warmth.



Bass of Kima is rather reserved in my opinion, which reflects in the graphs as well. The midbass notes have a controlled body, and an above average amount of weight. The midbass does not slam particularly hard, but does not feel weak either - somewhere in the middle it dwells. Textures are clearly produced though, both here and in the Subbass region. Even though the subbass notes do not have that physical presence or rumbling depth, they do not sound hollow. Sure, the notes could do with a bit more body, but the density of notes is just enough not to sound dissatisfactory. Decay is fairly fast so as not to clutter the stage.
When it comes to the bass drums of Bear McCreary-Battlestar Galactica Season 2 OST: Prelude To War, the fast subbass fails to portray the atmospheric reverberations they produce. However, in Deep Purple - Chasing Shadows and Eluveitie - Inis Mona, the bass guitar notes are very distinctly produced with quite a nice texture, and never do they feel lost beside the kickdrums. The double pedal of Metallica - The Four Horsemen is fairly distinctly present in the mix also, although could have done with a bit more meat.



Midrange is where Kima really shines. It really pops out from the whole spectrum - which truly produced a spark of pure joy the first time I noticed it. The hint of warmth really makes the overall tonality a pleasing one. The notes are really something here - they are very well defined, have just the right amount of body not to sound thin, the textures are effortlessly reproduced - overall they have a very distinct presence in the spectrum. The midrange sounds very nicely crunchy and have a fair amount of crispness, without giving rise to any kind of peaks. Lower mids do sport enough fullness that male vocals and string instruments start with a nice body, whereas upper mids have just enough energy coupled with a bit of smoothness to sound emotional but not uncomfortable. Thanks to the pronounced textures, the microdetails really stand out and amazes the listener.
The microdetails came into the highlight right from playing the Bear McCreary-Battlestar Galactica Season 2 OST: Prelude To War. The subtle details of the snare drum were pushed forward so beautifully, while maintaining an ample amount of body to sound natural and not thin - really caught me off guard. And since then I could identify this trait in every string instrument being played also. Male vocals like Leonard Cohen sounds really sweet, although the body at the lower register might not wow so much as the upper register. Female vocals are full of emotions, energetic, slightly on the smoother side and yet not sounding tonally off at the same time.



Treble of Kima has its ups and downs. The lower treble carried forward the good parts of the midrange - crisp, textured, energetic, nice body, right tonality, and distinct presence. The cymbal hits truly sound sublime in the mix. On the other hand, the energy in the upper treble is slightly toned down in order to, I presume, control the degree of brightness. It’s not rolled off, but it just does not command the same amount of body and the presence as the lower treble. The air seems slightly compromised as well hence. The trailing edges of the treble instruments do not pop out that well - which might or might not be a big deal, depending on the listener. Personally, I felt the trade-off can be accepted in favour of the whole complete package.
In RHCP - Dani California, the forward cymbal hits were very clearly produced and was hard not to notice, however, the background cymbal rolls were slightly subdued in comparison, but that did not detriment the complete presentation as a whole.



As I already focused multiple times, Kima is fairly competitive in the Technicalities section. The details, the bodies, the presence - nothing seems to have been compromised within the larger part of the spectrum. The separation between the notes are outstanding with clear distinction between them - nothing feels overshadowing the other. The presentation is rather intimate though - and that can be the only point of slight dissatisfaction, depending upon the listener. It’s not that the perception of depth is missing - it is very much there with a clean layering as well. The stage width is also respectable. It’s just that the height seems to be a bit less and the space between individual notes seems a bit less than what I would have expected - but really not a deal breaker, not at all. Imaging is not a bit fuzzy, may be not spreaded over a wide space, but not fuzzy at all.

Comparison:
Vs. Hiby Hela($89, Review Pending) - Right from the beginning, the very first difference that pops up is that Hela has a much deeper and more voluminous bass, albeit with slightly less resolution. That’s right, the very next aspect that struck me was that Kima had the upper hand in the individual note details and definition - the notes were slightly better constructed to give a slightly more real feel, and textures were slightly more pronounced. However, where Hela had the upper hand was treble extension, and, most importantly, the stage. Kima has a slightly more pushed forward midrange presentation, while Hela has its mids slightly pulled backward. However, that could not be the sole reason for the huge soundstage that Hela offered. There was another aspect - the notes of Hela felt to be very slightly leaner compared to Kima, but not anaemic in any way, and in fact I barely noticed it until I started A/B-ing them. So, anyway, the crux of the matter is that Hela had much more space between the notes, and hence had a perceivably bigger, airier, and more spacious presentation compared to Kima, which felt rather intimate. Both have their individual strengths and weaknesses, and I really cannot put one over the other.



Conclusion:
Just as I said in the caption, Kima is a Small, Simple, and Sweet offering from Dunu that I liked immensely. Point to be noted - liked, not loved. The reason being the Bass felt rather incomplete because of the slightly weak subbass depth and weight. The intimate stage is not a negative aspect in my opinion, especially given the outstanding separation and note definition it sports. However, I do prefer a rather meaty, and even not meaty, a rather complete lower end, and I felt Kima was missing it a bit. But nevertheless, it is what it is. And frankly, I was quite pleased at its upper end tuning, which I felt had more energy and air compared to Falcon Pro - which was rather reserved. Yeah, I like a bit bright treble as well, and hence I get biased when something does not have that. All in all, I can say that Dunu has pulled a pretty nice tuning with Kima, targetted for those seeking a comfortable, balanced, but not laid back presentation. Kima does all of them, and then some.

Introduction:
Penon has a pretty long history in the field of audiophilia, starting from their e-commerce website for audiophile products, going into the cable venture, and subsequently the IEM. The first IEM of Penon that I got my hands onto are the Orb, which I loved. The second was Fan, which was quite interesting and a very well done smooth sounding IEM as well - quite laid back and with a nice sense of space.
Since then, I fell in love with single DD iems, so the subsequent offerings from Penon, like Globe, Volt, Legend etc. did not entice me much. Serial was quite interesting as a triple DD IEM, but I had other competitive IEMs in that price range so never really got interested in it.
However, when the Vortex was announced, my curiosity got really perked up. A single DD at around $200, and it was rumoured to be entirely differently tuned than the previously signature smooth tuning. I somehow felt that I just HAD to listen to it, kind of a gut feeling per se.
So I reached out to Penon, and they happily agreed to provide me with a review sample! However, due to some unavoidable circumstances I was not able to deliver the review within the timeline they expected it. However, they graciously accepted my inability to do so, and I thank them for being so understanding.
That said, I also felt that I required the time I took to let the driver develop, or burn-in properly, to properly understand the tuning, and thereby I was able to properly analyse and put down my impressions.



Specification

• Driver: 10mm strong magnetic DLC diamond-like fibre diaphragm
• Input Sensitivity: 108dB SPL/mW
• Frequency response range: 10Hz-35kHz
• Impedance: 24Ω±15%(@1khz)
• THD: ≤1%@1khz
• Connecter: 2pin 0.78mm
• Plug: 3.5mm audio, 2.5mm balanced, 4.4mm balanced
• Cable length: 1.2M

Disclaimer: Penon provided this item to me free of charge for my honest impression. The impressions recorded below are solely mine and in no way affected by any outside influence.



Packaging and Accessories:
Penon follows a consistent style of packaging ever since Orb (with Fan being the only difference), and honestly I somehow like how simple and puritan it is. No flashy colours or design, very simple jacket and box, albeit appropriately sturdy. Inside, the accessories remain also the same irrespective of iems, (may be some minute add-ons in the recent models) - which proves the fact that the price difference solely reflects the actual difference in the sound tuning and drivers since there are next to nothing changes in the accessories.



The copper and SPC hybrid CS819 cable, despite being 8 core, is quite slim and soft. Very user friendly, and not bad sound-wise either.



There are a total of 3 types of eartips - Grey-Green, Transparent-Green, and ePro horn eartips. I played with the Grey-Green and Transparent Green eartips for a while, but eventually decided to settle on something else to suit my preference.
Cleaning brush and cable clips are standard. Never understood how to use the cable clip though.



The blue carrying box feels quite high quality, as always. There was also an added tiny faux leather pouch that I used for a while to carry the Vortex in my pocket - pretty handy I must say.



Build and Fit:
Penon Vortex is…tiny! Honestly, I was not expecting them to be so small! They just disappear inside the ears - the perfect pair to sleep on (not that I ever do it.) The form factor is quite compact without any unnecessary extra space, in fact, the 10mm DD occupies more than 85% of the shell cavity - and I love it! I forever wondered, regarding other iems, why the shell needs to be so unnecessarily large if the actual drivers are so small? Seemed like a waste of material, and by reducing them maybe a bit more raw material cost could have been saved. Well, with Vortex I had no such gripes!
The shell itself seems to be made of semi transparent blue plastic, which feels quite sturdy. The faceplate with blue and white swirls looks really beautiful.
The fit is rather shallow, though, so tips with long nozzles were required for me to get the best fit and isolation. One other thing to note here - Vortex has ZERO driver flex.



Source:
Shanling M7 balanced out medium gain
Shanling UA3 balanced out
Qudelix 5K balanced out

Sound:
So now, to the important part - How does the Vortex sound? Is it a vortex of notes? Swirls of emotions? What is it?
Well, I am gonna tell you what it is, but let me tell you before that, that this little piece blindsided me completely with its sound! I have had my run in with Penon’s iem, through Penon Orb and Fan. Orb was an extremely pleasing sound to say the least - smooth, warm, with a pleasingly full low-end and organic sound. Fan was not so much, but it still had its distinct merits. And then came this little guy, taking me completely by surprise!
Because Vortex is the complete opposite of the regular Penon house sound that I heard last or read about! For starters, it is one of the fastest dynamic drivers that I have ever heard. Despite being fast it still packs a punch. The tonality is generally on the bright side, which felt a bit overbearing in the beginning but settled down with time. The incredibly clean background it portrays is one of the first I have heard around $200, even more than Hiby Lasya that I reviewed some days before. Penon has truly hit it out of the park with the Vortex - such a brilliant and mature sound it has!



Low is where everything starts. And low is where Vortex surprises. From the initial listen my immediate impression was meh, the bass is lean. But somehow it still seemed fairly interesting, and as time went by and burn in progressed, I could clearly identify the strength the bass has. It is fast and tight, slams reasonably hard, disappears quick, but never sounds lean and weak.
The Subbass reaches quite deep, despite being not enough voluminous to qualify as juicy, but the body still feels appropriate enough. The magic here is in the textures. The subbass textures here are reproduced quite prominently, which, combined with notes with sufficient weight and body gives way to a very detailed subbass. There is a certain bite to the notes that captures the one’s attention easily.
Then comes the midbass, and along comes another surprise. Despite the polite tuning, the midbass slams reasonably hard. There is no sense of restrain here. Granted, the body of the notes are not entirely up to my satisfaction, however, they do not feel incomplete or half-hearted either. Hits reasonably hard, decay fast, does not clutter the stage - to my ears, they sound unique and successful at what they were trying to do. Yes, I am well aware of the bass mod that is being actively explored in the Penon thread; I, however, felt that doing that will rob it off its signature that Penon was trying to achieve, and I should respect it.
The underlying rumbling bassline in Deep Purple - Chasing Shadows and Eluveitie - Inis Mona sound quite pronounced and distinct even beside the drums. The hard slamming drums in Red Hot Chili Peppers - Dani California and the fast but slightly soft kickdrums in Metallica - The Four Horsemen declare their presence quite prominently and never sound weak. However, the thunderous bass drums in Bear McCreary-Battlestar Galactica Season 2 OST: Prelude To War do not exactly reach their full thundering glory, but still, sound quite full. In Hans Zimmer - Why So Serious, the subbass sure reaches low, but due to the lack of volume cannot exert as much pressure as it should to become atmospheric.



Midrange of Vortex is a clean and quite magical affair. It might not give an orgasmic fullness, but it will give you a clean, crisp, and quite transparent presentation while not skimping out on the body of the notes…it caught me off guard from the very first listen! String instruments are an absolute treat to listen to on Vortex. Crunchy? Check. Well-bodied? Check. Detailed? Check. Dynamic? Check. Peaks not exaggerated? Check. For example, I am listening to Tina Guo - Cello Metal album, and I cannot stop grooving along with the tracks! The electric guitars sound quite crunchy and the textures are to die for. And then Tina Guo’s marvellous Cello comes into action, goodness! In one track the dynamic rawness and the gritty texture just pops out and takes one’s breath away! The next track the cello is strong but melodious, taking the centre stage, transitioning between a fast noisy nature and slow musical nature - Vortex accurately portrays that along with all the minuscule variations, bringing out the finer micro-details in the textures effortlessly. And hereby Vortex pulls off another great feat - by bringing the finest details of the background instruments to immediate notice. No, Vortex does not push them forward, but despite how busy the tracks are, the microdetails of the instruments background pops out quite well.

Despite the crisp trait, male vocals still sound adequately organic and natural. They preserve enough of the weight that adds the pleasing throatiness, while avoiding any unnecessarily thickening of the notes. What’s more astounding is that the notes do not lose any of the textures in the process - there is no smoothening, and neither is there any over-accentuation of the peaks. Even in the rough vocals, like Metallica - The Four Horsemen, Enter Sandman, Eluveitie - Inis Mona, or strong vocals with peaks, like RHCP - Dani California, it never gets uncomfortable. Rather, they pop out quite nicely even from inside the busy mix they are in. Leonard Cohen and Mike Saaresto have a nice deep voice with evident sibilance. Vortex does a wonderful job in bringing out the weight, while hinting at the sibilant parts but keeping them under a tight control. In my opinion, the way Vortex makes the vocals stand out, however recessed it is (Metallica - The Four Horsemen, Tool - Stinkfist), is truly impressive.

Let us focus on the female vocals, which get a largely similar treatment like that of male vocals. They are brilliant, silky, textured, full of details, occasionally hinting at the inherent sibilance but never going overboard, just right tonality - yeah, I cannot find anything dissatisfactory in them. Even the body seemed quite appropriate - never felt unnaturally thin, never felt unnaturally thick. They have a distinct presence with the original nature intact. Sara Bareilles’s slightly raspy voice in Love Song sounds alive and kicking - yes, the roughness is present, not smoothened, peaks can be clearly apprehended, but never becomes uncomfortable. Same goes for Yao Si Ting in Scarborough Fair, her voice here is silky, but has occasional sibilant peaks - Vortex reproduces those peaks in their original nature, neither smoothens them down to comfortable level, nor accentuates them to make me wince. To be more precise, Vortex presents the female vocals in the way they are intended to sound - the transparency helps to enhance the overall experience even more.



The High frequency region does not disappoint either, in fact, they are equally impressive. It’s not easy to find an IEM that manages to reproduce all of the frequencies in an equally satisfactory manner, but somehow, Vortex does. The whole high frequency region has quite a fair amount of brightness, and there is not a bit of early roll-off. The lower treble sounds quite energetic, neutral in tonality, and very very well-textured. What’s even more pleasing is that the upper treble has an equally pleasing amount of energy, enhancing the air with all those fine micro-details. Not a hint of smoothened edges, but no uncomfortably accentuated peaks either. The brilliant cymbal crashes, the sparkling cymbal rolls, the fine textures popping out from the decays - coupled they create one of the most pleasant treble representations. I can confidently say these are some Sweet, sweet Treble. Metallica - Enter Sandman, The Four Horsemen, Steely Dan - Do It Again, RHCP - Dani California, Tool - Stinkfist, Neil Young - Misfits…all of them have varying degrees of brilliant treble showcases, complete with cymbal crash, roll, hi-hat, sticks, cowbells, etc. Vortex brings out the best of them with distinct notes, vibrant tonality, and superfine micro-details.



In the Technicalities section, as already multiple times mentioned, Vortex pulls quite ahead of the other competitions in terms of the brilliant textures and fine details. The notes do portray a very nice sense of realism. It has a very nicely clean background as well, along with a high degree of transparency. And if it is not evident already, the whole presentation is highly dynamic and engaging.
Now, coming to the soundstage, interestingly it seems that Penon has gone for a somewhat intimate stage. The forward midrange might be a reason for that. The width of the stage is quite commendable though, extends well outside the head on both sides. Depth I would say is above average - it does not extend very deep, but it most certainly is not flat. Height is one aspect that Vortex’s soundstage lacks, and frankly this might be the only chink in the otherwise solid performance of it.
However, one aspect has to be highlighted here - despite the intimate stage, the presentation never felt boring because of the impressive imaging it has. The front-to-back layering is quite excellently done. Each instrument is placed quite distinctly inside the stage and while it might not be completely three-dimensional, it still gives me much satisfaction.

With an Upgrade Cable: Now, I felt compelled to include this special section as I genuinely felt that Vortex had more to give. Make no mistake, the CS819 cable provided by Penon is a pretty good hybrid cable in its own merits. However, the incredible tuning of Vortex sparked a curiosity in my mind that what would happen if I pair it with a different, and more importantly, pure copper cable.
Hence, I swapped an Empire Ears Alpha-IV cable on it…and voila! I could detect an immediate improvement in the stage depth. The midrange also got pushed back slightly which attenuated the intimacy ever so slightly. I could also perceive a tiny bit more space between the notes. All these improvements gave way to slightly more enhanced imaging as well. No considerable improvement could be detected in the textures and definitions, although they did not need any to start with. The treble got accentuated very slightly, and a tiny amount of weight felt added to the bass slam and subbass rumble - which made it even more pleasant.

I threw another pure copper cable, EarAudio Anasa, 8 core 28 AWG 4N Monocrystalline Copper, on Vortex. The difference with Alpha-IV was imminent. With Alpha-IV the midrange was a bit more hard hitting with slightly bigger note, subbass rumbles had slightly more body, and stage was also slightly more intimate. With Anasa, the midrange notes became very slightly smaller with slightly softer attack (which in no way had any detrimental effect over the complete soundsignature), subbass rumbles body felt very very slightly lean, and the stage opens up a bit with increased depth. Overall, I liked the final effect it had on the sound.

And with this, I can say this with confidence, that simply a cable upgrade has made the Vortex earn a complete from me!

Effect of Tips: Now, this is another section I have not ever considered to include, but somehow, given how moody the Vortex is depending upon tips, I felt compelled to mention it separately. Here goes:

Azla Sednaearfit - Soundstage becomes larger, at the cost of bass slam.

Stock Grey/Green - Nothing satisfactory, neither bass slams, nor stage expands.

Stock White/Green - Better bass slams, but still nothing special.

Final Type-E White/Pink - Best bass slams, but stage becomes more intimate and space between notes reduces.

Generic Red core Grey umbrella - Long nozzle, hence nice stage, but despite the narrower bore from stock White/Green, bass slam is not much improved due to soft umbrella.

Tanchjim Bass (from Ola) - This provided me a lot of satisfaction in terms of very nice bass slams and very nice stage. But the bores were too pliable, and came out of the nozzle once on its own in normal handling itself. Changed it promptly.

FAudio Instrument - This is my current pairing. Provides a beautiful balance between bass slams and stage.

It was quite difficult to get a perfect seal because of the slightly shallower fit, hence it took me quite awhile to land the best pairing.

Click to expand...

Comparison:
Vs. Hiby Lasya ($199): I very recently reviewed the Hiby Lasya, which is an outstanding IEM in its own merits. As the Penon Vortex is also around the same price point, I felt it would be justified to make a comparison of them.
The first difference that sticks out immediately is the tonality. Lasya follows a largely smooth and laid back approach with just enough dynamics and a distinct touch of warmth so as not to make the overall sound dull. Vortex, on the other hand, has a largely technical approach to the sound, which is also quite dynamic, and has a rather bright tonality with a very slight hint of warmth.
Regarding Bass, Lasya has a tiny bit more quantity. The subbass rumbles have definitely more body and feels distinctly more atmospheric. The midbass slams, on the other hand, despite having a bit more body, feels slightly softer in comparison. Vortex pulls ahead in sheer quality of the bass. The whole low end region is more tight and snappy in comparison. The textures feel notably more pronounced and detailed. Midbass slams a bit harder. Both of the mhave their own strengths here.
In the Midrange, Lasya is a bit more smooth and feels a touch more organic. The notes have a tiny bit more body in the comparison, but not a lot more. In line with the bass, Vortex mids are noticeably more textured and details feel more pronounced. The notes of Vortex also feels to have more bite.
Treble region is where Lasya plays a bit more safe than Vortex. No, it is not muted, but it is not super energetic either. The extension in the upper treble is above average whereas the lower treble has a fair amount of energy. Vortex has a notably more energetic treble region, with more brilliance in the lower treble and more sparkles in the upper treble, the extension is better as well, as are the textures.
Soundstage is where lasya excels notably over Vortex, owing to its much better height and depth. Lasya has a distinctly more expansive stage over Vortex.Vortex, however, seems to perform slightly better in terms of imaging - the positioning of instruments feels more distinct. Layering seems to be about similar in both.

Conclusion:
Fast, Precise, Incredibly Well Textured, Vibrant, Clean, Transparent, Dynamic - these are all the words that are associated with Penon Vortex in my mind. It is an incredibly solid performer in a surprisingly small package. The fine microdetails, prominent textures, transparent and dynamic sound, intimate stage coupled with pinpoint imaging - all of them envelop you from all sides, slowly drawing you nearer and nearer to the centre of the music. The more time you spend with them, the more enamoured you become. Quite frankly, I was not expecting such a mind-blowing performance from such a small and compact IEM…but it really proved how an incredible driver tuning works the magic! This is now my default recommendation for anyone who wishes to get a sound as described in the very first line of this section. Penon Vortex is truly a maelstrom of small ingenuities that might not sound much impressive from the get go, I remember I found them a bit bright and thin sounding with a rather lacklustre low-end in the beginning, but the more time I spent, the more trapped I got in its flow, and now I can say this is one entrapment I am not looking to get out of anytime soon.

Introduction:
Hiby has been a long term player in the sources field, and recently has entered into the IEM market as well. In general, Hiby’s DAPs are held in high regard, and having listened to RS6, I hold the same opinion too.

Hiby started their foray into the IEM segment with Crystal 6, a 6 BA iem. Now, I was not much fond of BA bass (still am not), hence I never really paid them much attention. However, this year, a few months back, Hiby announced the Lasya. Now, that immediately caught my attention. Why? Because Lasya is a word of Indian Origin, and being an Indian myself, I was instantly interested! I reached out to Hiby, to understand why they decided on this particular name, and whether the essence of the Sanskrit word Lasya was taken into consideration.

Hiby replied this:
The term Lāsya in the context of Hindu mythology describes the dance performed by Goddess Parvati as it expresses happiness and is filled with grace and beauty. The Lasya was designed with recreating the emotions and soulfulness of a female performer in mind, and the faceplates are as colourful and beautiful as the dancing goddess. So we felt that the name Lasya goes well with our product image and our slogan for this new product is "born to sing". That's why it is named "Lasya".

Well, suffice to say I was quite pleasantly surprised by the thought they had put behind it and of course quite glad at this cultural appreciation. I asked Hiby whether I may have a chance of reviewing them, and they obliged and sent me a review sample. So here are my impressions below.



Specifications:

• Type: Single dynamic driver In-Ear Monitors
• Weight: 4.3 g
• Size: 10mm Carbon nanotubes Dynamic driver
• Frequency Response: 20Hz-40KHz
• Sensitivity: 108 ± 1dB/mW
• L&R Channel Balance Tolerance: ≤ 2dB
• Max Input Power: 50 mW
• Impedance: 32 Ω ± 5%
• THD: ≤ 2%
• Cable Material: OCC (Ohno Continuous Cast) copper:4*30*0.05mm
• Cable Length: 120cm
• Terminations: 3.5mm gold-plated, 4.4mm gold-plated

Disclaimer:
I received this item from Hiby for free in exchange for my honest opinion on this. I have recorded my impressions below while trying to remain bias-free as much as possible.

Packaging and Accessories:
When I received the box, I was surprised at how refreshing it looked from the outside. The near-perfect cubic shape, the flowing silver letters, and the subtle design in the background - had a very bright Autumn vibe to my eyes.

Under the cuboid top cover lies the first layer housing the earpieces lie. Beneath that is the layer where the 3 types of silicone eartips are housed - Crisp, bass, and Balanced, along with a pair of Memory Foam eartips. I used the Crisp eartips for a while but eventually settled with the BGVP W01 eartips which made it sound its best.



Pick up that layer, and underneath is the Big case. Yes, it is Big, and Round with a bulge and padding on the inside for extra protection - exceeding my expectations. Well, the volume was needed to house not one but TWO Cables.



Yes, Lasya is perhaps the first iem that I came across at this price range (under $200) that comes with two cables - one 4.4 mm balanced and another 3.5 mm single end. A pleasant surprise, to say the least. However, and I do not know why, Hiby has decided to go with Pentaconn Ear connectors instead of the more conventional mmcx or 2pin. Acoustune is the company that introduced these connectors first in their product line, I think. But I do believe that going with this connector might have prompted Hiby to include the balanced cable, as a lot of us are preferring to use balanced over single end, and Pentaconn Ear balanced cables are not exactly easy to come by. Props to Hiby for that.



Build and Fit:
Lasya is completely made of a semi-transparent acrylic shell which I believe is also filled with Acrylic. The shell, albeit light, feels quite sturdy. The Hiby has employed a unique design of air pathway, as shown below:



In Hiby’s words: The convective intake and exhaust acoustic chamber design is fully integrated with the housing, effectively eliminating pressure differential and driver flex. It achieves the beautiful wear design of CIEM styles while obtaining the same acoustic utility as traditional utilitarian driver housings. Eliminating pressure differential and driver flex makes for freedom from channel imbalance upon tight fit and a clear sound and a soundfield that extends out of the head.

Basically, it seems that the front vent is ported towards the back of the housing. Something unique, no doubt, but not exactly groundbreaking. How accurate the claim of 'soundfield that extends out of the head' is, we will see later. However, I can confirm that the semi-custom shape of the shell is in fact extremely comfortable and fits like a glove inside the ear. Also, there is absolutely zero driver flex. The green shell looks appropriately luscious for the name with the beautiful faceplate and the gold lettering.

I have tried to capture the ports in my photos. Here are some close-up looks:





The OCC cables are quite slim, but not thin, and quite supple - which is a plus for me. The SS parts feel sturdy. Overall, they do feel like quality products.

Source:
Qudelix 5K balanced out via bluetooth
Luxury&Precision W2 balanced out
Shanling UA3 balanced out
Shanling M7 balanced out mid gain

Sound:
Before speaking about the sound, I must speak about the store produced frequency response graph, or rather, how inaccurate that is. Take a look below:


It is quite obvious from the above that there is a very strong bass emphasis of almost 10 dB over 800 Hz that continues almost horizontally from 20 Hz to 250 Hz. This most definitely signifies a full blown bass. And yet, when I received it and put it in my ears, I was pleasantly surprised with a much much more controlled bass, which I was totally not expecting!

Then, techpowerup published their review of Hiby Lasya, along with a measured graph. Take a look at the below link:
https://vsg.squig.link/?share=VSG_Target,HiBy_Lasya

In quite the stark contrast to the store produced graph, it shows a very gentle rise from 500 Hz of about 7 dB at most till 20 Hz. Now, this explains the actual bass response that I was hearing perfectly, and I was content.



With this out of the way, let us plunge into a more thorough discussion on how it sounds:

The tuning of Lasya felt so matured from the very first listening, that I was totally captivated. It felt smooth, and yet not muted. The transparency was quite decent, quite clean midrange. A gentle boost in the bass, and a boost in the mid treble region to add a bit of sparkle, do the magic. The overall sound is quite comfortable for extended listening, and yet you’ll never feel that the sound lacks life. Due to the gentle boost in bass and treble region, coupled with a balanced mid range (not too far back, not too forward either), the overall presentation becomes really engaging. The tonality is a bit on the warmer side, which adds to the listening comfort. It is quite clear that Hiby has gone in the opposite direction of trying to push out as much detail as possible. What Hiby has evidently tried to achieve is creating a sound that is comfortable to listen to, has enough air to not feel congested, and is dynamic enough to make it engaging. Of course, compromises are made here and there, but the whole feels greater than the sum.



Not even once the low end feels overwhelming, and yet it never feels missing either. The gentle boost makes the bass stay at such a level where it makes its presence known and felt distinctly, but never fights to grab your attention. One might think that to attain such balance the bass had to compromise a full bodied presence. Well, in that case they’ll be in for a surprise! The mid bass slams, albeit gentle, never felt half-hearted or lacking body. They have quite a full bodied reproduction. The notes have a very nice weight that adds a touch of physicality without emphasising them. The double pedal kickdrum slams in Metallica - The Four Horseman, the timbale and drums in Deep Purple - Chasing Shadows, the attacking drum beats in Red Hot Chili Peppers - Dani California sound appropriately impactful, weighty, and present, without eating at the stage. However, it’s not just the midbass that is masterfully tuned, subbass gets the same treatment also. If splitting hairs, subbass might seem to have a tiny bit of more emphasis than the midbass. The bass guitar rumbles in Deep Purple - Chasing Shadows, the individual plucks of bass guitar strings in Leonard Cohen - Hallelujah sound wonderfully deep and well-bodied, and very slightly more present over the drums. Textures are not bad, in spite of having a bit of smoothness - which gives the impression of masking some details, but frankly, in my whole listening session I never once felt it was lacking anything.
The checking of low end always ends with Bear McCreary-Battlestar Galactica Season 2 OST: Prelude To War. The thunderous bass drums here sound a bit controlled, although they definitely do not sound hollow. Sufficient weight was present throughout the track. While they do not slam and rumble in their full glory, they certainly do not sound lacking body or weak. On the other hand, the double bass set up a very nice groundwork that grows from being in the background to commanding a frontal presence along with the drum, and all throughout this transition they sound consistently deep and full bodied without becoming overwhelming.



The single defining trait of the midrange is how incredibly organic it sounds, while still boasting a decent amount of transparency. The notes have a beautiful combination of the right amount of body, crispness, and slight smoothening of edges; together they provide the midrange a beautiful lushness that I simply could not get enough of. Instruments like stick hits, snare drums, sound crisp enough to stand out, but the smooth edges blunts the attacks a bit - which was not a deal breaker for me. The same applies for guitars, although, in this case, the acoustic guitars attain a more natural timbre. The note weight sounds quite balanced, neither too lean nor too thick, and the attack sounds appropriate. Estas Tonne and Antoine Dufour - I love these two acoustic guitarists, and both of them sound absolutely magical on their respective tracks - Strings Of A Bard and Development. The guitar notes sound really crunchy and alive. Coming to electric guitar, Joe Satriani sounds mesmerising in Always With Me, Always With You, however, a bit more energy here would have been more appreciated. The rhythm guitars in Evanescence - Imaginary sound quite crunchy, textured, and maintain a distinct presence in the mix. The snare drum rolls in Bear McCreary-Battlestar Galactica Season 2 OST: Prelude To War sound a bit dull and not as textured as crispier and livelier sets, but not totally washed out and blunt either - have enough crispness to still sound satisfactory.
Male vocals are given a somewhat neutral treatment here, but that does not imply they sound dry. There is a distinct warmth here, with the notes having satisfactory weight and body to sound natural, but not thick enough to sound juicy and heavily coloured. They do still sound organic enough that I never once had to grimace in dissatisfaction. Lasya reproduces the textures in the vocal quite well, but smoothens the rough edges to minimise discomfort - and that is truly a masterful tuning, again. The deep baritone parts of Leonard Cohen in Hallelujah sound appropriately deep and full bodied, while Marko Saaresto’s ‘bass-baritone’ voice has the right emotional touch in The Ballad of Jeremiah Peacekeeper without sounding grating or harsh. In both of these cases, the sibilant sounds (s, z, sh, zh) are smoothened out not to cause even the slightest discomfort while still reproducing them clearly. When it comes to rasp and rough or gritty vocals, like Eluveitie - Inis Mona and Metallica - Enter Sandman, Lasya portrays them in such a manner where the rough edges do not get overly emphasised, and yet the overall gritty texture is reproduced well along with a fullness that helps the vocals attain an appropriate presence and avoid thinness.
Now, let us talk about the female vocals, which, as claimed by Hiby, Lasya is tuned for. And Lasya delivers here. The way the female vocals get portrayed here is this - the energy of the female vocal is preserved in ample quantity, slight hint of warmth is added to enhance the emotive factor, and in line with their main tuning philosophy the sibilant notes are smoothened a bit for listening comfort. What it culminates into is a beautiful and sweet sounding female vocal that never goes out of bound despite how sibilant it gets, and yet never fails to deliver the underlying energy. Celine Dion’s soaring voice in The Power of Love, Christina Aguilera’s powerful voice in Hurt, Yao Si Ting’s silky voice in Scarborough Fair, Cherryl Wheeler’s jolly voice in I Know This Town, Amy Lee’s versatile voice in Going Under, My Immortal, Hello, Sara Bareilles’s slightly raspy voice in Love Song - Lasya brings out the most of them every time without sounding strident. And this is what I believe is one of the greatest feats of Lasya and how it justifies Hiby’s claim regarding its tuning. Other iems in a similar price range that I have listened to, none of them have ever managed to play all of the above vocals equally beautifully. Some of the vocals would sound ethereal, and then some would sound too sharp and peaky. Lasya is an enigma here where it made all of them sound great without giving any special treatment.



Treble section of Lasya sounds a bit controlled, but thankfully not muted and super rolled off. I’d say they are more on the comfortable side without severely compromising the energy. In fact, there is quite a noticeable amount of energy at the lower trebe region, while the upper treble region is a bit pulled back. Although not as bright and sparkling as other bright sounding iems like Penon Vortex or Azla Horizon, the treble of Lasya still stands out quite well to make its presence known without getting in your face. Somehow, Hiby managed to tune the treble such that the energy is quite sufficient to make it engaging, and yet had the rough edges smoothened to preserve the listening comfort. The notes have a slight warm tonality while having just enough body. Point to note - despite the smoothed edges, the treble notes still sound crispy. I’d like to say, while this kind of treble is certainly not for trebleheads, they are still of just the right quantity and quality to make the whole tuning achieve the balance it was aiming for.
In Katja Maria Werker - Contact Myself the background treble notes are nicely reproduced and have a distinct crispness. Not very bright, yet not subdued. Same goes for Metallica - Enter Sandman, the forerunning hi-hat roll sounds pronounced yet never peaky. Cymbal crashes are quite easily discernible in the mix as well, although not as bright and sparkling as other sets I mentioned.



Talking about the Technicalities, I would say the Lasya is fairly technical. Not too much due to the slightly smoother notes, not too smooth to sound mushy. Again, there is a nice sense of balance. Crisp notes with smoothed edges isn’t something I come across regularly, and hence, when I have, I have tried to make sure to point that out.
Although, that’s not the first attribute that comes to my mind when talking about technicalities.
Rather, what first comes to mind is the outstandingly open presentation it creates. While the stage width and depth are quite above average, the excellent height it has elevates the whole presentation to quite a grand level. The imaging is one of the best I have heard in this price range, and the air between the notes is plenty. Separation is quite nice again. Everything together, it certainly makes an attempt to get close to a 3-dimensional stage, and achieves about 80% of it, in my humble opinion. This wide open presentation is certainly one of the best aspects of Lasya, as I surely wasn’t expecting this given that its tuning was on the smoother side. And here, the statement, 'soundfield that extends out of the head' gets justified.

Conclusion:
Hiby Lasya is an enigma. It is smooth iem done right. Those who know me know that I love my treble as I love my bass, powerful/energetic, tight/sparkling, and with a nice controlled decay. Lasya by no means has sparkling treble, and yet I simply cannot think the treble is anything less than satisfactory. I think this has more to do with the sum of the individual attributes that it has. The low end is not the most full-bodied, nor does it slam exceptionally hard; it is tight though. The treble is not highly extended, although has an above average amount of energy at the lower treble and sounds crisp. The midrange is surely magical, such is the open and airy presentation. And when all of them come together, the listener, I in this case, can’t help just float in the music while having absolutely zero concerns towards finer details. Lasya was truly “born to sing”, emotionally and soulfully. I find no fault in Hiby’s logic behind the naming. Lasya focuses on musicality and brings out the happiness in the music rather than focusing on extreme technicalities. I mentioned ‘extreme’ because Lasya is indeed fairly technical. Hiby has pulled off a wondrous tuning and I will surely be looking out for the further single DD offerings from them. For the time being, Lasya is my go-to iem whenever I need to take a change from sheer technical sound or when I just need to relax.

Introduction:
Azla has gained a fair reputation in the field of eartips. Sednaearfit, Sednaearfit Light, Sednaearfit Short, Sednaearfit Light Short, Xelastec, Crystal - all of them are pretty highly appreciated in the audiophile community. I personally have the Sednaearfit Light and Light short, along with the Crystal, and I love them. I very much want to get my hands on their Sednaearfit Vivid edition as well, but cannot find a suitable vendor who will ship to India, and they are not yet available with local vendors also.

While researching Azla, I came to find out that they have some iems as well. I gave them a cursory glance in the past and thought nothing much about them. However, after that my preference changed, and I got completely inclined to single-DD iems. I have kind of a treasure hunter syndrome (coined by myself), I always try to look for those gears (mostly iems) which have stayed out of the limelight, but which might have solid potential. If you’d look at my signature you’d know that. Anyway, that is how my search for a TOTL iem landed me on FAudio Dark Sky. I located it on zeppelinandco, and shot them a message asking for a review sample for a discount. They agreed, and just then, by luck, the Horizon on their site caught my glance. This time, I put some more time into it, looking deep into the tech, combing through the handful of reviews it has online, and decided to play a gamble on it. Asked zeppelin for a similar reviewer’s discount, and they agreed. And that is how I came into possession of it.



Specifications:

• Driver Unit: 8mm new SF ARD(Advanced Research Driver)
• Sensitivity: 103dB
• Total Harmonic Distortion: Less than 0.5%
• Rated Input: 5mW
• Max Input: 20mW
• Impedance: 27Ω ±10%
• Frequency Range: 5Hz - 30kHz
• Weight: 24g (with cable)
• Plug: 3.5mm stereo

Disclaimer:
I bought this from Zeppelin&Co. for a reviewer’s discount in the promise of my honest opinion. I have recorded my impressions below while trying to remain as much as bias-free.

Packaging and Accessories:
Azla has gone with quite the minimalistic approach with the packaging of Horizon. A plain black cardboard box with black sleeve. Although the inscription of the titles feel fairly premium. Inside is a compartment with cavities for the earpieces and the cable. Below that is 2 flat boxes containing eartips. There is some literature in a black envelope as well, but I did not spend much time with it. There was no carrying case or carrying pouch.








The cable that came with Horizon seems to be nothing special, although not particularly cheap. The sleeve seems to be a rubbery kind of material with a pretty high coefficient of friction, and hence very prone to getting tangled. The details of the cable is as below:

Cable For Superior Sound
AZLA fully understands that cable is extremely important. Therefore, researched and developed the best cable through long time, and finally succeeded to apply the result to Horizon.
Urethane-coated high-quality copper wires are built with 128 strands total (32 copper wire, Kevlar/250D*4 cores), present accurate sound with low impedance through various treatments.
Also, applied superior cable weaving method, which is used for high-end earphones only, and finished 4wires cable weaving for L/R, after that, able to experience the quality sound.

Click to expand...

Well, from the description it seems to be of fairly good quality, although I am not sure what sonic properties the Kevlar/250D*4 cores provide, or whether it’s just there for structural reinforcement.



The eartips were regular run of the mill short stem wide bore tips. I didn't understand the idea of including the same type of eartips twice. As a saving grace the earpieces came with Sednaearfit M tips attached, but even though I was disappointed, as I found in a previous review that it came with one full set of regular tips and one full set of Sednaearfit tips. I contacted Zeppelin regarding this, and upon checking they confirmed that this is how they received this product. Might be a reshuffling of the packaging. Anyway not a severe deal breaker per se.







The absence of a carrying case or carrying pouch was really something that I disapprove of. At this price range, a carrying case is a given, especially when iems 1/10th of its price are coming with at least a soft carrying pouch.

Build and Fit:
The build of Horizon is quite unique. The actual functioning part is a single metal cylinder that houses the dynamic driver and extends from the back to the front of the earpiece. The middle portion of the cylinder is housed within a polycarbonate (yes, polycarbonate, just regular polycarbonate) shell, which, from the first glance seems to have a lot of empty space save for the pair of cables, but it actually has a different purpose, which will be detailed below.



The nozzle is quite long and reaches deep within the ear. It also is on a somewhat wider side in respect of diameter, about 5 mm wide. Both of these coupled together makes it a tricky fit. Any eartips that I put it on, had either of the two problems: First, it was either slightly narrower than ideal, which, despite the deep fit, did not provide the correct seal; or Second, the eartips provided a snug fit and strong isolation, but also put pressure in such a way that had some effect on the sound signature. It did not become painful or anything, but I could detect that if my ear moves (yeah I can wiggle my ears), the pressure on the inside of my ear canal lessens slightly, and the sound seems to open up slightly more, without breaking the isolation. Despite the strong isolation, I would like to mention that there was absolutely zero driver flex. Also, once I could achieve an ideal seal, I largely forgot that it was even there.



I am not a fan of the PVC shell. While it makes it quite light in weight, the shells themselves are not very hard and hence quite prone to scratches. I am using it as an everyday carry, and while I always keep them inside a cloth pouch, there are several fine scratches on them already. Although I never have any concern regarding the durability of it, it seems to be pretty sturdily assembled.



Tech Inside:
Normally this is not a section I include in my other reviews, however, Horizon is special. It employs some such unique techs inside that I felt obligated to talk about them. I won’t go into rewriting them in my own words to avoid unnecessary hassle, I am just copy-pasting them from their website:

Infinity Advanced Research Driver
SF(Superior Fidelity) Driver: Developed by Professor Shin-Ryeol Lee, the next generation’s driver which removes partial vibration at the driver, enables it to play original sound.
Upgraded SF driver, which is the main part of INFINITY ARD, produced stronger diaphragm by ‘46nanos 3 multi-layers' method, providing minimum partial vibration with shape of diaphragm through scientific 3D scanned analysis.

Click to expand...

Characteristics of Sound
The special thing is, fundamentally closed phase distortion due to whole sounds are made from one diaphragm without crossover network. Throughout scientific diaphragm analysis, there is able to minimise partial vibration, therefore it is able to play super high frequency range which is over 30kHz area, and minimised phase distortion and frequency characteristics through the sole diaphragm, which it was unable to reduce with common earphone structure. Especially, by adding ‘Air Flow’ technology, which is a system of Infinity Driver for AZLA, minimises sound distortion and improves staging, space impression and sense of hitting. In summary, the main advantage is to be able to realise the natural acoustic atmosphere and sense of hitting though bass range.

Click to expand...

Sound Air Vent Holes
HORIZON is engraft Air Flow technology which is used for AZLA-01R, improves space impression and staging sense. For clearer and deeper sound, applied two holes with Air Flow technology to the metal housing, it finishes INFINITY ARD and provides a very special hitting sense, deep and rich bass and specialised wide staging. Through Horizon, able to enjoy natural sound and concrete low sound,
never experienced before with conventional earphones.

Click to expand...

Drawing For Best Sound Quality
Horizon’s design has been started to make earphones as a speaker. For ‘space’, like a loudspeaker, AZLA researched hard and finally found the best design to apply to the production. Material also, after numerous trials and errors, the top grade of polycarbonate housing is chosen and combined with metal housing.
Assembly method of AZLA Horizon is a patent pending method, it is completely new. Regarding assembling different materials, applied ‘sound prefer’ method. Minimised chemical assembly way (bonding), and best sound is provided through screw-finished way, of course whole parts are fixed well. Horizon is applied the best shape for the best fitting at human ears throughout many modelling and tests, after that the user is able to enjoy the best sound with the best and stable fit.

Click to expand...

Well, as explained in the Sound Air Vent Holes section, along with the above line diagram, it is clear that within the polycarbonate housing the metal cylinder has small vents, through which air circulation occurs between the metal cylinder and polycarbonate housing. This, along with the two air vents on the conical portion in the back, might help create such an immersive stage combined with a deep and hard hitting bass. Well, this is purely my guess, because no words regarding that internal airflow is mentioned anywhere in the official product page.



Source:
Qudelix 5K balanced out via bluetooth
Luxury & Precision W2 balanced out

(I deliberately put the Shanling M7 out of this because it was not a good match, provided it’s already fairly on the bright side.)



Sound:
It’s not every day that I fall in love with a iem that has a very crowd pleasing V shaped tuning. I love a bit more balanced sound. Nice bass slam that stays controlled, clean and slightly forward midrange, sparkly highs…more like a W shaped sound. However, Horizon is quite an excursion from that. It has a typical V shaped sound that can be found in some quite popular iems, namely, Ikko OH10, Sennheiser IE300, Kinera Norn. And if anyone has read my reviews, they would know that none of them did particularly catch my fancy.

Well, Azla Horizon changed that.

When I first put them in my ears and started playing, there were three aspects that immediately caught my attention:

1. The Big and Bold Bass
2. The quite energetic and somewhat sharp highs
3. The sense of a well crafted three dimensional space

In that order. While the first one was a guilty pleasure and the third one was a genuine pleasure, the second one was a concern. The Azla Sednaearfit M tips were still on, they came pre-attached. And while they did enhance the three dimensional stage, they also enhanced the energy in the upper mid and highs. Which, from the below frequency response curve (taken from crinacle’s database), is already in abundance.

So, I did a lot of tip rolling, and finally settled on the generic red bore dark grey flange eartips, which are available on Penon and come bundled with a lot of iems. The bass was enhanced slightly more, the stage got slightly smaller (but still providing plenty of satisfaction), and the energy in the upper registers felt dimmed very little bit - which was welcoming nonetheless.
While the stock cable was fine and I used it for quite a while, I finally paired it with the Satin Audio Gaia II, the SPOCC pure copper type-4 litz cable from Satin Audio’s entry level Titan series. Further impressions of Horizon will be with this pair.



Where was I? Oh yes, as I said before, Horizon, in spite of being a V shaped iem, really really captivated me. Now, how did it do that? Well, you see, I was getting bass that was thunderous to a fair degree, and yet a highly transparent midrange, crisp and slightly sharp notes, etched out details, brilliant separation, superb layering & imaging, three dimensional soundstage, and extended sparkling & quite energetic highs (which can make or break it, depending upon tolerance)...it was rare to find all of them together at around $300 mark, so don’t blame me for being enamoured with them! The complete presentation was so dynamic that it shook me to the core and made my foot tap all together!



Let’s get to the details. Firstly, as already mentioned several times and is quite evident in the graph, it boasts a big and bold Bass. There’s no favouritism here - Mid and Sub, none of them are favoured over the other. Both of them are boosted quite a fair bit, as can be clearly seen in the crinacle’s graph: a clear 12 dB boost from 1khz. And every bit of it can be heard and felt. It slams quite powerfully, digs quite deep, exerts quite a respectable amount of pressure, and reproduces textures with authority. Each drum hit is felt. The bass guitar riffs resonate deep within your soul. And yet never they become muddy or overlap one another. A brilliant track to check is Deep Purple - Chasing Shadows. There’s a unique rhythm here, consisting of drums, timbales, maracas, cowbell, along with a clearly pronounced bassline almost throughout the track. The drum and timbales hits are thick and commands a quite strong presence right from the onset of the track. And shortly after the bass guitar comes into play, exerting full bodied notes and deep rumbles. However, never once the drum hits and bass guitar rumbles overlap each other or get mashed together - such is the brilliant control and outstanding textures. Being this strong and thick, one would think that the bass will be one note, but that is the farthest from the truth here - the variation in the bass guitar tones are clearly produced and easily noticeable; there’s a clear distinction between the drum and timbale notes as well. This shows how refined the bass is.
To get an idea of the extent of the low end, I played Bear McCreary-Battlestar Galactica Season 2 OST: Prelude To War. This track has some serious bass drums that slam and rumble in a thunderous way that shook me to the core. And never once did I feel the textures became overshadowed by the thick bodies of the notes. There are also some bass at play which set up a firm groundwork for the track with equally formidable presence.



One would think, given how deep the Midrange sits behind the bass, that its midrange performance will be quite substandard. And in fact, I felt the same when I was reviewing the Ikko OH10. The curves of Horizon and OH10 are pretty similar, and the midrange performance of OH10 was not anything remarkable. However, the handful of reviews of Horizon that I could find, not one of them bashed it for being unimpressive. And once it started playing, I can clearly hear why.
Immediately after the powerful bass the aspect that stands out the most is the highly clean and clear midrange. The first defining trait that I can detect is precision. It’s rare to get to hear such a cleanly defined and well separated midrange in this price segment. The strong low end never meddles into it, albeit it does add some weight to the lower mid which is highly welcome. There is an edge in the midrange notes which helps to enhance definitions, which is one of the notable aspects of it. One might say it’s prone to being clinical and dry, but thankfully the DD timbre barely saves it from that…but yeah, ‘barely’. Compared to my other DD iems, the midrange definitely feels a bit lean, and yet not that lean to abandon musicality. Lower mids, especially deep male vocals still have that touch of throaty sound which make them sound natural, but as it goes upwards the edges in the vocals can be detected, especially in the finishing notes, and they do sound slightly less organic then - a bit more digital. There seems to be a slightly metallic sheen in the vocals. All these can be experienced in the track Leonard Cohen - Hallelujah; here his voice starts deep and weighty, but as it soars the sharp edges become a bit accentuated. Rasp and harsh male vocals, like in Metallica - Enter Sandman and RHCP - Dani California sound a bit edgy, but not overly thin and unnatural - an acceptable amount of note weight is still present, but not exactly up to desirable degree (I hope this makes sense.) But come to smooth and baritone vocals, like Neil Diamond, Bob Dylan, they sound nothing short of delightful. Sure, I would have preferred slightly more body, but that’s really just me fussing over it, as the DD timbre makes them quite enjoyable nonetheless.
Coming to female vocals, well, Horizon bestows them with a brilliance and extension which perfectly conveys the emotion in them. Be it Whitney Houston,Madonna, Julia Jacklin, Amy Lee, Christina Aguilera, Cherryl Wheeler, Pink, Yao Si Ting, Charlotte Cardin…all of them sound alive and appropriately full of life. The smooth ones have that sublime depth, the energetic ones soar high with surreal radiance. They do have one thing in common - all of them have a silky nature added to them, which makes them all the more magical. Following the trait of the male vocals, here also the sharpness might sometimes work against the female vocals, and accentuates the peaks occasionally to become slightly piercing and adds that metallic sheen to them, but thankfully that happens in very specific tracks only, and that too quite seldom. However, as I played Sara Bareilles through Qudelix 5K, the peaky parts of her voice became really uncomfortably accentuated and sharp, slightly sibilant, and ultimately not enjoyable at all. Yao Si Ting in Scarborough Fair also had one or two sibilant areas that got slightly piercing for a moment or two.
On the other hand, the instrumental tracks sound outstanding. Each instrument notes sound well defined, details are effortlessly brought out. The slightly sharp notes help here a lot. Especially string instrument notes, such as guitar (both electric and acoustic), sound crunchy. Despite having the sharpness, the notes do not feel dry, and most certainly not flat. May be very slightly thinner in body, but that assists in improving the separation rather than making it unnatural. The most notable aspect of Horizon here is how effortlessly it recreates the detail in the instruments being played in the far background. Despite being in the background they do not feel muted and washed out, rather the microdynamics of them are brought forward quite nicely and I never failed to notice them. Don’t misunderstand, though, it’s not like the background instruments are pushed forward in your face, that will kill the stage depth. They remain situated at the depth of the stage they are meant to be, just they sound quite clear and stand out so prominently that the details become really easy to pick up. This is precisely the reason why I love listening to orchestral and instrumental tracks the most with Horizon, for e.g, James Newton Howard - Red Sparrow OST: Overture, Cloud Atlas OST: Won’t Let Go, Estas Tonne - Strings Of A Bard, Hans Zimmer - The Dune Sketchbook.



The Treble of Horizon has a considerably bright and slightly cold nature, despite the steep 20 dB roll off past 8 khz. It still has plenty of energy in the region of 6 khz-8 khz. The high frequency notes have a silky nature, however, they’re not silky SMOOTH…rather silky and sparkling, with slight edges here and there. The utter transparency of the midrange is carried forward to this region as well. These two aspects combined really elevates the treble to an ethereal presentation. The cymbal and hi-hat notes stand out quite well in the mix, even in the busiest tracks. However, this is purely my guess, because of the steep roll off past 8 khz, they never become uncomfortably piercing. Again, this is purely my guess. The crash cymbals notes sound brilliant in the mix and the subsequent decay is quite natural, but even on tracks where the cymbal crashes are at the forefront, they never become overly piercing. I never had to wince once in the tracks Tool - Stinkfist, Red Hot Chilli Pepper - Dani California, Metallica - Enter Sandman. Specifically, Enter Sandman has a constant hi-hat roll placed quite forward, which has an abundance of sparkle and energy, and never once I had the sensation of getting stabbed in my brain with several icy needles, even though they retained a strong presence throughout the track. In Stinkfist and Dani California various cymbals notes are placed in various depths of the stage - some in front while some come from back in the scene. Horizon, while portraying the frontal cymbal notes with sufficient energy but not uncomfortably bright, also manages to bring out the background treble notes to their justified presence. The background treble notes - cymbal crash, ride cymbal roll, or cowbell - everything becomes clearly discernible in the mix, at their respective position, with sufficient details. Even the faintest of notes sounds clear. The layering of the different notes is masterfully carried out.
Granted, there is a spicy nature due to the edgy notes and perhaps a metallic sheen…but then, treble notes generally originate from metal to metal collisions, so the metallic sheen really did not prove to be detrimental for them, at least to my ears. The sharpness of the notes also remains somewhat within control so that they never become too spicy to sound wrong. However, for treble sensitive ears I can clearly see it may provide notable discomfort, as despite the absence of piercing peaks, the general abundance of energy can get a bit overwhelming. For treble heads, well, you’re in for a treat.
Post 11 khz the treble peaks up and recovers some energy, which helps in retaining the air in the treble region. The multiple different types of treble notes never fight among each other to gain prominence - all of them are well separated and have enough room to breathe.



I believe I have already said enough regarding the several aspects of technicalities of the iem. The stage is sufficiently deep while having a nice width and height, imaging is quite pinpoint and accurate. No need to repeat after myself any more.

Conclusion:
Let me be perfectly clear - Azla Horizon is not a safe choice for everybody. It is very much a specialist iem. Such a sharp V shaped iem at about $300 range ($286 to be exact) is not what most people are looking for at this range. A 12 dB boost in the low end over 1 khz, and a similar boost in the upper mid frequency generally gives off a lot of red flags. And truth be told, I would have definitely preferred a bit less emphasis in the 5khz - 8khz range; however, it is what it is. In spite of so many alarming aspects, Azla managed to tune the final sound in such a way that has definitely drawn me towards it. And that’s where it distinguishes itself from other V-shaped tuning iems. The highly transparent midrange with captivating instruments, just right male vocals, ethereal female vocals, brilliant treble, airy and spacious presentation, immaculate imaging, and all over a very dynamic and engaging sound do not take much time to capture the heart of the listener, the way it did mine, despite the slight nagging of the sharpness of the notes. I cannot recommend it to anyone as a blind buy suggestion, because it takes time and a certain level of tolerance to bright tuning to really adapt to its sound signature and appreciate it. But quite honestly, those who do have these two, would find satisfaction in it - that’s one thing I can swear on. It has become my EDC (every day carry), paired with Qudelix 5K or occasionally L&P W2. The Hiby Lasya is a calmer sister that compliments it. When on the road and I need that energy, that power, to drown out the outside noise a bit to enjoy my music, Horizon fills in that role perfectly for me.

Introduction:
Moondrop has kept up a fair reputation with the music lovers of the world for quite a while now, with products ranging from lower double digit to upper triple digit prices. I have previously reviewed Aria 2021, KATO, and Blessing 2 from their offerings. While none of them were particularly bad, I did not exactly feel satisfied with any of them. Their latest offering has been in the budget range, $20, with a somewhat intriguing name, Chu. I was offered a chance to review it and curiosity got the better of me, so I took the offer.

Specifications:

• Impedance: 18Ω.
• Sensitivity: 120dB/Vrms@1kHz.
• THD: ≤1%@1kHz.
• Frequency Response Range: 10Hz-35kHz.
• Effective Frequency Range: 20Hz-20kHz(IEC60318-4, -3dB)

Disclaimer: I was provided this unit from Hifigo in exchange of my review on them. The impressions recorded below are totally of my own and in no way biased. It can be purchased from the following link:

https://hifigo.com/products/moondrop-chu

In the Box:
Since this was a review sample, the retail packaging was not available. I received the iem, the eartips, the carrying pouch, the earhooks, and the literature.



Build and Fit:
Chu is rather solidly built with a fair amount of weight that really seems surprising given the small sizes of them. However, that makes it unnaturally heavy which totally was not required in my opinion as I don't think it has anything to provide to the actual acoustic tuning.
Although, because of the small size, the fit is rather snug and nice.

Source:
Qudelix 5K
L&P W2

Sound:
Chu has a largely neutral sound that is quite clean and has ample amount of brightness. The lower end has some slam, but not enough power with the stock Spring tips. Hence I changed to some narrow bore IMR tips I had lying around, and the sound improved a bit.

Do note that I have tried to record my impressions below while keeping its price point in mind.

The first impression that comes to mind regarding Chu’s sound is that it is a bit on the thinner side. With the narrow bore tips there is finally a bit of a boost in the lower region to add a bit of slam in the midbass. Subbass has a bit of warmth and the rumble cannot be missed, but it still feels a bit restrained. Textures are nice for the price, does not feel washed out. Bass drums do not feel as attacking as they should, and kickdrums also are a bit restrained.
Mids sound quite clean, but also is pretty much lean, which enhances the clarity and transparency, in exchange of a bit of engagement and musicality. No, Chu most certainly is not an analytical iem, and sounds a bit musical also, but not to the point that I start to groove with it. The transparency is commendable though, and really helps to improve separation. I really could not find any fault on that front, given the price. Male vocals do have that DD timbre to avoid sounding unnatural, but they still do sound thinner than my preference. Same occurences are noticed for guitars, snare drums, etc. - they just do not sound full enough. However, they do sound quite crisp which makes them easier to notice and appreciate. Although, it most certainly is not that much V-shaped that the vocals feel further away than the bass; rather, they sit a bit closer and have a nice presence. Female vocals on the other hand have quite a nice amount of brilliance and energy to sound vivid...which is quite enjoyable. Chu also makes sure not to make the female vocals sibilant - another feather to its hat.
Now comes the treble, which I found the best part of the package. It's energetic and sparkling with respectable extension, and yet never feels particularly harsh or piercing. It has a rather cooler hue, which syncs nicely with the overall neutral tonality. Nice amount of air and transparency are present here. Cymbals and hi-hats sound really crisp and bright without being piercing. The only gripe I have here is that it sits quite forward and almost in line with the bass, which gives rise to the lessened depth of the stage, and subsequently portrays the stage as rather flat.



Conclusion:
There are numerous weak points here that I can note down. However, once you remember that the price is just $20, most of your arguments will just stop at their tracks. Then, I cannot but marvel at the quite clean presentation it pulls off without sacrificing the bass much. I love an energetic sound and CHu also provides that in spades. Yeah lean mids is a big no no for me, but the DD timbre saves it somewhat this time. Pretty solid recommendation in this price range to be very honest.

Introduction:
It’s a new seasonal offering from BQEYZ, the Autumn! From the very first look of it I fell in love with it - such a beautiful elegant look! Coupled with it the mention of a 13 mm DD inside surely had me interested…and the swappable magnetic filters were a fresh and unique addition. So when Elle from BQEYZ offered me the Autumn for a review, I could not turn it down.



Technical Specifications:
Drivers: 13mm dynamic driver with dual-cavity acoustic structure.
Impedance (Ohm): 46 Ω
Sensitivity (dB): 110dB
Frequency Response (Hz): 7 Hz – 40 kHz
Removable Cable: Y
Cable: silver-plated and copper hybrid cable
Cup/Shell Plug: 2.5mm/4.4mm/3.5mm with 2-pin 0.78 mm

Disclaimer: I was provided this BQEYZ Autumn as a review sample from BQEYZ for free in exchange for my honest impressions. The impressions recorded below are completely my own and not biased by any manner.

In the Box:
The beautiful black and orange box looks beautiful and compact. Inside are the iems, a 2.5mm balanced termination cable, a small BQEYZ carrying case with a cleaning tool inside, the magnetic tuning filters and the filter changing too, and 2 types of eartips - small bore and wide bore - 3 pairs each. Nothing flashy, just the necessary elements. Liked it.
The cable is really quite nice though - soft and supple. Quality is not bad either.



Build and Fit:
The very first aspect of Autumn that draws attention is its build. The matte finish blackish blue body coupled with its signature subtle curves looks very premium while being fairly lightweight. Even though light, I never had a feeling that it can have a tendency to fail by the slightest impact. Quite faith inspiring build.
However, following my legacy with BQEYZ iems, I struggled to get a secure fit with M sized tips. It’s only with L sized narrow bore tips that I could have a good fit. However, it still was not the best.

The magnetic filters have already been talked about extensively, so I need not focus on how extremely convenient and effective they are.

There were 2 different sets of tips with different bore width. I went with the narrow bore for my review.



Sound:
Autumn is a very joyous season for me, without much flamboyance. BQEYZ Autumn apparently follows the exact same methodology in reproducing the sound. Whenever I put it on, I can feel a calm and content feeling. However, the content does not linger if an energetic track comes around, and Autumn cannot perfectly portray that energy…but apart from that, for the rest, I did not have many complaints. Autumn has a distinct warm tonality which is quite pleasing and forgiving. The sound is quite clear. The dynamics take a hit though, but let’s save it for later.

Before coming to sound, some words regarding the filters need to be said. You see, I started with the normal filter, but felt that the top end was a bit too muted, and hence I put on the Treble filter, and never went back. Trying on the Bass filter was practically useless for me, hence I did not give it much thought. But I did put it on once to get an idea of how much the bass increases, and it did increase noticeably.

To start with the Low End, let’s say it gets the job done. I cannot find anything to bash about, nor did I find anything to boast about here. Midbass is favoured a bit more here over the subbass, which isn’t entirely overlooked by the way. Subbass rumbles have above average body, and have a slight bit of pressure to hint at the presence. Midbass slams have slightly more emphasis here, however, the impact is a bit slow and the notes are slightly on the thicker side. The slams have volume, but the attack feels a little soft, and hence has a bit of a pillowy nature to it. Textures are not bad. Overall, with the treble filter, the low end feels rather polite and controlled - which can be hit or miss depending on track.

The traits mentioned above become mostly apparent on the fast kickbass of Metallica - The Four Horsemen, the hits feel thick, but not as attacking as I would have liked.

The bass drums in Battlestar Galactica Season 2 OST - Prelude To War have a very nice reverb, but the initial attack is a bit restrained - which makes the stage cleaner, but lacks the engagement factor.



Midrange is where the strength of Autumn lies. There are a lot of positive aspects here - the notes are smooth, the midrange has forward seating, and overall sounds quite transparent. The one aspect that becomes evident is how the individual notes have a controlled presence. They are not overly thick to sound natural while eating up space, not overly thin to sound unnatural and shrill while opening up more space - they are just at the right balance of both. What’s more - the notes have no untoward peaks at all, so at no point of a listening session you will experience discomfort, however rough the track might be.
The percussion instruments (snare drum, tom tom) sound crisp enough, but not exactly striking. Notes are slightly on the thicker side, which does not play negatively in case of instruments, while enriching the male vocals to have that throaty presence. On the other hand, the female vocals slightly lack that brilliance, and do not portray the energy and excitement completely. However, they do not sound dull.
But the most notable aspect is how clean the midrange sound despite having a smooth presentation. Nothing sounds muffled. However, the smoothness comes with its own caveat - the notes do not have much bite, and hence that spark of life feels missing a bit.

I listened to a busy track Eluveitie - Slania to confirm the transparency, and it also confirmed the lack of bite. However, Leonard Cohen sounded quite natural in the track Hallelujah. Yao Si Ting, as I mentioned earlier, sounded fatigue free but also not as brilliant as she should be in the track Scarborough Fair.



High range is tuned to play a supportive role, not as a main character. There is an evident control present in the lower treble region that prevents it from being splashy or piercing, but the tonality is preserved well while doing that. Treble is not dark at all, rather have an above average amount of energy coupled with an added smoothness. Upper treble extension is above average, which makes the treble sufficiently airy. The shimmers are present, but following the smooth tuning does not sound crisp enough. Not a deal breaker, in my opinion, for someone who prefers this type of tuning.

Regarding Technicalities, let me start with soundstage first. Autumn portrays a nicely wide stage with a quite open presentation. Height is above average, but the depth is about average, which makes for rather an average imaging at best. A bit fuzzy and two-dimensional - that is how the imaging is. However, the clean stage and transparent mids helps to keep the presentation enjoyable yet. Details may seem a bit less pronounced due to the smoothness, but again, musicality takes lead here. An extremely laid back presentation, which also means the macro dynamics are severely compromised. The overall presentation is simply not dynamic at all, but rather suitable for when you just need to relax with some good music.

Conclusion:
I have said all I have to say about Autumn. From an objective point of view, Autumn is a brilliant set of iem for those who like this sort of signature: laid back, open, airy, smooth, and musical. Me? I prefer some excitement in my life. More vibrancy, more macro-dynamics, more bites in the notes. So, no, BQEYZ Autumn, despite being a maturely tuned iem, is not for me. But that in now way means that Autumn is not recommendable. I would recommend it in a heartbeat to anyone looking for a iem for a comfortable listening session.

Introduction:
When Tanchjim first anounced OLA, I took an instant liking to it because of its unique shape and small size. In the world of iems, the offerings from Tanchjim are generally held in high regard - Oxygen, Hana 2021. Did not hear much noise regarding the Darling or the Prism, but may be because of the price points. I have experienced the Hana 2021 and took an instant liking to that. However, I did not have much hope for OLA regarding the sound given the rather weak low end response, as seen on various measured graphs. And yet, when @shenzhenaudio reached out to me for a review of OLA, I could not turn it away simply because of my curiosity. Who would have known how I would fall for it...



Specification:
Sensitivity: 126dB/Vrms
Impedance: 160± 10%
Frequency range: 7-45kHz
THD: < 0.3%
Driver: 10mm dynamic driver
Cable: 1.25M 3.5- 0.78PIN
Technology: DMT 4
Cable Material: Double-Core OFC Core sandwitched with Kevlar fiber
Diaphragm material: polymer graphene

Disclaimer:
I was provided this unit by Shenzhenaudio for free in return of my honest opinions. My opinions recorded here are not influenced by any means and are completely of my own.



In the Box:
The box of Tanchjim OLA is a compact one with an anime girl photo on top (that seems to be the trend nowadays.) Inside, there are the iems, the stock SPC cable (with mic in my case), a soft cloth carrying pouch, two sets of eartips - one for bass enhancement one for treble enhancepment, or, in simpler words, one narrow bore and one wide bore set.



Build and Fit:
I have not yet encountered another more lightweight iem. The aerospace grade aluminium looks sleek and premium, without addind almost anything to weight. The PVC shell does not look cheap either, and clear view of the inner DD really improves the aesthetic. The bright silver cable adds to that. Everything together certainly creates an elegant visual impression.

Point to be noted here is, there is a general misconception that the cable is a Silver Plated OFC cable. However, as per the description provided by Tanchjim:

Which means the cable is essentially a OFC cable, and the outer silver plated OFC wire is just for aesthetic purpose and strengthening of the cable as it "does not participate in electric conduction."

Fit is another story. For my ear, only the L size Narrow Bore tip gave me a somewhat secure seal and somewhat comfortable fit. The nozzle, even though having the impression of being long, because of the unique shape of the shell, does not reach very deap, and hence getting a comfortable fit with secured seal becomes almost difficult. For the other record, my other usual aftermarket tips failed to give a secure fit.



Source:
Straight out of phone (Samsung Galaxy M31S)
Laptop>L&P W2

Sound:
The whole focus here seems to be on producing a vivid and open sound while preserving as much body as possible in the low end to preserve the naturality at bare minimum satisfaction level. Tanchjim has achieved this with exemplary finesse. Tonality is decidedly neutral, however, still quite pleasing.



Talking about the Low End, well, the subbass isn't anything to write home about - it's not very well extended, does not have much pressure hence not much tactility. And yet they do not sound lanky and thin. How to say it...I could clearly hear the subbass rumbles, and the note weight was just ok, but I did not feel any aversion to it for sounding thin or unnatural. Yes, I could not feel that pressure, but that was a trade off I readily accepted. The textures are well reproduced though, so props for that. And frankly, while going through my test tracks, I found that while on some tracks the subbass roll-off DID bother me, on other tracks I simply did not notice - which might be the way my brain adapted to the whole sound signature.

I would like to focus on a few tracks here:
Battlestar Galactica Season 2 OST: - Prelude To War In this instrumental track, the bass drums digs deep with long decay and they really need that subbass focus to sound natural and have that body. However, OLA failed to capture that due to the rather limited extension. The drums can be clearly heard, but not felt. That thick body from each note sounds missing. While the slams do not sound that much lean or lanky, they do sound a bit cut short, due to the fast decay. And also, that sheer force behind each slam also sounds rather restrained.

But now I come to Massive Attack - Teardrop, and suddenly, I do not feel that much discontent any more. The electronic bassline is very much enjoyable with very good texture and sufficient body, although the pressure cannot be felt, as it cannot be felt in The Dark Knight OST - Why So Serious?

And then, the bass guitar pluckings in Leonard Cohen - Hallelujah and the bassline in Evanescence - Imaginary and Red Hot Chilli Pepper - Dani California does not sound weak at all, rather they struck a very nice balance between having a nice weight and staying just north of neutral. Sure, they do not touch the inside of your soul, but they move you nonetheless. What's more, you can clearly distinguish the textures because of the clean reproduction.

However, all of the shortcoming stated above are compensated by the brilliant midbass, which has a very nice amount of slam and, most importantly, body, not to feel weak or unnatural. Kickbass hits are just enough full not to sound hollow, while not being overly fat either. Most of all, it does NOT sound like a BA, the goodness of natural DD timbre is very much present throughout this spectrum. Tanchjim truly has tuned the low end incredibly well - while most certainly not given the highest priority, not compensated in the presence either. A masterfully tuned low end that is fast yet impactful, sounds natural, and absolutely stays out of the midrange's way.

My go to track here are Metallica - The Four Horsemen and Red Hot Chilli Pepper - Dani California. The fast kickbass in the former and hard slams in the later sound quite impactful and enjoyable. However, when I played Eluveitie - Inis Mona, I felt the kickdrum hits were may be a wee bit hollow, but it may be the recording.



Coming to Midrange, well, it's the very definition of neutrality at this price. This is where the whole focus lies. What will make you instantly go WOW is the sheer transparency the midrange boasts. The insanely open and clean presentation is nothing short of cathartic; there's not even a hint of congestion anywhere! The tonality is neither warm nor cold. Guitar, violin, piano, snare drum - everything sounds clean, crisp, natural, well separated, and most of all all of them seem to have an evenly distrubuted emphasis so that there is no infighting going on for grabbing the focus. Notes are crisp and has a certain amount of bite that helps in capturing the attention, and yet there is never any uncomfortable peaks throughout the upper mids and lower treble region. Notes are so cleanly separated that the sense of airiness just takes your breath away. Especially on busy tracks OLA shows its prowess.

For e.g, in the track Poets Of The Fall - The Ballad OF Jeremiah Peacekeeper, the brilliant ensemble of violin, acoustic guitar, bass guitar, snare drum, and backing vocals is rendered so beautifully that it simply made me awed

Male vocals won't certainly make you weak in the knees, and yet doesn't sound lean and pale - just the right amount of fullness is there for the natural tonality. They do not sound lean, just the right amount of fullness, and still have the bite to grab the attention. Female vocals are brilliant and captivating, soaring high with energy. The occasional peaks that are presented in the recording are hinted at, but never emphasised, so they never become uncomfortable.

My staple track for checking the body of male vocal is Leonard Cohen - Hallelujah, and OLA passed that test with flying colours - Leonard Cohen's voice sounds deep and full bodied and very well textured. A very similar experience I had while listening to Poets Of The Fall - The Ballad Of Jeremiah Peacekeeper, Mike Saaresto's voice sounded throaty, textured, and emotional.

For female vocals, I went to Yao Si Ting - Scarborough Fair. Yao Si Ting's already brilliant voice sounds even more ethereal and dreamy, while having a distinct spicy sizzle that might prove to be sibilant on other bright IEMs, but not on OLA, no, OLA reproduced those sizzles and yet kept the sibilance at check. When Amy Lee sings the track Evanescence - Hello, the pain in her voice comes alive through her voice, and as her voice soars upwards goosebumps rises.



The High range certainly isn't overlooked to focus on the midrange, and yet, to my utmost surprise, it is not unnecessarily boosted to create the sense of airiness either. No, the airiness is already so prevalent that Tanchjim only had to tune the treble in a way to maintain the brilliance at an acceptable degree while making sure not to cross over to the uncomfortable peaky regions - and they passed the test with flying colours. High frequency notes have quite the sparkle - sounds crisp with a tad bit less energy than the midrange (which isn't a deal breaker for me.) The fact that it doesn't compete with midrange to be in focus of the presentation, and yet makes its presence distinctly felt, is what makes it a masterful tuning. Upper treble extension is quite good, while trebleheads might long for a bit more energy there. Lower treble, as stated above, sound crisp and clean, has the right amount of bite and energy, while maintaining a presence slightly behind the midrange.

I played Steely Dan - Do It Again, and the constant background light cymbal hits were brought into notice very nicely by OLA. The crash cymbal rolls also sounded brilliant and extended well with a nice decay.
Red Hot Chilli Pepper - Dani California has some aggressive cymbal and hi-hats at play which sound brilliant but never overbearing.



Now, let's come to the Technicalities. Regarding the Soundstage, well, I was dumbfounded. The stage is W-I-D-E for its price, if not the widest at this range. A quite out of head experience, it is. While it does not extend that far in the depth region, it still does to some extent. The height is nice, helping to create a quite well rounded soundstage. Most importantly, as the instruments are not fighting with each other to gain focus, a very nice headspace is created with precise imaging. The brilliant Separation between the notes aided into this even more.



Conclusion
If it's already not very obvious, I'll say it again: I freaking love it! Tanchjim has literally hit it outta the park with OLA. They have my confidence now, and I'll surely follow them closely from now on. Anyone who knows me knows I love my bass, especially subbass that reaches deep and vibrates in the chest, coupled with juicy midbass slams. OLA has none of those traits - the bass is rather on the fast side, with just enough midbass body that the slams do not feel hollow. However, the other aspects have blown my mind so much that I am not missing anything, anything at all! It's at the peak of neutrality and balance under $50, and I just get lost in the music without having to think about the bits and pieces.

Introduction:
A new year, a new Kinera to join the fray, with a fresh set of driver combination. And I must say, it is a looker indeed! Just like its predecessor Norn, it has got a similar, if not better, breathtaking visual appeal that captivates the attention instantly. I will not go into details of the history of the name and all, as those can be easily found on other websites. I got the chance to audition and review it thanks to Hifigo.



Technical Specifications:
Drivers: Titanium-Crystal Diaphragm Coaxial double dynamic driver + High-Performance Balanced Armature driver + Dual Sonion EST drivers
Crossover: 3-Way
Impedance: 20Ω.
Sensitivity: 107dB±2dB.
Rated Power: 3mW.
Frequency Response Range: 5Hz-50kHz.
THD+N: <2%(1kHz, 100dB SPL).
Connector: 0.78mm 2-pin connectors.
Cable: 6N OCC Copper cores, Silver-plated OCC cores, and gold-plated OCC wire cores

Disclaimer: I was loaned this iem for a limited time as a part of a review tour managed by Hifigo in exchange for my honest impressions. The impressions recorded below are completely my own and not biased by any manner. The purchase link of the iem is as below:
https://hifigo.com/products/kinera-urd-1

Accessories:
The unit came in its carrying case with the cable and 1 set of Final-E type eartips. The carrying case looks quite premium with its fabric outer shell and Kinera written on top. The cable looks quite mesmerising with the gold and silver stripes. What’s more, the cable is of swappable plug type, and 3 plugs are supplied alongwith - 3.5 mm SE, 2.5 mm balanced, 4.4 mm balanced. That’s a whole lotta option for anyone out there. The tips that were provided with the package were the Final-E type tips, so no idea if other tips were also provided. I did not tip roll.



Build and Fit:
As already mentioned, the all resin body looks stunning to say the least, and has somewhat of a perception of depth on the faceplate. Moreover, on the sides, the aquamarine parts sparkle under light that looks absolutely stunning. The shell size is not too big, but quite thick and it sticks out of the ear. With the provided tips the fit was quite secure. There is a bit of a vacuum build up inside the ear though, which can be a bit disconcerting in the beginning, but after a while the feeling goes away.

Source:
Shanling M3X, Balanced Out, High Gain.
L&P W2, Balanced Out, High Gain

Sound:
The first term that came to my mind regarding Urd was that it was very safely tuned, while keeping focus on not to wash away the details. The tonality was obviously warm, a bit beyond my preference but that is not necessarily a bad thing. The one positive aspect of its tuning is that it is a very comfortable sounding iem which will not make you miss out on the technicalities a whole lot also.



As the specs say, the Low range is handled by a dual diaphragm Dynamic Driver. Anyone would expect that it will pack a solid punch in the low frequencies with deep subbass. However, to my ears, that was not the case. Now, it can be that the pairings were at play, but even then, the innate characteristics of the driver cannot change that drastically by change of source that will completely transform to being juicy from dry. The subbass of Urd is a bit too early rolled off to my ears, which allows you to listen to the subbass rumbles and reverbs, but does not allow you to really feel it. Midbass slams are definitely punchy, however, the rather controlled subbass does not add enough body to the midbass notes to feel lively or tactile. On the other hand, this also guarantees a very clean bass with easily perceivable textures and details.
A point to note here - the satisfaction level of bass also changes depending upon the instrument being played. For example:
The kickdrums in Metallica - The Four Horsemen sound good enough - fast and punchy while not taking up the centre stage. But, the same cannot be said of the bass drums in Battlestar Galactica Season 2 OST - Prelude To War or the subbass rumbles in The Dark Knight - Why So Serious: The pressure and reverbs were not present in satisfactory quantities.

The BA driver handles the Mid range rather well, in my opinion. If the BA timbre can be overlooked, the notes it produces are detailed enough while devoid of any unnecessary peaks. A rather smooth yet crisp midrange that can work for almost anyone without much offense. Musicality is well preserved here. The added warmth makes listening to male vocals a pleasure. However, the female vocals may seem a bit too warm to have that euphonic touch to them, but nevertheless, that is not a deal breaker and they still sound sweet enough. Trying to remain as neutral as possible while ignoring my obvious bias towards DD timbre, I can say that the lower midrange has struck a balance between having sufficient body not to sound too lean, while maintaining adequate amount of crispness to provide excellent separation as well. The upper midrange is tuned rather safely while smoothing down the peaks to provide the most comfortable experience.
Snare drums and guitars (both acoustic and electric) sound crisp and clear and very easily identifiable in the mix. Bass guitars may lack a bit of body, but do not sound particularly weak. Cellos sound distinct and present in the mix without being excessively fat. However, with the smoothness comes a caveat - the midrange lacks any kind of bite. It does not really grab your attention or make you feel engaged - but that is completely a case of personal preference.
Some test tracks:
Battlestar Galactica Season 2 OST - Prelude To War
Eluveitie - Inis Mona
Evanescence - Imaginary
Leonard Cohen - Hallelujah
Yao Si Ting - Scarborough Fair

What surprised me was how the EST driver handled the High range. I had my previous run in with EST drivers in TSMR Land, and the high frequencies were exceptionally energetic there with brilliant extension. Moreover, Land had a dedicated BA driver for handling the high frequencies along with the ESTs. Here, however, as claimed by Kinera, the High range is solely controlled by the 2 EST drivers themselves. I was expecting a rather sparkling high range with plenty of energy…but was a bit surprised when I was presented with a rather smooth sounding one. It seems as if the EST drivers are dutifully following the midrange BA driver - no peaks or harshness throughout the spectrum, while still sounding crisp enough to provide above average separation. Cymbal hits do not get splashy or piercing at any moment. The tonality is also a bit on the warmer side, and hence the excitement may sound missing from the treble region, which may or may not be an issue depending upon preferences. Extension is decent enough that the ride cymbals in the background do not sound muted.
The drawbacks of the treble of Urd has to be the missing sparkles and a bit of air between the notes, but that’s all. Personally, such a safely tuned treble response is not at all up my alley, but I am trying to keep this review as less emotional as possible.
Some test tracks:
Eluveitie - Inis Mona
Steven Wilson - Pariah
Red Hot Chili Peppers - Dani California

Urd does not skimp on Technicalities, but does not particularly excel either. Given the very controlled low range, a well separated smooth mid range, and a similarly smooth yet extended high range, it manages to create a very open sounding atmosphere with above average imaging. The stage is unmistakably tall, and the height is a bit more compared to the width and depth, so it sounded a bit odd to my ears at times. However, there is one aspect of Urd that I did not like at all - and that is the dynamics. Yes, micro-dynamics were good enough, but the macro-dynamics was considerably compromised in my opinion by way of the too safe tuning. There simply is not enough life to the music, the dynamic nature is meticulously avoided to obtain a rather laid back presentation. It was definitely intentional, and I do not want to put it down because of that simply because it does not suit my particular preference.



Conclusion:
I would like to finally take the liberty here to be a bit more emotional than purely objective. Does the Urd suit my preference? No. Urd lacks that visceral and tactile low range, the authoritative and gritty, full-bodied midrange, and a sparkling energetic high range. Urd is the total opposite of that. It is not a very dynamic sounding iem, the notes do not bite enough, the engagement factor is missing, the overall sound is so safe that it’s borderline dull! I could not connect to the music emotionally at all. However, I can understand that for someone who is looking for precisely these aspects in a iem, Urd can be a very nice choice. For me, it was a hard pass.

Introduction:
If there’s one iem that has seen a fair share of popularity it is the Moondrop KATO. Before the official release there was a high degree of anticipation around it, and after the release there have been some fairly good reviews of it, some even gloating. It had my interest piqued, whether it was a hidden gem or not. When I got the chance to review it, I could not refuse.



Specifications:
Driver: 10mm-ULT dynamic driver
Diaphragm: the 3rd generation DLC composite diaphragm
Socket: 0.78-2Pin sunken design
Housing: MIM stainless steel
Nozzle: stainless steel x2, brass x2
Cable: Silver Plated Copper – 3.5mm – 0.78 2-pin
Frequency response range: 10Hz-45kHz (IEC61094, Free Field)
Effective frequency response range: 20Hz-20kHz (IEC60318-4, -3dB)
Impedance: 32Ω±15% (@1KHz)
Sensitivity: 123dB/Nrms (@1KHz)
Distortion: < 0.15% (@1khz, AES17 20khz, A-weight)

Disclaimer: I was provided this unit as a part of a review tour managed by hifigo. All impressions recorded below are completely mine, no incentives were provided to me in exchange for positive review. From the below link you can purchase it, and no, it's not an affiliate link:
https://hifigo.com/products/moondrop-kato

In The Box:
I got it in just the faux leather carrying case with the spring L sized tips attached. The cable screams quality through and through, no doubt. The Spring Tips are the most comfortable tips I have used yet, much more comfortable than the JVC Spiral Dots SF (Stress Free).



Build and Fit:
The solid stainless steel build of the earpieces are excellent and could have been very comfortable if not for the weight. While it sits within my ears very comfortably with no apparent pressure points, due to the weight it ultimately pushes down on the pinna which gives rise to discomfort.
Another aspect is the cable. While the build of the cable is superb, soft and supple with just the right width, coupled with the metal parts - looks really premium. However, the cable has a fair amount of weight as well, which presses on the ear and gives rise to discomfort once again.
Hence, taking account of these, I cannot exactly say that the fit was very comfortable for me.

Source: Shanling M3X / balanced out / high gain

Sound:
Note: I received the KATO with the silver nozzles affixed, and the other nozzles were not available. Hence all my impressions are based on this configuration only.

KATO has a decidedly bright sound that has a lack of warmth. Suffice to say it isn’t my preference. However, I still could not ignore the excellent technical chops it brings with it, and ultimately it holds its own because of it. However, before setting off, I must emphasise that my source was the Shanling M3X. Now, M3X is a rather neutral-bright source, which might not have been the perfect pairing with the KATO, hence that might have played a serious role in my impressions as follows:

Low:
A rather polite low end. Moondrop has tuned the low end to be in a supporting role rather than being lively, without becoming too lean.
Midbass has a tight punch, certainly does not feel soft. However, the emphasis is a bit less than my preference. Slams are pretty nice though, cannot disagree. Textures are not washed out. But the slightly less emphasis compromises the physicality of the slams.
In spite of the even curve from midbass to subbass, I found subbass has lesser emphasis than midbass, and the rumbles simply do not have enough body to make them sound physical. However - it has both boons and banes. While it keeps the bass from blooming too much, and provides a much cleaner stage, the fun factor also gets compromised a bit and the sound becomes overall a bit less engaging and more analytical.

While listening to the Red Hot Chilli Peppers - Dani California, the bass guitar notes can be clearly heard, but not felt. However, the kickdrums, as impactful as they already are, prove to be providing the right amount of engagement without becoming too much in the face.

However, the kickdrums in Metallica - The Four Horsemen sounds rather subdued and not as lifelike as it should.

Similar experience in case of The Dark Knight OST - Why So Serious? - the subbass rumbles simply did not have enough pressure to be felt and hence could not attain the atmospheric level that it should.

The bass drums in Battlestar Galactica Season 2 OST: - Prelude To War can be hit or miss depending on the listener. While KATO delivers them in a tight manner, the lesser emphasis does not favour them and does not make them as engaging as they should be. However, it also makes sure not to eat too much air from the passage.



Mid:
KATO displays a very high degree of clarity and transparency in the mid region, in exchange for a bit of note weight and body. The midrange is notably airy and clean - the low end has absolutely no permission to enter here. However, that also means that the midrange has little warmth and noticeable brightness.
These traits are immediately noticeable in the lower mids. Male vocals, in spite of having the DD timbre, do not have enough weight and body to have that throaty feel. Nope, they certainly do not sound as lean as BA male vocals, however, they also do not have that physical touch to sound natural.

This was most evident in Leonard Cohen - Hallelujah. Here, his voice starts from a nice depth and then goes higher and becomes a bit rough. KATO could not reproduce that depth and weight, and on top of that accentuates the rough peaks to the point of sibilance as his voice goes higher.

Same happens in case of Mike Saaresto’s voice in Poets Of The Fall - The Ballad Of Jeremiah Peacekeeper, his voice sounds more strident than natural, with hints of sibilance.

However, instruments are greatly benefitted. The snare drums sound very crisp in Poets Of The Fall - The Ballad Of Jeremiah Peacekeeper. The electric guitars in Evanescence - Imaginary sound crunchy and crisp with sufficient note weight not to sound lean.

Upper mids are not very favourable to me. Sufficiently energetic,they are bright and have noticeable peaks that highlight the sibilant notes if the track has them. They do also seem to lack a bit of note weight. Metallic timbre makes the notes strident at times too. It becomes mostly evident in Female Vocals.

Yao Si Ting’s voice in Scarborough Fair sounds very bright, spicy, with piercing peaks in times - the opposite of natural, in short.

However, Amy Lee’s voice sounds energetic but not as unnatural or strident or screeching in the track Imaginary by Evanescence. The track sounded really good with clearly discernible instruments.

Another track that I use for testing is Eluveitie - Inis Mona. This track has an abundance of emphasis in the upper mid and treble region. The track sounds a bit screeching in times on KATO - was not particularly enjoyable.



High:
There is no shortage of energy in KATO’s high frequencies. However, the energy seems to be focused more on the lower treble than upper treble. The extension feels also a bit limited in the upper treble, but not as much to cut out the shimmers.
KATO definitely has a very bright and airy treble, which sometimes acts significantly for it, and sometimes against it. Regarding the notes, I felt that a bit more body would have made them sound a bit more realistic, but ultimately they cannot be termed as particularly very thin or light.
I would rather describe the treble by track-wise:

While playing a track with soft background treble, like Steely Dan - Do It Again, KATO highlights the background ride cymbal notes very well, but also pushes it a bit more forward than I expected. Although it did not detriment the experience in any way and the stage depth was still preserved.

The same can be told in case of Antoine Dufour - 2 vs 3. This acoustic track has a very nice ensemble of acoustic guitar, violin, and drums. The background cymbals are portrayed exceedingly well with sufficient energy and presence, while maintaining the depth of the stage.

Coming to a bit more intense track like Rage Against The Machine - Killing In The Name, the problem starts. Towards the ending of the track the screeching guitar and the bright cymbals takes up the space much more than the vocals, creating a not so musical experience.

I detected the same nature while playing Eluveitie - Inis Mona as well - at the last part the cymbals became the center of the attraction and the vocals and guitars became subdued. Drums were playing a supportive role but not very well. The rhythm guitar was quite difficult to perceive and the electric guitar was pushed back as well, just like the vocals.



Technicalities:
I could not detect any shortcoming when it came to the technical aspects, especially considering the price. The notes had acceptable amounts of detail in the mid and high region. The lows, because of the lower emphasis, did not feel as alive, although the notes were tight and textures could be perceived. On occasions some notes may come out a bit lighter on the body, but it also adds to the excellent transparency it boasts. Yes, KATO is an excellently transparent set. The presentation is quite airy and open - absolutely no congestion here. The stage is above average width, height, and depth. Separation is quite commendable - absolutely no muddying can be noticed anywhere in any track. Imaging is not bad, not excellent, but not bad either. Because the treble is pushed forward, sometimes on some tracks there is less perceivable front to back staging, which takes some point off the imaging part.

Comparison:
Vs. IMR Acoustics Splash Of Red - This has been my best acquisition of the year 2021. The Splash Of Red, or SOR has been keeping me busy since the day I purchased it. Given its price point of almost $240, the comparison can be a little in favour of it as opposed to the $190 priced KATO. I am using the SOR with the grey nozzle and black filter. Here are the salient points:

• SOR is definitely a more bassy iem with more quantity, slam, texture, and tactility; whereas KATO keeps the bass under much more control, thereby robbing it of a bit of life. However, this works in favour of KATO in case of tracks which already have considerable bass emphasis, as it reproduces them cleanly without making them in your face. But, in most other cases, the bass response of SOR feels much more satisfactory over KATO. Despite the increased quantity and slam, SOR’s bass is extremely refined not to muddy the stage - that and the fact that SOR’s bass can be felt, not just heard, make it one of the best Low End I have ever heard under $250, or even $300.
• SOR has a much more fleshed out midrange with significantly more lower mid body and more controlled upper mid. The notes feel more real and tactile as opposed to KATO, which has a slightly more airy midrange but the notes feel wispy. When I say that SOR has a more controlled upper mid I do not mean that the upper mid takes a step back - SOR has a sufficiently energetic upper mid, however, the uncomfortable peaks have been more controlled. Male vocals sound more deep and throaty on SOR, just as female vocals have a bit more body and less peaks.
• KATO has slightly more energy in high range than SOR, but SOR has better extension. There is no lack of energy in the high range of SOR as well. High notes have again more body and presence in SOR. KATO high notes, like cymbal crash and ride cymbal rolls sound a bit thinner compared to SOR. SOR has slightly more transparency in the treble region as well.
• KATO definitely wins in stage height - has a bigger presentation hands down. The separation is pretty well and so is the imaging. However, SOR has much better depth, which coupled with the excellent separation provides a much more impressive imaging. Width of the stage is mostly comparable between both.

Conclusion:
I know, I have gone against a lot of impressions shared by others, but this is how I found its sound. And then there is the case that the source I paired it with might not have been the correct one given the bright signature of both.
I’m not saying it’s a bad set. It may probably suit the treblehead audience very well. But overall I found the balance was a bit lacking for my taste. That and the lack of organic nature put me off big time. I do not favour metallic timbre which it has. Then again, the open airy presentation was really a breath of fresh air along with the excellent separation - reason why I cannot denounce it thoroughly also.
Regarding the fit of the iem, as I stated before, it was not especially comfortable for me. Both the iems and the cable are heavy - I would have really preferred a lighter construction.
However, I truly believe Moondrop could have compensated a bit of that upper midrange/high frequency focus while adding a bit more tactility in the low end - that would have brought more balance across the spectrum. I know, stage and separation might have been negatively affected a bit, but the overall presentation would have become much more balanced and attractive…to my ears at least.

Introduction:
When 7Hz released the Timeless, their 1st closed back planar magnetic iem - the buzz was quite substantial, especially because of the $220 Price tag. To be honest, I was skeptical, as their previous single DD offerings have mostly mixed reviews - some loved, some hated them. In a similar fashion, Timeless also got its fair share of rebuff. I never had the confidence in them to actually go for it, but when my friend offered it to me for an audition, I accepted without a second thought.



Specifications:
Driver: 14.2mm planar driver
Impedance: 14.8ohm
Sound pressure level: 104dB/1Khz
Frequency response range: 5-40000hz
THD: <0.2%/1KHZ
Connector: MMCX
Nozzle diameter: 5mm

Disclaimer: I was provied this unit as a part of a review tour managed by hifigo. All impressions recorded below are completely mine, no incentives were provided to me in exchange for positive review.

Here is the product purchase link: https://hifigo.com/products/7hz-timeless-14-2mm-planar-in-ear-earphone

In The Box:
The first item that pops out is not the iem, but the solid aluminium chunk of a box. It is shiny, it is heavy, and it assures protection like no other. Honestly, the box alone should cost a premium.
The double sheared silver coloured cable, constructed of an inner core of single crystal copper and silver-plated single crystal copper and an outer layer of silver foil, looks stunning to say the least. The cable has some weight but not uncomfortable.
There are several pairs of eartips, and I liked the black coloured cylindrical tips - they gave the best fit.





Build and Fit:
The black aluminum shell is well built - did not feel poorly made. Although there has been news of the shell splitting open, I did not encounter any such issues.
I had a doubt given the odd shape of the shell whether these will fit me. But surprisingly, in spite of the large circular faceplate, the fit was super comfortable for me - the faceplate did not prove to be an inconvenience.
However, I do have reservations against the circular faceplate, since a noticeable portion of it is just for the sake of completing the circle. I would rather have the shape of the faceplate altered to match the shape of the shell and pick a different design than the concentric circles they decided to go with.



Source: Shanling M3X - balanced out/high gain

Sound:
Timeless has a U shaped distinctly fun sound signature - an elevated deep full bodied bass, slightly recessed but largely evenly placed midrange, and boosted high frequencies full of energy and sparkles...which sometimes might be a bit too much. Bass boosted bright sound is how I would define them. But anyway, let us go into the details:

Low:
I must say, I was not expecting such a deep low end from it. So I was quite pleasantly surprised to say the least. The bass goes deep and has a considerable emphasis. Juicy and full bodied with enough texture - this is how I would describe the low end. However, in spite of the abundance of emphasis on the low end, the marvel lies in the fact that it absolutely does not obscure the rest of the spectrum, which, although, has been a pretty regular feature in the recent iems with at least decent competence.
Low end notes have a substantial presence with enough weight and body - they never feel lacking. Bass drums sound appropriately powerful, cello notes have that expected depth. Subbass is not lacking either. However, the impacts have a hint of softness, but it does not turn down the enjoyment factor.
Subbass has a hefty presence with a natural decay that enhances the reverberation. Midbass slams with a great body and yet does not get in your face, while reproducing the textures rather well. The kickdrums in Metallica - The Four Horsemen are reproduced effortlessly.
With a dynamic full-bodied yet controlled bass, Timeless delivers plenty of satisfaction to the listener without doubt.



Mid:
The mid frequency is pushed back, no doubt. However, they are not pushed back into oblivion, just enough to create a nice sense of space. Moreover, the mids sound to be spreaded in an even way, vocals are not favoured over instruments and vice-versa.
Timeless produces a transparent and very crisp midrange. There is plenty of air and a very good degree of separation present here. Tonality is definitely on the brighter side. However, the emphasised low end saves the male vocals from getting too metallic and thin sounding by adding some weight. When Leonard Cohen starts singing Hallelujah, his voice starts deep, but when it reaches higher, a slight roughness comes which gets accentuated on Timeless, making it a bit more edgy.
The female vocals, on the contrary, have splendid energy, and, even though they do not sound thin, they do occasionally hint at sibilance! Yao Si Ting’s voice in Scarborough Fair has an evident sizzle that in some instances might cross the threshold of comfort. However, on all the occasions it does not, her voice sounds ethereal.
The midrange notes have a distinct sharpness that enhances the perceived details and separation noticeably, but also might introduce a hint of metallic sheen. Electric guitars belt out pretty aggressively when called for, acoustic guitar notes are bright and sparkling clear - sometimes a bit too clear for its own good. Snare drums sound very crisp and well reproduced. Overall the notes are quite detailed and cleanly reproduced.



High:
Following the mids, the high frequencies have a similarly bright and airy signature that feels perfectly in line with the rest of the spectrum. Treble has plenty of energy, notes are crisp and edges are fine, although that in some points might prove to be a bit too sharp. Extension of the upper treble is quite good as well.
Both lower treble and upper treble have an almost equivalent amount of energy, wherein the bright cymbal crashes are followed by a suitable amount of shimmer.
In a complex passage, like Eluveitie - Inis Mona, it’s the high frequencies that grabs the attention invariably. Granted, the track sounds quite airy and open, but the way treble becomes the focus of the song becomes a bit uncomfortable for me.
Coupled with that, because of the Planar magnetic driver nature I guess, the treble has a distinct metallic sheen that makes the cymbal and hi-hats sound extra spicy. This may prove to be a point of concern in the long run. I must say, there was no sibilance, though. Just the brightness and tonality was not for me.



Technicalities:
Timeless excels in technicalities effortlessly. The presentation is quite open and airy. Stage has nice width, with very good depth and acceptable height. It’s most evidently not an intimate sounding iem, the expanse of stage feels very naturally spacious.
Separation, as already hinted above, is exceptionally good in this price range. There is absolutely no congestion anywhere. Imaging is very nicely done as well, different sounds are layered pretty well in their own defined positions in the headstage. Even on a busy track, nothing overlaps anything, everything plays nicely from their own position and all the different sounds are easy to pinpoint in the space.



Comparisons:

Vs. Yanyin Aladdin:

• Timeless has sharper notes, Aladdin notes are slightly smoother, but still enough crisp
• Timeless Notes are a bit leaner, Aladdin notes are a bit fuller
• While details are similar, Aladdin notes are a bit bigger, but mostly in the midrange.
• Due to the leaner notes, Timeless has a bit more airy sound than Aladdin as there is more air between the notes. Separation is noticeably better on Timeless as well.
• Width of the soundstage is slightly better on Timeless, depth is better on Timeless, while height is slightly better on Aladdin. Aladdin has a more intimate presentation because of the forward and bigger notes, while Timeless presents the music in a more spacious manner because of the increased amount of air.
• Timeless has a more v-shaped sound, adding a bit more depth to the stage. Aladdin has slightly more forward mids.
• Bass of Timeless is VERY good, goes deep, sounds full bodied, and yet has enough speed not to muddy the midrange. Fast, big, juicy bass - loved it! Aladdin has a much more controlled bass response compared to Timeless - midbass has less emphasis and sounds less full bodied, although not hollow.
• Aladdin has a slightly warmer tonality, Timeless has a slightly cooler tonality.
• Treble responses of both are very comparable extension-wise. Timeless has distinctly more brightness and sharpness and more energy in the table region.
• Timeless has a slightly cleaner and darker background than Aladdin.
• Overall, Aladdin gives a comfortable listen with enough crispness not to sound dull. Aladdin is on the other hand full on steroids and providing a fun sound with boosted low, high, brightness, and separation.

Conclusion:
7Hz has truly hit it out of the park with Timeless. I always had an idea that planar magnetic drivers cannot move as much air as dynamic drivers and hence will never have that DD slam and physicality. Timeless proved me wrong. The impressively deep and full-bodied bass performance coupled with the highly transparent and bright mids and treble presented in a very open and spacious manner is bound to sweep the listener off his/her feet at the first listen - it surely did me.
That said, on longer listening, I could feel that the brightness was eating at me. It’s not letting me settle down, always keeping me on the edge in anticipation of the next energetic passage. This is not a feeling that I look forward to. Hence, despite the impressive technical performance, it misses out some of the musicality and engagement factor for me. But I can see how it will satisfy quite a considerable group of audience out there.

However, I must say, one thought has been constantly on my mind since then - If a 14 mm Planar Magnetic driver can be used for a iem with such an impressive tuning within such a lucrative price tag, what can be done with a similar sized DD? I, for one, will definitely look forward to it if someone decides to develop it, even if at a higher price tag.

Introduction:
Vision Ear’s VE8 needs no introduction honestly. It has been a stalwart in its price segment for quite a while, earning praise from many. I was obviously curious to experience its highly reputed performance, and did not miss the chance of reviewing it when it came by.



Specifications:
Technic: Three-way-system with eight balanced armature drivers
Drivers: 2 x Bass – 2 x Mid – 4 x High
Sensitivity: 120dB SPL at 1 mW
Impedance: 22 Ohms ( at 1 kHz )

Disclaimer: All impressions recorded below are completely mine, no incentives were provided to me in exchange for positive review.

In the box:
Since this is a review unit - the package was bairbone. A solid chunk of aluminium carved into a cylindrical carrying case with threaded cap and soft inside - honestly, it is quite heavy. The black 3.5 mm stock cable does not exactly instill confidence, so did not bother to use it. 1 pair of CP100 L tips was attached to the iems.



Build and Fit:
The purple resin filled shell felt solid and well-constructed. The shell is not very big, not very small, but a tad bit too wide, so the fit was a bit uncomfortable for me. It was pushing against my pinna.
The semi transparent shell made it possible to have a peek at the BA drivers crammed inside clearly. It could be easily noticed that there is not much free space inside the shell - which I like.
However, the faceplate certainly had some fairly noticeable bling - cannot say I am a fan of this. I would have preferred something a bit more understated and classy, but YMMV.



Source:
Paired with Shanling M3X via Empire Ears Alpha IV cable

Sound:
VE8 boasts a rich sound laced with refineness throughout the spectrum. The presentation is smooth and detailed. Tonality is slightly on the warm side that makes the listener comfortable. If I were to express in one line - VE8’s sound can be defined as a Mid forward presentation with punchy Bass as the foundation and smooth yet vivid treble as the finishing.



Low:
Thick and powerful punches with enough speed to stay out of the mids’ way - this is how VE8 reproduces the lower frequencies. VE8 has a pretty nice midbass slam - the notes have sufficient punch and body to them. Never once I felt wanting for more while listening to kickdrums. Kickdrums sound very full-bodied and natural. The midbass notes are thick and textured and are reproduced extremely well. Cello notes sound outstandingly weighty and full bodied.
However, subbass rumble is compromised a bit because of the fast decay - there is not enough reverberations to reproduce that physicality. Deepest registers of subbass are reproduced clearly, however, the DD physicality cannot be attained - that pressure is missing.

Massive Attack - Teardrop’s subbass rumbles has the textures, density, and is produced with enough power - almost sounds like a well tuned DD.

However, in The Dark Knight OST - Why So Serious, the subbass rumbles lack the pressure that a well tuned DD creates, even.

And the bass drums in Battlestar Galactica Season 2 OST - Prelude To War lack the physicality and the power in the reverbs - sound a bit weak.



Mids:
VE8 has its main strength in its forward and clear mids. Smooth yet detailed, the notes are recreated with a finesse unparalleled. Nothing flashy, just extremely refined notes. Due to the full bodied presentation the air might seem to lack a bit, but it never bothered me as I got submerged into the music in its totality.
The string instruments have an organic naturalness with each pluck, yet a hint of crispness lingers. Percussion instruments sound effortless.
Male vocals are so romantic and emotional my eyes instantly closed with satisfaction the moment Leonard Cohen started singing Hallelujah. Even the harshest of male vocals sound emotional and musical on VE8 - quite a feat!
Female vocals soar high with no lack of energy. The romantic and natural traits continue in the case of Female vocals as well. Slight hint of warmth enhances the musicality without affecting the energy. Absolutely no harshness or sharpness could be detected, whereas all the details are preserved carefully - the combination enhances the listening pleasure even more. Yao Si Ting was so brilliant and yet so musical in her rendition of Scarborough Fair!

The snare drums in Battlestar Galactica Season 2 OST - Prelude To War do not stand out overly, but still sound very clean and has its own space in the mix.

The bass guitar and the electric guitar play in perfect conjunction without the least bit of struggle in Hotel California, Bass guitar sounding full and textured, electric guitar sounding musical and energetic.



High:
High frequencies are vivid without being cold and uncomfortably bright. Cymbals, hi-hats sound crisp and decays naturally. There is no shortage of sparkles and air, and yet there is no added sharpness to grab attention. Treble instruments can be clearly identified in the mix without standing out uncomfortably. This is something incredible. The crisp yet grain free sound, natural decay, and reproduction of the very minute details without the slightest discomfort is amazing. RHCP - Dani California showcases this very clearly. The extension is very good and upper treble shimmers are very evident and adds to the airiness of the sound.

In Metallica - The four horsemen, the cymbals never get fatiguing and yet are reproduced with the correct amount of energy and extension.


Can you see the inscriptions on the BA driver?

Technicalities:
TBH, presentation is a bit intimate, but it does not impede the engagement and enjoyment factor. Musicality is preserved well and reproduced even better. Outstanding width and very good height. Comparatively a bit less depth due to the forwardness of sound, but still above average depth. However, the imaging is outstanding and very carefully done to construct a three dimensional experience. The expansive stage really surprised me (Steven Wilson - Pariah). Also, in spite of so many BAs, not a hint of incoherence can be detected - which was highly impressive.
Plenty of space is there between different notes and each has its own defined position in the field created by VE8. Even the most minute details are reproduced naturally - but well, given the price tag of $2420, that is the minimum expectation for sure.

Conclusion:
VE8 has its primary focus set on making the listener enjoy the music. It brought me to the smack middle of the performance with the music flowing all around me. There was no distance, I was not in the middle or in the back row of the performance, not even in the front row - I was right among the performers! The experience is surreal to say the least, and it made my mind go blank and just bask in the music right away.
The secondary focus, of course, is to reproduce the details as effortlessly as possible and as accurately as possible - which VE8 pulls off in a splendid manner to justify its TOTL price tag. There is no compromise between the musicality and details - both come hand in hand to give you the best of the music.
That said - will I go for one as my TOTL iem? No. The reason being, firstly, the dearth of physicality in the subbass section would forever bug my mind - I guess I am just a DD guy when it comes to the Lows. Secondly, the law of diminishing return is pretty strong here, and the leap in performance is certainly not justified by the leap in price. I would rather buy 2-3 lower priced iems with varying sound signatures to suit my changing moods rather than investing the whole amount into one. I am not like Brock from Pokemon, I do not want to be a one iem man - I thrive in varieties!