Reviews by activatorfly

KZ ZA12's build quality is excellent, sporting a gorgeous bling faceplate, alas as usual (at this price point) the included accessories are best avoided. Comprised of BA's + 2 DD's, the hybrid's crossover renders tracks very fast, hence there's no lag in dynamic cohesion, akin to that of a single DD.

Micro detailing really stands out, which perceptibly increases your sense of engagement and immersion.
Having an extra DD, what's instantly noticeable is there's no bass boom whatsoever. Plus the obligatory metallic sheen, associated with KZ tuning has now been totally circumvented. If I'd blind tested the ZA12 I wouldn't have guessed they were KZ.

The shells appear a tad more premium, smaller graphics lettering looks far more refined than previous sets, which were emblazoned with huge tacky logos. Their fit is fairly snug albeit rather large sized. Driver flex is initially an issue with this set, which ameliorates once you get used to them.



Bass
In comparison with previous KZ iterations the Hydro & Rhapsody, the ZA12 balances out the bass. Hence bass boom is no longer present. They're a set not for bass-heads, as now bass doesn't step all over or bleed into the mids. Texture of the bass sounds authentic, alas it's quantity could be elevated in the mix & sub-bass definitely needs to be boosted via EQ!

Mids
The midrange frequencies are no longer recessed as was the case with Hydro & Rhapsody, & the veil has now been lifted, as the mids join in the mix, elevating the dynamic fidelity and non metallic tonality. The improved authentic timbre is amazing for all genres, male and female voices, excelling when listening to electronica & complex binaural soundscapes.

Treble
Resolution is absolutely superb! There's no longer present, the shackles present of a V-shaped signature, as there was in the case of the Hydro & Rhapsody. The highs now have a good extension, with zero transient peaks or harshness. Micro detail rendering is excellent; & there's a good sense of "air" which helps to convey that "live" gig experience I crave!


Soundstage & image:
Soundstage width, height and depth is fairly average, alas the ZA12 manages to render the directionality of the sounds particularly well. Imaging/separation of instruments even in busy tracks is very impressive. They do have an addictive quality, due to the prowess of their technicalities. Acoustic instruments especially in Jazz & Classical really shines on this set!



Conclusion:

The ZA12 were touted as the Rhapsody Pro & they fulfil this tag & then some, elevated beyond any KZ set I added in 2024, so Kudos goes out to the tuners. Alas with KZ releases there's invariably a caveat to be taken into account.
Driver flex is in this set is unfortunate but not necessarily a deal-breaker. Over time the awareness of this issue appears to reduce somewhat. It's frustrating because in this price range, there is honestly very little to dislike about this set.

Hopefully in the next iteration they'll include rear ventilation holes for the DD's? If they also increased the bass quantity a tad & boosted the sub-bass bigtime, then KZ could easily have a winner on their hands!!

They're a set I always return to in my rota, as their larger shell size reproduces the sense of a speaker cabinet system. In that sense they pair up well when critical listening, in contrast to recently acquired full-sized cans. They certainly pique my interest regarding the flagship KZ Sonata, which I'll audition for sure at Canjam London this year!!

Making arrangements with Douk Audio Store was a tad more convoluted on this occasion, as additionally two more units needed to be shipped out. The bundle despatch coincided with The Chinese Spring Festival.
Fortunately, I'm very grateful that Douk went out of their way to make sure that the trio of units arrived in the UK, more speedily than advertised!

Here are links to the Douk Audio A5:

Amazon US: https://www.amazon.com/dp/B0DS41KM9B
Amazon UK: https://www.amazon.co.uk/dp/B0DRWVF4VT
Amazon DE: https://www.amazon.de/dp/B0DRWVF4VT
Official website: https://doukaudio.com/products/douk...hifi-audio-class-d-amplifier-high-pass-filter





Build Quality:

The Douk A5 continues on from the quality benchmark of the superb DAC Q11: there's no denying the amazing quality control of Douk's Hi-Fi units releases. The A5 sports a cool removeable tempered glass viewing panel. Furthermore it's PCB includes 3 DIP switches, that allow you to adjust the led lighting colour aesthetics, my unit is now emanating a cool aqua blue!

The small form factor is something to behold, as it's build to last & cherish. From a portable viewpoint, it's uber easy to transport to wherever an active or passive speaker system is located. Given the increasingly diminutive size of components now, Desktop Audiophilia in this regard has never been so easy to move, whether from a critical listening or mobile musician's perspective!!


Specifications:

Utilising the TPA3255 chip the Douk A5 delivers distortion-free audio with ultra-low THD (0.002%) which is perfectly compatible with the DAC-Q11 delivering exceptional sound quality. It's power output rating is 65 Watt per channel at 8ohms for the supplied 32V@5A power supply.



Regarding the A5's Post Filter Feed Back (PFFB) implementation, there's been many forums threads discussing amps that feature PFFB. It's been around for a while (apparently covered by a Texas Instruments patent which has since lapsed.)

I've been running my Aiyima A07 TPA3255 Class D amp for ages (the original Class D mini amp trailblazer!) This TPA chip offers extra power output & is specifically designed for applications needing higher power requirements.
It appears that circuit designers of PFFB amps are featuring it because, similar to R-2R, it's projected to have a far greater longevity, in the marketplace.

Post Filter Feedback (PFFB) is a secondary feedback loop that sends a portion of an amplifier's output signal back to its input. This feedback loop is external to the amplifier and is added after the external LC filter. As it utilises a post filter feedback loop, whereby the process gets rid of load dependency and improves upon linearity, by dialling out the distortion from the output stage.

Essentially the feedback loop takes a small portion of the amplifier's output voltage signal, & this loop sends an error signal back to the amplifier's input.
Subsequently the loop gain corrects the errors added by ferrite beads.
Hence PFFB can improve the square wave response of an amplifier, and thus minimises THD degradation caused by ferrite beads, whilst giving the amplifier a flat amplitude response across the audio band of frequencies.

In real audible terms the PFFB featured A5, renders a far better audiophile presentation than does the Aiyima A07, whereby the latter is distorted / very harsh at high volumes. In contrast, even at max volume levels, the A5 remains smooth & refined: in that sense A5 has far greater scope for the "sweet spot."

Also A07's op-amps & casing gets very warm during long listening sessions (even with the lid left open to access easy rolling.) In contrast the A5 always runs cool, even when the tempered glass panel is attached, the op-amps are impressively barely lukewarm. This gives you the confidence to roll with more expensive op-amps, if desired. The specs state that minimal voltage is running through its PCB, thus improving things somewhat (watt) from a safety angle!




Usage:

Synergy between the A5 & Bowers & Wilkins DM602 S3 speakers, is optimum as the recommended amplifier power is 120W @ 8 ohms (ie an exact match.)
Whilst auditioning the adjustable rotary high-pass filter (HPF) 30-200Hz allows you to shape & refine the mid-high frequencies while minimizing low-frequency interference, therefore keeping bass boom to a minimum.

The high pass enhances clarity and creates a perceptibly dynamic soundstage, for both home stereo passive speakers, & theatre audio systems etc Active bookshelf speakers can also be connected via the rear aux/line output.

It's also particularly useful if you plan to use a subwoofer, powered by a separate amp. 80hz is suggested to be the most commonly used frequency when high-passing mains for subwoofers.

As bass duties ar3 taken up by a subwoofer, this set up is akin to bi-wiring two amps, differentiating bass, mids & high frequencies, hence optimally balanced! Currently the A5 sits atop my Marantz PM4200 bi-wired amp, likewise NAD 3020A - the latter considered a great audiophile reference amp.
Including the A07, this trio are now side-lined, daunted for sure by the teensy A5's prowess?

Cranking up the A5's volume there's minimal distortion as you increase the high pass control, accompanied by a progressive reduction in bass boom, which allows you to really push the midrange up as high as you desire. This function is preferable to the usual bass & treble tone controls, because my signature veers towards being mids forward, thus yields stunning results for electronica & binaural soundscapes, which induces maximum goosebumps!!






Rolling:

For a small outlay, given the improvement that's possible, it's easy to recommend experimenting to hear what differences op-amps make. The removeable tempered glass panel, allows easy access to the two DIP-8 sockets, thus bypassing removing case screws.

The whole process is less taxing & far more user friendly, compared to the Q11, which required me to make bespoke breakout cables. Rolling has never been so straightforward & problem free...result!

I ordered a pair of Oracle II 02 op-amps which instantly enhances clarity, rendering a clearer top end/treble extension, whilst rendering a perceptibly wider sound stage. As the op-amps burn in, depth has also become more pronounced. Consequently, soundstage now has far more pop, improving your sense of immersion, micro details are more engaging, as a result of this enveloping sound spectrum!

I also received a FAAEAL 75ohm impedance adaptor today which elevates further my SE sources, which although they've been converted to balanced, invariably require a tad more emphasis in the mix.

The A5 paired with my recently acquired mixing desk, sources can now be shaped and tailored, to produce an atmospheric "live gig" feel. A mixer in that sense acts as a unification unit resulting in a far more mesmerising critical listening experience.

As a musician experimentation utilising various sources are also increased bigtime! Your laptop's DAW is part of the mix, alongside balanced DAP's & analogue poly synthesisers. Plus the mixers BT is awesome to connect iPads. 100 quality DSP FX can also be applied to channels, adding another layer for potential creativity. Sticking to a reference signature, with no colouration is not my remit, creativity is. Do I need lab coat measurements or FR graphs to define my set up?? NOPE!!

Having all these sources running concurrently through one single unit will change dramatically the way I work from now on. Fine EQ adjustments can readily be tweaked on the fly, eg the house sound of a DAP is easily altered to suit another.
Fine micro detail nuances, highlighting specific frequency ranges can also be boosted.

The A5 completes the trio of a daisy chain of Douk units (including the P1Plus & DAC-Q11.) I have the fourth unit currently in place, forming a quartet. It's part of my desktoporta system & ready to be rolled asap.



Conclusions:

Only a few days after it's release, and already there's a lot of buzz surrounding the A5. High acclaim is evidently rolling in from YT reviewers. It's a given that the Douk Audio A5 deserves the accolade to be considered being "best in class." Thus the A5 will no doubt be a hugely popular budget amp choice.

Releasing "Affordable Hi-Fi" is clearly an admirable objective. What is also very impressive is the continual pioneering spirit of Douk, as the A5 manages to combine cutting edge PFFB tech, an adjustable high-pass filter, and easy access rolling. All housed in a sublimely small unit, that generates a SQ that belies it's size.

I'm already looking forward to continuing to add to the Douk roadmap, adding a fifth pioneering unit to the desktoporta daisy chain, thus fulfilling the Quintet....that's JAZZ !!

The word Quintessence etymologically means: "Fifth" Essence.

The A5 imho is: ESSENTIAL !!

As I predominantly use XLR connectors nowadays & have started to construct my own bespoke leads...if Head-Fi included an Emotional Response (ER) rating (added on to Pros & Cons).....I'd give the Douk Audio A5 an:

XLR ER Rating: 5 out of 5 !!

Liaising with Douk Audio Store is always a pleasurable encounter & very conducive regarding future directions and developments relating to their extensive product range, in both the desktop & portable marketplace.

Here are links to the Douk DAC-Q11:
https://doukaudio.com/products/douk...c-audio-adapter-coax-opt-d-a-converter-dsd256
https://www.amazon.de/dp/B0D83ZLTWG




Build Quality:

Post unboxing you're immediately struck by the excellent quality control of Douk's Hi-Fi units & accessories package. The top acrylic viewing panel is a joy to behold, which has become a standout feature on high-end DAC's.
Hence I ordered and cut to size a phone screen TPU film protector, to preserve the pristine clarity of the acrylic. Aesthetically, when paired with the superb P1Plus, its warm glowing tubes contrast well with Q11's glowing blue led lit glass panel, the combined units emanate Double Gorgeousness!!




Switchable Modes:

Mode 1: AK4493 & ESS9038Q2M
Mode 2: AK4493
Mode 3: ESS9038Q2M

A/B ing the trifecta of modes...
...my initial impression veers towards the AK4493, with its extra note weight & more analogue presentation, widely renowned in audiophile circles at excelling in female vocals which comprise a prominent chunk of my electronica FLAC track collection.
In contrast, the ESS Sabre sounds thinner & brighter, revealing more micro details, & also a tad louder (output voltage is 2 Volts, compared to AK's 1.8V.)

Before considering the winning DAC mode i.e. the one permanently left switched on...
...Firstly it's worth noting that DAC units ranging from budget to kilobuck tier, that use exactly the same chips are incomparable, because it's actually their implementation that matters, a whole lot more than the chip itself.

The circuitry layout of high end units, coupled with uber high grade components, adds more refined implementation, obviously resulting in a greater sonic level.
However the gulf between budget>mid>high-end tiers has now shrunk somewhat, thus lower tiers easily compete with HE, given that audio-optimized film capacitors are now ubiquitously utilised in PCB's.

In the case of the DAC-Q11, this implementation is matched for both chips circuitry, thus this allows the listener to make a subjective comparison.
The Q11 seamlessly takes the pluses of both: i.e. the extra note weight of the AK with it's smoother top end treble & narrower stage. On the other hand the sabre ESS presents a brighter more forthright treble with a wider stage.

My take is that...if I'd blind tested the Q11: which one would I choose?
No contest: my preferred setting is mode 1 !! Consequently, rather than merely nit-picking the differences between the two chips, the combination of both is far more interesting, and a flavour that no other DAC offers.

The synergy of AK4493 + ESS9038Q2M, compliment each other perfectly, whereby in this case, the sum becomes greater than the audiophile parts. Douk's incredible team have designed optimum layout circuitry, that's a masterclass in tuning surrounding both chips, in order to blend both into a seamlessly combined chipset.

Noticeably the SMD soldering of the PCB is of very high quality. Rolling op-amp (DIP-8 socket) options are usually only offered via through-hole soldering circuits. This is another unique USP of Douk units, & imho adhering to switchable op-amps, will certainly be advantageous for future releases.

The popularity of the Q11 is reflected in several YT reviews. "cheapaudioman" who referred to the P1Plus as "fun" had to eat his own words as he admitted that he: "Thought this crazy thing was a gimmick"
...and subsequently changed his mind to: "The Q11 is Genius!" LOL!











Rolling:

Firstly, I'd like to shout out & express my gratitude to @FreeWheelinAudioLuv2 for exchanging Burson op-amps: sending me his V7's as part of the "Burson UK Tour." Muchos Gracias!

Rolling op-amps is never a straightforward process: and certainly not for the faint-hearted, especially when switching with the best available. Alas it became a really painstaking process, as the Burson V7's were too tall, by a few mm, thus they wouldn't fit inside the case of the Q11. Likewise with the P1Plus: also Burson V5's impact with its tone control mini PCB.

This meant I had to take time to fabricate bespoke breakout cables, whereby each wire is measured carefully as possible, so that each op-amp sits plush on their respective PCB's, with zero movement or proximity to other components.







Consequently the P1Plus is also now transformed & elevated from it's "fun" tag. Critical listening is now enhanced, & the atmospheric "live gig" presentation & enveloping stage, has become far more engaging/mesmerising.

The "Daisy Chain" coupling with the Q11 now sounds even more amazing!
This trio addition of Burson's increases SQ: making even the SE output of the P1Plus sound much more balanced, hence it boosts the sense of holophonic stage!
Burson's are easily the best op-amps around imho, and through tubes they sound even more warm & analogue...

One thing to point out is that, as much as I adore my balanced R-2R DAC unit,
I notice that when using it via laptop as a soundcard for my musical projects, some frequencies generated by layered synths (via Bitwig) occasionally felt very "Jarring" (NOT Jean-Michel!) This unfortunately usually resulted in post session ear ringing.

Hence being acutely mindful of tinnitus: I only now use it for listening to FLAC tracks.
Switching over to the Q11/P1Plus combo there's no such issues & synth arrangements are glorious & truly mind-blowing! Imaging and stage are boosted, making mixing tracks far more precise, increasing your emotional responses, as the performance set develops, thus producing a sense of total engagement & immersion...result !!





Conclusions:

The overriding thing that has impressed me with the DAC-Q11 is how much better it is to opt for a dedicated unit, rather than being combined with a pre-amp, thus producing an ultra-low THD of 0.0003%.

We could think in terms of the current gamut of chi-fi flavours akin to coffee menu's conjured up by specialist baristas "Magic Sauce Home Brews." Continuing with the smorgasbord buffet flavour analogy, umami is also a savoury, meaty taste: & one of the five basic tastes: i.e. sweet, sour, salty, & bitter.

Douk's masterchef ethos is: If your signature DAC evokes **chef's kiss** then why not DOUble it ??
In a highly competitive marketplace, kudos goes out to Douk Audio for thinking outside the desktop box & patent this wonderfully inspiring idea!!

Since 2018 new switch compensation techniques for inverted R-2R DACs, optimized the signal to noise ratio at the DAC's output by designing clean switching processes. R-2R ladder resistor architecture DAC units, merge the differences between the analogue warmth of tubes and solid state circuitry architecture.
High-end R-2R multi-bit/delta-sigma DAC units take this concept further, in that the switching is faster, i.e. a simpler digital noise-shaping loop. Old school audiophiles, that build their systems around dedicated separates components, invariably opt for the HE multi bit R-2R DAC's, as they can distinguish DAC unit's that suffer: "digital glare!"

Therefore, with this in mind, producing a double DAC was a very brave direction to take by Douk's R&D, consequently adding an entirely different approach. Therefore, the concept of blending two individual DAC chips, definitely widens the spectrum & scope of potential future listening flavours, methinks?

Assumptions that previously shaped one's mindset, have once more been totally altered, recalculated and reconfigured, to take on board a different perspective...
Logically, if one's signature veers towards the AK4493, then usually you'd choose a AK4499 chip? (lowest THD+N -124dB)...in order to upgrade to the next step up, high end model.

Alas now another option is now available, despite the gamut of current R-2R units.
Hence when choosing your DAC unit: things ain’t necessarily so predictable anymore, as "Transformational" gear once more pushes the envelope: bigtime!

Especially with the (DOUble) Douk DAC-Q11 in da house !!

"Affordable Hi-Fi" rules...cos more is MORE !!

Dealing with Douk Audio Store is an uber friendly experience, exchanging messages is very swift and makes communication an absolute breeze.
Here's the links to the Douk P1Plus:

https://www.amazon.com/dp/B0DDBFDYXX
https://doukaudio.com/products/douk...reamp-usb-dac-headphone-amp-w-vu-meter-dsd256
https://www.ebay.com/itm/2670035403...2032649&keyword=US_youtube_P1PLUSUS_P1PLUS001



Unboxing the P1Plus is a total pleasure, a big improvement over previous amplifier units packaging, which were a tad basic to say the least!
The P1Plus and accessories however, ooze premium quality with great attention to detail. Plus Douk actually include an instruction manual! Also the cool remote control has a high quality finish, plus surprisingly there's a 4GB memory stick loaded with all necessary drivers: including ASIO drivers for the unit itself & Foobar 2000.

Setting up the unit is easy, one thing to be mindful of regarding the VU meter: the adaptor needs to be firmly pushed in, until you hear it click into place.

Aesthetically the Douk P1Plus DAC is a very desirable piece of kit indeed. The upgrade from its previous iteration (P1), now elevates this improved "+" device to a totally new stratosphere!!
In hand the amp is very robust & you're very aware of it being built like a tank, & hard to find any faults whatsoever. The mode & tone knobs are solidly fixed & the valve tubes also feel very protected in their housings. Extra protection is provided by cool side bars, plus the attached VU meter housing. Hence, it's easy to appreciate the glorious QC of the P1P+ casing.




Sound Quality:

P1Plus DAC chipset is the excellent asynchronous Sabre ESS9018K2M, which has exceptional resolution and dynamic range, making it particularly suitable for high-end audio applications. For example the same chip is also implemented in more expensive balanced headphone amps (such as the Mytek Liberty DAC.)
Douk also utilises great quality components in the P1Plus, in order to achieve stunning 24Bit/96Khz resolution. NE5532 op amps do a fine job, & allow tailoring a bespoke sound sig by swapping them out (with dual op-amps of your choice.)

From the outset I intended to use the P1Plus hub to audition tracks via double sets of Bowers & Wilkins loudspeakers, and also as a headphone amp.
It's worthwhile noting that this amp enhances your DAC / DAP & Dongle. Feed your source through the P1Plus audio-in & it renders sources with lush creamy goodness, that every audiophile craves...well at least I Do(uk) !

P1Plus' tone control adjusts the range of bass and treble from: -10 to +10, & the units hi-fi grade components reproduce a very natural, authentic, analogue sound presentation.
To my ears: soundstage width, height, depth are also perceptibly extended (especially via BT.)

As a headphone amp I auditioned it with my reference set: WGT-1. Upper treble "air"/micro detail retrieval/mids/bass/sub-bass all sound really excellent!
I then connected the P1P+ up to my mini amp via Bowers & Wilkins speakers. Using HiBy R6 Pro as source, I connected a cable to Aux-in & switched on BT, A/B' ing between the two, & surprisingly...Bluetooth is far better than wired LOL.

There's definitely plenty of magic sauce coming out of both B&W's & noticeably the soundstage is really extended beyond the speakers, blowing away the rendering of my Audient soundcard's pre-amps. It makes one wonder: what if the two NE5532 were switched out with high end op-amps?




Modes:

The standard USB in/COAX/BT modes are included + in addition the excellent AUDIO/AUX in. This means that the unit to be used seamlessly as an independent amp, for your iem rotation & additionally connected to Bluetooth gadgets on-the-go.

My set up comprises of: 2x laptops plus 2x iPad Air 4's. I create electronica track compositions using analogue polysynths, accompanied by additional sequence layers, generated from vstplugins in Bitwig 5.2 DAW.
The Audient soundcard's output is connected to Douk's audio-in, & subsequently final mixes are sent through the glowing twin JAN5654 tubes, in order to warm up the sound.

What is instantly noticeable is there's minimal sound delay when switching between modes. Tbf, I was really blown away by just how good the BT mode is, providing a rock solid connection, with absolutely ZERO latency whatsoever!
Here the QCC5125 Bluetooth chip supporting APTX-HD and LDAC really excels beyond any previous BT chipset I've encountered to date.

As a musician, combining iPad's AUM arrangements into my laptop music projects, isn't feasible: as my Presonus near field monitors incur a BT time delay, which renders iPads unusable for live performances.
In hindsight, the reason that I side-lined my 5 y.o. XiangSheng DAC-03, was becuase it had no ASIO drivers. Whereas Douk's driver installation (via memory stick) also includes ASIO, hence they're definitely an ally of us musicians!

It's only when you use this type of hub in situ - that you appreciate just how indispensable they can become to your set up. Thus until you actually test out this level of kit for yourself, you're none the wiser: potentially it could become an essential cog in your desktop configuration.

Consequently my iPads will be used in a much more focussed & productive way, totally independently of my laptops.
Rendering tracks via iPad is now taken to the next level, a stable connection makes it a total joy to mix with including: layered synths/radio stations/drum/acid machines (- also facilitates on the move mixing via 12V power pack.)




Usage:

Having now replaced my trusty SMSL M8 with a new R2R DAC, the resulting resolution & rendering is more dynamic especially when playing FLAC files via Foobar 2000. This new DAC takes up the 1st input of the EVO8 Audient soundcard, & analogue polysynths are connected to the 2nd RCA stereo input.

EVO 8 soundcard is connected to the Douk's aux-in, via streamlined thinner 3.5mm cables rather than bulky RCA leads, to keep the desktop set-up less cluttered.
This configuration sounds quite magical, as effectively, the DAC & laptop's soundcard pairing is being warmed up by the P1Plus tubes. One thing stood out during my iPad music session - mixes are far cleaner & less muddy, hence more transparent.

The added bonus is that: I can now mix layers according to VU meter feedback(less vague than colour level meters.) The VU is very sensitive & responsive to minimal volume changes, & can be utilised as an accurate tool to measure volume levels when mixing tracks, especially useful for fading levels in & out.

Utilising the P1Plus tone controls, my DAW/iPad project arrangements, clarity of imaging has become more focussed: consequently tracks are easier to mix.
It certainly helps with production mastering over monitors/loudspeakers/iems.
The added bonus as a musician, this improved SQ allows you to become much more immersed in your track compositions - more-so than ever before !!




Future Roadmap:

There's potential for further transformations in the power-amp industry. Audiophile purists appear to be ambivalent regarding the current revolution, occurring in mini-amp marketplace questioning if it's a good or bad thing?
I'm very much in the Pro camp - as it aligns with & pushes forward the whole "transformative" ethos: tech advances that are both inevitable & unstoppable.

With all the discourse surrounding class D mini format amps, companies like Douk who promote access to circuit board DIP-8 sockets, who highlight their swappable op-amps, certainly for me personally has an edge over others.

By promoting these experimental possibilities to improve upon an amps sonic level, is imho an essential feature to boost resolution/rendering, imaging, layering etc. This simple modding application, can consequently have a big impact on elevating your amps' soundstage to > Kilobuck level...thus it's a real bonus.

In this sense: the Audiophilia hobby becomes akin to Audio Alchemy, whereby the conversion process of alchemy transmutes base metals into gold. Likewise Rolling similarly "transforms" gear towards one's desired bespoke Audio Nirvana!!

The overriding question is: do I really miss my larger NAD or Marantz amps?? Nope...the biggest difference with that my current mini amp has a 4W power consumption rating compared to the NAD's power hungry 135W !!

Researching Douk amps roster, I intend to replace my current mini amp with one that offers the opportunity to "roll" swappable op-amps. This would complete the "Daisy-Chain" of Douk units via plentAful sound shaping possibilities.
Ideally it should also be uber easy to disassemble in order to gain access to it's PCB DIP-8 sockets.

Therefore the beauty of owning the superb P1Plus is that: when considering adding my next power amp, I don't need it to have all the extra bells & whistles (BT / VU meters etc.) at the final stage in this daisy chain.
My intended desktop and combined portable rig roadmap is: P1Plus > Power Amp > B4-X.

The latter two units I intend to roll with my current collection of op- amps including the mighty Burson V5's. I'd love to experiment further, to discover what extra improvements can be achieved? For example I'd love to compare Burson V5's directly versus incredible V7 Vivid. Additionally, I'll also look forward to further experimentation with rare tubes...

In my opinion the P1Plus doesn't OOTB require rolling, although it may be worth considering at a later point?
This method should help towards reaching an optimum SQ, whilst trying to achieve optimum signature tonality & next level soundstage, providing sublime "sweet spots" for both your loudspeakers & iem configurations.




Conclusions:

The overriding feeling is that all my expectations have been surpassed. The word transformational can definitely be applied to this truly amazing hub. The SQ of final track mixes is beyond where it was previously, akin to lifting a veil with improved driver config iems. Hence upgrading my sources has been resounding success methinks.

In technical forums such as: Audio Science Reviews it's conveyed that amp hubs are "fun," conversely, I'd argue that the P1Plus can render the SQ of any "ultra clear pristine sounding" DAC, Dongle or mid>HE amp that you feed into it. My take is that specialist "one trick pony" amps don't offer the same value as this kind of hub!

Reviewers opinions seem to imply that "fun" units don't offer serious audiophile competition, which seems to detract from, rather than helping to achieve/emulate a particular bespoke "house sound." Regarding this issue, rolling can compensate for any deficiencies in your Hi-Fi set up, thus allowing the potential to shape and correct any anomalies accordingly.

Tbf the term "fun" for me personally alludes to FUNctionality. Thus the Douk P1Plus has high levels of fun in abundance, as it definitely excels in every department. It's an essential requirement for me to have multiple modes: AUDIO/AUX-in.

Regarding future proofing: rolling with both tubes and the current range of amazing op-amps, highlights how the P1Plus, as a hub, can elevate one's DAC's/DAP's and hook up seamlessly with dongles and portable tube amps (eg DC-Elite & the B4-X, respectively.)

The transformative aspect of this kind of hub, making DAP's & iems suddenly sparkle & come alive. Experimentation in every cog of the chain, now seems to be LIMITless. These upgrades add to one's emotional responses: inducing extra levels of *chefs kiss* (and then some!)
The huge bonus being that this hub elevates BT (plus any cold digital sources) into organic, creamy, analogue valve goodness...

The above upgrades in my desktop sources will no doubt prepare me in advance for the upcoming London CanJam 2025, & it's certainly worth reflecting that Audiophilia is now in a very healthy place indeed!

Resoundingly the P1Plus imho is : "TRANSFORMATIONAL" !!

Dealing with the Yaoyaotiger HIFI Audio Store was a very friendly experience – message responses were very quick, making the ordering process an absolute breeze. If you notify them that you’re a Head-Fi member....an extra 5% discount will be offered.

Product link:
https://www.aliexpress.com/item/1005001382010241.html?spm=a2g0s.9042311.0.0.8e764c4d1YMsBq

The NM2+ are my first reference monitor iem set, their dual cavity dynamic driver delivers exceptional frequency response of 9-40kHz. Coupled with their low impedance rating of 18ohm (sensitivity: 108dB/mW) they’re very easily driven out of the box - by smartphone, laptop soundcard, DAP or recently acquired VR headset!

The CD style packaging oozes premium quality - the stock tips, foams & cable are adequate enough to obtain audiophile level results. The attention to detail is paramount, even a high quality 6.3mm to 3.5mm adaptor is included...bonus!




I chose to add my goto SPC cable: Kinboofi 4-Core Pure Copper Silver Plated Gold, with mmcx connectors (with right-angle mmcx to 2-pin converter adapters.) This upgrade noticeably improves instrument timbres, adding extra stage "air" & enhances note thickness, helping to convey instrument authenticity. I also attached the supplied stock balanced tips which provide perfect seal (-usually I need to exchange with JVC Spiral Dots modded – with inner column cut off padding them out to get better grip.)

NM2+ feel akin to open-back cans, and have minimal leakage when placed in-ear. Instruments are rendered in a full-bodied, thick note presentation, resulting in their superb musicality – bass, acoustic & amped instruments, percussion & synthetic genres all sound amazingly authentic. Uber impressive technical specifications present a wide and deep sound-stage which resolves particularly well - especially when listening to binaural genres & electronica soundscapes, where nuanced layers of micro details envelop you in a 3D spherical spectrum.




As an electronica musician to finally have a stage monitoring set that render tracks in the way an artists intended them to be heard is invaluable - hence they provide an accurate reflection when mixing your own track compositions. After minimal burn-in period this set becomes more transparent - revealing higher sonic levels, & nuanced details alongside superb imaging, adding to their 3D stage.

I'm currently compiling performance patches via a Korg Wavestate synthesiser, using Master EQ to sound design each patch. NM2+ allows you to tweak desired frequencies extremely accurately: Lows / Mids1 / Mids2 / High, over the entire audible spectrum. Implementing this method, nuances get highlighted, which engages you more in the shaping of the sound design, in-turn, increasing the dramatic impact of each performance – and leave less technical sets behind!

Mixing electronica tracks is a blast using synthesiser vst-plugins, via Ableton Live and iPad apps, layered & sequenced in DAW. Accurate imaging adds to the enveloping stage, whether actively composing tracks or passive listening. Acoustic, amped & percussion instruments all sound incredibly "authentic” without ever becoming fatiguing. Classical/cinematic soundtracks are especially visceral, involving & engaging.

The most pleasure-able aspect of the NM2+, from the viewpoint of being a monitor reference set, i.e. natively neutral, whereby you expect them to be cold/analytical, susceptible to transient peaks/sibilance etc….they sound warm/analogue, surprising you with their sheer brilliant musicality!

The dual cavity dynamic driver is on a par with my floor standing speakers - namely Bowers and Wilkins DM602 S3 Speakers - the internal porting echoing the physical enclosure of the way sound is transmitted. The B&W also are incredibly easily driven as are NM2+ so the parallels are self-evident!



Build/Fit:

The cymbal conchae design provides an ergonomic fit akin to the shells of TRN-VX, plus they aren’t at all cold to the touch e.g. metal shells of Tri-i3. NM2+ build quality is amazing, sporting uber stylish aluminium shells which are extremely aesthetically pleasing. They offer above average isolation with very little protrusion, the circular conch fitting snugly into the ears' tragus – very svelte in-ear. I find that fitting/removing this set to be the easiest, most comfortable set & are ideal for pillow listening.


Tuning / Sound Signature:

The reference, neural tuning is very musical indeed, audiophile refinement combines with an energetic presentation, which means they effortlessly handle any genre you can throw at them.
They manage to retain a warm and analogue tonality, when switching between polar opposite genres the tuning always adapting seamlessly –totally in accordance with my listening preferences!


Sound-stage

NM2+ renders a stunning 3D holophonic stage - in terms of width and depth…. whilst not as deep as it is wide, an all-encompassing sound spectrum. Some front/rear placement can be perceived (alas maybe the height could be a tad more extensive? On an experiential level the double cavity driver handles the most complex tracks effortlessly, never sounding busy, too congested or intimate – placing the listener at the centre of the sound generation, whereby binaural recordings feel “live!”


Highs:

Treble extension is pushed to the forefront right from the first listen. This is eventually smoother post burn-in. The upper frequency doing an incredible job of eking out micro details, previously not perceived in tracks. They’re never “shouty” or display any transient peaks hence totally non-fatiguing with absolutely zero post-listen ear-ringing.

Mids:

The mids are sublime, embellishing the overall balanced signature - particularly appealing when listening to synthesiser/electronic genres of music….and is superb for vocals and soundtracks. This results in an addictive sound signature, specifically for fans of mid-centric iems, whereby the stage, instrument/image separation; placement & layering all combine impressively.

Bass:

A good seal is always easily achieved as the fit is so good….the double cavity driver generating enough quantity of bass/sub-bass to underpin the mids, which sits nicely not too forward in the mix. The bass accuracy & tightness emphases low end rumble boost bass & renders percussion more effectively, generating punchier note weight without ever overshadowing the mids - definitely helping to improve the authenticity of instruments.


EQ response:

They respond adequately to hardware EQ & software applications via DAP’s, Ear-Studio ES100 iPad app, or laptop using Behringer’s Midas pre-amp soundcard as a source. However, experimentation is not overly necessary – due to the nature of this set being reference monitor pair.


Amp Scalability:

Brilliant scalability allows them to be amped effectively - no distortion above and beyond the hi-fi “sweet- spot” generating greater volume levels - they handle warm/cold sources equally efficiently.


Sources:

Adding the Hiby R6 Pro to my set up, offers EQ plus two independent MSEB (Mage Sound 8-ball Tuning) – an app that combines of multiple algorithms, to adjust headphones / iems sound signature according to your taste.

Excellent DAP synergy is also provided by Sony NW-ZX300a with BT receiver mode switched on the vinyl processor, generating extra “analogue” warmth via balanced output from a Dell gaming laptop.

Both units allow two-way bluetooth in order to audition FLAC files via balanced output.

SE output is catered for using: Behringer UMC404HD / iPad Air3 / Cayin N3 in conjunction with NX4 DSD/DAC – the high gain switch increasing all frequencies plus quantity of bass boosted to emphasise the rumble of sub-bass, adjusting to “sweet spot” volume levels with no distortion.

Bluetooth mobility with (Radsone) Ear-Studio ES100 plus added EQ via iPad app. Additional pairing with Xiaomi Mi 9T smartphone & Max Volume Booster app also sounds remarkably good.


Listening preferences:

Various electronica soundtracks were used to test the binaural capabilities of this set such as:

FLAC LP: “Y Dydd Olaf” by Gwenno” & “Jettison Mind Hatch” by Tipper. Ambient Internet Radio / NTS Radio / Live Gigs, Vocals / Jazz & Classical / Electronica / Andy Dragazis – Afterimages - Soundscapes appear visceral, airy and binaural, the timbre of strings is wonderful & otherworldly underpinned by suspenseful cello.

NM2+ excel especially with binaural studio mixed tracks with plenty of multi-layering:

Velvet Universe - Voyager LP / Why? – Ermhoi / Black Boboi - Red Mind

D.A.N. – SSWB / “Shard of Glass” – Fenella / Fuku-Ura / Monochrome Echo / Sync24 / BOC.



Comparisons:

Mofasest Trio: Electrostatic iems require way more power to effectively juice them – they can handle extreme volume levels and respond to EQ pushed to the very limits. Soundstage also is quite different to the NM2+, whereby detailed sounds can sometimes sound more isolated within the 3D spectrum. This occasionally can result in less coherence in the overall presentation of some genres/tracks. Features such as these coupled with their extended treble make the Trio interesting & I’d still argue they’re worth the extra cost. As opposed to EST drivers, the natural instrument timbre of the NM2+ is definitely more authentic imo.

Tri-i3: A/B’ing with the NM2+ reveals that their tuning surpasses the triple hybrid driver configuration of the i3, & engages the listener more when rendering Classical & Electronica, percussion & instrument timbres, which sound seem more authentic with thicker note signature, oozes excitement & energy in comparison to the more sedate i3.

KBEAR KS2: Treble glare lets the KS2 down, whilst they still retain a phenomenal soundstage & very forward mids, which are overshadowed by the full bodied signature of NM2+.

Blon BL-05: The Blon in comparison appears to be bass light & has smoothed out treble which is less extended & rolls off sharply, the NM2+ has similar levels of amp scalability, energy and excitement.

NX7: similar levels of excitement & energy to the three-way hybrid configuration of NX7 - the piezoelectric of boosting bass, treble & detail retrieval. However they do suffer from transient peaks, generating inauthentic instrument timbres - making percussion seem plastic. NM2+ renders instruments with far more authenticity - matching their energy, whilst negating any transients, plus delivering a more impressive 3D stage.


Conclusion:

NF Audio NM2+ easily competes with sonic levels produced by higher-end sets & very affordable at this price point – they certainly outshine comparable mid-range sets. Their tuning delivers a very addictive tonality & timbre - perfectly aligned to my listening preferences. Their balanced reference monitor signature, full bodied instrumentation, is coupled with an intoxicating energetic presentation.

Add to the mix the 3D holophonic spherical stage, which has a depth that makes you really appreciate their technical prowess, which delivers exceptional layering and imaging, making them my goto iems: being supremely addictive & engaging!

The NM2+ represents a superb value alternative to electrostatic high end gear - thus bypassing the risks involved in being an early adopter of new tech (with their inherent experimental crossover/hybrid configurations.) The NM2+ never fail to impress – and are a truly “wow factor” set with plenty of performance sparkle! Kudos goes to NF Audio…highly recommended!


Ratings:

Build: 95

Fit: 95

Bass: 90

Mids: 90

Treble: 90

Soundstage: 90
-
Imaging/Layering: 95

Accessories: 90

Price: 90

Ordering the KBEAR KS2 – when dealing with the ever friendly KBEAR Official Store (product link below) was a great experience - the parcel being shipped quickly once the order placed.

https://www.aliexpress.com/item/4001209302741.html?spm=2114.12010611.8148356.5.2e331640NMi8ft;


To obtain the discount price:
1. Became a follower of KBEAR Official Store
2. Use discount code: NEWKBEARKS2


Out of the box, these iems can be used efficiently with any source, including smartphones, due to the low 16 ohm impedance rating. However, upgrading from the stock cable produces a much more audiophile experience.

The fact that they can be so easily driven, mirrors the signature of my favourite budget earbud drivers: DIY PK2 SR2 Pro – they also match them for their extensive soundstage in width, height, front & back. Hence, for little money an enveloping 3D holophonic stage can be experienced.




The stage can appear to convey reverb due to its huge enveloping size. The tonality of the treble can sometimes appear hot on certain repetitive beats EDM tracks….hence some percussion can easily become splashy & irritating. I found that given a period of burn-in these spikes became less prevalent, once one is accustomed to their signature.

They appear to suit more synthetic genres which suit my listening preferences – however they’re not so good at rendering acoustic instruments & brass timbres such as: Jazz & Classical music. I noticed that during busier tracks with complex multi-layering, they struggle to render this kind of timbre. However, there is plenty enough quantity of bass & sub bass - resulting in a presentation that offsets the bright signature somewhat!

In order to improve instrument timbre, they do respond well to balanced cable upgrades. Initially I tried a cheaper silver plated cable, which I later replaced with a more expensive Kinboofi 4-Core Pure Copper Silver Plated Gold Mix Cable, which uses mmcx connectors. I’d already pre-ordered: right-angled mmcx to 2-pin converter adaptors, to allow the SPC superior cable to be used with all 2-pin iems in my collection.

This upgrade definitely added extra stage "air" & generated enhanced note thickness, great helping to convey & resolve instrument authenticity. The impressive technicalities displayed by K2’s soundstage, imho outweighs their deficiencies, coupled with their low impedance works particularly well with genres such as electronica soundscapes, as layers of detail builds up over the spherical spectrum.




Build/Fit:
These are very average plastic housing shells which is to be expected at this price point, alas they do have a decent build quality. The fit is ergonomic there is some bulky protrusion, alas they do streamline effectively with the ears tragus, in order to provide an adequate seal.

Tuning / Sound Signature:
Being tuned by the same tuner as Blon-03, the KS2 have a bright balanced signature, which is mids-light/treble-heavy, coupled with a jewel of a sound-stage!

Soundstage:
The highlight of this set is their sound-stage, which is very tall, deep and wide, conveying a spherical 3D holophonic sound-field. Imaging is accurate – & you never get the feeling that any sounds are being stretched out, adding up to a very engaging experience.




Highs:
Due to the BA located in the nozzle configuration, the treble is pushed forward due, hence some tracks can suffer from transient peaks. Using an upgraded SPC cable, whilst thickening the note-weight, also exposes the extra juice in the treble.

Mids:
The mids are less pronounced which generates a much less rounded presentation, this can results in certain instrument timbres such as brass being slightly veiled during more busy and complex tracks.

Bass:
An impressive quality and quantity of authentic tight bass and sub-bass sits very neatly in the mix…not overpowering or muddy, whilst refraining from bleeding into the mids.

EQ response:
Apart from upper treble frequencies over 7Khz, the KS2 respond to EQ well, especially when trying to order to balance out the signature by boosting mid–range frequencies.

Amp Scalability:
K2 amps fairly well, but the low 16 ohm impedance rating higher volume levels can sound rather brittle & do suffer from transient peaks - distorting at high volumes.
Bass response clarity remains non-muddy as a “hi-fi” sweet spot is attained. I found them easy to amp using warm or neutral sources, their synergy seamlessly adapts to any situation – such as being powered by the output stage of a synthesiser.




Sources:
The best synergy is attained with FLAC files via balanced output of Sony NW-ZX300a – the DAP remains distortion-free at max volume. BT receiver mode of the Sony DAP with vinyl processor switched on, adds extra “analogue” warmth- in order to experience balanced from Dell 7559 gaming laptop & a newly aquired Korg Wavestate synthesiser!

SE output: Behringer UMC404HD / Xiaomi Mi 9T smartphone / iPad Air3 / Cayin N3 & NX4 DAC - gain switch increases all frequencies plus quantity of bass & rumble of sub-bass allows for “sweet spot” volume levels over halfway with no distortion. Additional mobility is provided by Radsone EarStudio ES100 with additional EQ via iPad app.

Listening preferences:
Considering the tonality of the KS2 their “live” signature excels with any synthesiser laden tracks & especially with those that combine a live band sound with studio overdub mixing, multi-layering e.g:


Velvet Universe - Voyager LP (Full) (1981.)




Why? - Ermhoi




Black Boboi - Red Mind




D.A.N. - SSWB




“Shard of Glass” - Fenella




Fuku-Ura




Monochrome Echo



Testing the Binaural capabilities of this set was auditioned with tracks: “Jettison Mind Hatch” by Tipper, “Y Dydd Olaf” by Gwenno. Ambient Internet Radio (NTS) / Soundscapes / Live Gigs, Vocals / Jazz & Classical / Electronica / FLAC LP’s Soundtracks: Andy Dragazis - Afterimages ( - Engaging atmospheres appear visceral, airy and binaural, placing you at the centre of the music, the timbre of strings is wonderful & otherworldly - underpinned by moody, suspenseful cello.)

Musicality:
KS2’s micro detailing results in a very more-ish sonic experience, alongside superb bass rendering portrays an incredibly musical signature, which excels with a wide gamut of genres ( - apart from occasional poor rendering of brass timbres.)
The low 16ohm impedance of the KS2 totally engages you on a visceral level, esp. vocals & Electronica – which are are imbued with a “live” feel
Whether listening passively to binaural tracks soundscapes, or playing my new Korg Wavestate synthesiser – which sounds incredible regardless of the array of timbres classical, acoustic, synthetic etc….chosen from the huge sound palette!



Comparisons:
TRN-VX have similar levels of excitement & energy, however VX’s 5BA 1DD hybrid configuration helps to smooth out transient peaks and render timbres during complex tracks, & sound more refined at higher volumes. Detail retrieval and sound-stage of both are excellent! However, KS2 boosts the treble response, & has thinner mids susceptible to not resolving instrument timbres & plastic/splashy inauthentic percussion. In contrast the VX has less bass quantity & artificially boosted upper mids.

TRI-I3: The KBEAR with smaller housings can compete with the Tri’s stage: both having a tall, wide, deep: 3D holophonic, binaural stage. Synthetic & bass-centric tracks are favoured by KS2 which sound slightly punchier. As a mid-tier set, Tri- i3 are on a different sonic level, being less v-shaped & much more refined in their presentation – imho remaining unsurpassed at rendering classical timbre + excelling with vocal tracks.

Blon BL-05: The KS2 generate to the bright energy & detail retrieval of the Blon, which is offset by greater bass/sub-bass quantity which results in an overall signature that is noticeably more enjoyable, balanced and engaging.

Conclusion:
If you’re looking for a set with huge stage KBEAR KS2 represents amazing value. The soundt-stage & tuning of the single BA&DD configuration adds up to a bargain price. The main caveat being they have very average housings, & are tuned to emphasise treble - hence they might possibly be too genre specific for some?

On an experiential level, I for one will never tire of their 3D holophonic stage coupled with a “live” bright signature. Admittedly, the treble emphasis produced by the nozzle BA can be hot on occasions, and the mids would benefit from being bought more forward to create a more lush sound signature, despite this it’s hard to nit-pick their deficiencies given their low price.

Considering the recent feedback regarding the latest Chi-Fi releases utilising BA’s located in the nozzle, in a future iteration, I would like to own a set that is tuned specifically for the international marketplace.
Hopefully, a “modified” set could have similar shells to the TRN-VX - way improving the listening comfort, whilst retaining the KS2’s superb sound-stage. Situating the BA away from the nozzle would reduce treble emphasis & thus avoid splashy percussion.

Ideally the modified set could possibly implement a planar driver configuration? The resulting boost in mids would create a far more full bodied & lush tonality - increasing instrument rendering, which in turn would consequently improve clarification of authenticity!


Ratings:

Build: 80

Fit: 80

Bass: 85

Mids: 75

Treble: 80

Soundstage: 90

Imaging/Layering: 90

Accessories: 75

Price: 93

The KZ-Z1 TWS was received from AK Audio store (product link below) - the package dispatched & arriving in a very efficient time.

https://www.aliexpress.com/item/4000989409388.html?spm=a2g0s.9042311.0.0.c2664c4dNseFPt

It is advisable with the KZ-Z1 to use memory foams to maintain a more secure seal/fit and boost bass response. Charging time was very quick and they are constantly trickle charged whilst in case. The controls work very extremely well with no glitches and are comprehensively laid out in the supplied instruction leaflet.



This set is really enhanced when boosted via a laptop running Ashampoo Soundstage Pro, switching between surround sound on and off, opting for Koss Porta Pro sound profile & checking the boost button, reaches optimum performance for Bluetooth, producing crisper micro details, improved imaging & adding an “airy” stage.



Build/Fit:

The stylish design is very aesthetically pleasing – the moulded resin housings fit plush in ear, held securely in place with suitable foam tips.

Tuning / Sound Signature:
They are bright, and like most Bluetooth sets are initially slightly metallic. However, post burn-in their warm tonality is very analogue rather than cold or analytical. Not overly bright, details are transparent & revealing, whilst retaining an energetic presentation.



Soundstage:
The stage is quite narrow and less deep as it is wide – hence not as 3D holophonic as wired sets.
When it is necessary to be hands free, I currently use the Z1 to mix electronica tracks, that combines analogue synthesizers, with VST plugins, sequenced by iPad app or DAW via laptop – hence an increased stage, imagery and layering is greatly appreciated, whether actively composing tracks ( & listening passively.)


Highs:
No exxessive highs are experienced or any transient peaks, shoutiness or sibilance is heard – thus they are non-fatiguing with no post ear-ringing.

Mids:
The mids are well extended and lush, especially when boosted via an app – which helps to render a very balanced sound signature.

Bass:
Once a good seal is achieved with memory foam tips there is enough quantity of bass/sub-bass which is relatively forward in the mix. Hence for a bluetooth set they sound very balanced.



EQ response:
Responds well to additional frequency boost via laptop, it pays to experiment with different settings using software. This set is really enhanced when boosted via a laptop running Ashampoo Soundstage Pro, switching between surround sound on and off, opting for Koss Porta Pro sound profile & checking the boost button, reaches optimum performance for Bluetooth.

Sources:
I prefer devices with two-way Bluetooth - the best synergy is attained listening to FLAC files via Sony NW-ZX300a – the Z1 remains distortion-free at max volume. BT receiver mode of the Sony DAP with vinyl processor switched on, adds extra “analogue” warmth & output from Dell 7559 gaming laptop. Connection to iPad Air3 / Cayin N3 is equally seamless, plus listening via Xiaomi Mi 9T smartphone & Max Volume Booster does sound incredibly good.

Listening preferences:
Velvet Universe - Voyager LP (Full) (1981.)







Why? - Ermhoi







Black Boboi - Red Mind







D.A.N. - SSWB







“Shard of Glass” - Fenella







Fuku-Ura







Monochrome Echo







Testing the Binaural capabilities of this set was auditioned with tracks: “Jettison Mind Hatch” by Tipper, “Y Dydd Olaf” by Gwenno. Ambient Internet Radio (NTS) / Soundscapes / Live Gigs, Vocals / Jazz & Classical / Electronica / FLAC LP’s

Comparisons:
MTW100:
Considering that the Z1 are half the cost of Shanling MTW100, they outperform them in every way, regarding stage, highs, mids and bass. Admittedly, the MTW100 battery life is superior at 24 hours. I would argue that the Z1 are preferable as, on adaily basis, you’re more likely to use a bluetooth set in short bursts – 3 hours maximum, before you exchange them for a wired pair!



Conclusion:
Sound quality is very good considering the price and they last a reasonable time between charges. Included in the box are a charging cable and charging case that doubles as a power bank

Pairing with variety of sources: DAP’s, laptop, phone, and iPad is an easy process. Once the phones are placed in the case – they switch off & charge. Once removed and placed in ear they instantly connect back to the source!

Consequently, I definitely recommend the KZ-Z1, well built, great accessories, and superb sound, what’s not to like?


Ratings:

Build: 85

Fit: 85

Bass: 85

Mids: 80

Treble: 80

Soundstage: 75

Imaging/Layering: 75

Accessories: 85

Price: 90

Ordering the TRN-VX from the helpful AK Audio store (product link below) was as effortless as usual - the package was swiftly dispatched & arrived in uber quick time.

https://www.aliexpress.com/item/4001050280671.html

I was looking for more compact iems that were close to generating mid-tier performance – in an attempt to emulate my favourite set: Tri-i3....& beloved earbud drivers….DIY PK2 SR2 Pro (16ohm.)

The TRN-VX 6BA+1DD hybrid configuration certainly piqued my interest - to ascertain if they could compete with mid-range sets, whilst I'm waiting for high>mid-end gear to trickle down (without parting with excessive funds.) Out of the box the stock tips & cable are deemed worthless & require instant upgrade to obtain audiophile level results.

It’s a great bonus that with continuing burn-in….they become increasingly nuanced - the sound-stage appearing more & more 3D & spherical as each day passes....imho definitely a pair that are worth investing time in!



I opted for an 8-core pure copper 2.5mm balanced cable & attached JVC Spiral Dot wide bore tips. These tips were modded & added to a pair of supplied tips - inner column cut off to pad them out – which fortunately results in a better grip & perfect seal, providing above average isolation - there are two vents in the front of the housings, alas they generate minimal leakage once placed in-ear. In a future iteration I’d love to see these vents relocated at the top of the housings – this modification would definitely add extra stage “air” making the set redolent of open back phones.

The TRN have somewhat divided opinion – appearing fairly marmite to some reviewers - inferring that the VX are merely a “wow factor” set - in consideration of their extended highs/mids, they also add that VX produce a less full-bodied / thinner note presentation, which results in instruments being rendered in an artificial way. Whilst I admit that percussion such as cymbals can on occasions appear splashy and thus artificial – I would argue that is can be reduced with the application of nozzle micropore tape & may even be deemed beneficial whilst listening to some genres like binaural soundscapes and electronica.



They do require cable/tip rolling – to achieve optimum pairing, coupled with a considerable burn-in period - which is imho essential in order to make this set truly shine. In this regard, out of the box they could be viewed as a very marmite pair, if one is too quick to judge them & bypass any pre-requisite adjustments. I was prepared to stick with them - my gut feeling was that eventually the VX would resolve and smooth out any distractions & artefacts, revealing a more balanced signature.

To my ears, after one weeks burn-in the signature is less artificial & at a higher level sonically – presenting crisper micro details, improved imaging & adding an “airy” 3D stage. Mids totally spring to life & become embellished alongside a tighter, better resolved bass.

I’m currently using my set to mix electronica tracks, that combines layering of analogue synthesizers, with VST plugins, sequenced by iPad apps or DAW via laptop – hence the VX enveloping stage, accurate imaging and layering is appreciated, whether one is actively composing tracks or solely for passive listening.
For this set in particular, the copper cable helps to reduce treble & increase bass quantity – whereby any extra added warmth becomes negated - due to the VX’s already warm tuning.




Build/Fit:
The VX build quality is amazing, sporting an uber stylish shell-like design which is extremely aesthetically pleasing – the emerald green version is especially gorgeous! There is some housing protrusion – but however the circular, conch-like design form is very svelte in-ear, perfectly ergonomically-shaped, as it slots into an exact fit of the ears' tragus. I find that fitting & removing this set to be the easiest, most comfortable set of iems I’ve tried up to now.

Tuning / Sound Signature:
The VX have a very bright, musical, energetic presentation, which is very transparent, maintaining an audiophile refinement. It has been stated that TRN's tuner has overcooked the high upper mids & treble, despite this the current tuning works seamlessly - in consideration of my personal listening preferences!
The 6BA+1DD hybrid configuration is transparent & revealing - not too cold & analytical, managing to retain a warm analogue tonality.
@baskingshark makes a good point: "It seems the VX tuning is catered mostly to their local Asian market, where they prefer boosted upper mids to complement their music, which features a lot of female vocals."

Soundstage:
The VX generates a 3D holophonic stage - in terms of width and depth not just limited to height…. whilst not as deep as it is wide (some rear placement can also be perceived) which results in an all-encompassing sound spectrum. However, the height is not as extensive as it could be. In a way; one gets the feeling that the highs & mids are situated on top off of the rest of the track – especially during instances of virtuoso playing. On an experiential level the multi BA frequency separation can result in making the most complex tracks not overly busy, congested or myopically intimate – sounding akin to “live” binaural recordings!

Highs:
Treble extension is pushed to the forefront right from the first listen. This is eventually smoother post burn-in. The upper frequency BA driver configuration doing an incredible job of eking out micro details, previously not perceived in tracks. Initial reviews posted state the set succumb to being too “shouty”: however any transient peaks can be alleviated using micropore tape on the nozzles - once attached I find them totally non-fatiguing with absolutely zero post-listen ear-ringing.

Mids:
The real show-stopper are the sublime mids – I think the VX are distinguished by having the mids placement, sitting atop of all other frequencies – this allows for virtuoso instrumentation and vocals to rise above the accompaniments of the track. The overall signature, whilst admittedly not totally full-bodied, is particularly appealing when listening to synthesiser/electronic genres of music….result!
This presentation provides an addictive sound signature, specifically for fans of mid-centric iems, whereby the stage, instrument/image separation; placement & layering all combine impressively.

Bass:
A good seal is always easily achieved as the fit is so good….the dynamic driver generating enough quantity of bass/sub-bass underpins the mids, sitting nicely / not too forward in the mix.
Maybe the inclusion of an extra planar driver might emphasise the mid bass - giving it more energy? – helping to boost bass & render percussion more effectively. This would result in improved note weight, portraying a punchier signature without overshadowing the mids & definitely help to improve the authenticity of instruments.
The upgraded 8-core pure copper 2.5mm balanced cable, perceptibly improves bass accuracy & tightness emphasising low end rumble, & helps to reduce susceptibility to “splashy” percussion.



EQ response:
The VX responds well to EQ application using laptop programs or via Ear-Studio ES100 iPad app.
Using Behringer’s Midas pre-amp soundcard as a source whilst running specialist software: Ashampoo Soundstage: different EQ settings can be tweaked / experimented with - in order to enhance the VX signature & boosting frequency responses across all bandwidths.

Amp Scalability:
Brilliant scalability allows them to be amped effectively - no distortion above and beyond the hi-fi “sweet- spot” at greater volume levels - they handle warm/cold sources equally efficiently.

Sources:
The VX work great with two-way Bluetooth devices. FLAC files via balanced output of Sony NW-ZX300a produces sublime “air” & good DAP synergy. With BT receiver mode switched on the vinyl processor, adds extra “analogue” warmth- enabling balanced output from Dell gaming laptop.
SE output: Behringer UMC404HD / iPad Air3 / Cayin N3 & NX4 DAC - gain switch increases all frequencies plus quantity of bass & rumble of sub-bass allows for “sweet spot” volume levels over halfway with no distortion.
Bluetooth mobility is provided by the (Radsone) Ear-Studio ES100 with added EQ via iPad app. Pairing with Xiaomi Mi 9T smartphone & Max Volume Booster also sounds remarkably good.

Listening preferences:
The VX excel especially with tracks that combine a live band sound with studio overdub mixing, multi-layering, for example:

Velvet Universe - Voyager LP (Full) (1981.)



Why? - Ermhoi



Black Boboi - Red Mind



D.A.N. - SSWB



“Shard of Glass” - Fenella



Fuku-Ura



Monochrome Echo



Testing the Binaural capabilities of this set was auditioned with tracks: “Jettison Mind Hatch” by Tipper, “Y Dydd Olaf” by Gwenno. Ambient Internet Radio (NTS) / Soundscapes / Live Gigs, Vocals / Jazz & Classical / Electronica / FLAC LP’s Soundtracks: Andy Dragazis - Afterimages ( - Engaging atmospheres appear visceral, airy and binaural, placing you at the centre of the music, the timbre of strings is wonderful & otherworldly - underpinned by moody, suspenseful cello.)




Comparisons:
Tri-i3: A/B’ing with the VX reveals that the tuning of the 6BA+1DD configuration can compete with the triple hybrid driver configuration of the i3. Alas, Tri- i3 remains unsurpassed at rendering Classical/Electronica - being much better at resolving percussion & timbres of instruments – generating a more authentic, thicker note signature. However, the multi BA configuration of the VX, once fully burned in, oozes excitement & energy by over emphasising the mids.

KBEAR Diamond: The VX’s forward mids complement the full bodied bass-centric signature of the KBEAR’s DLC driver. I found the VX fit much more comfortable, seemingly providing a more secure seal.

Blon BL-05: The Blon in comparison appears to have more smoothed out treble which is less extended & rolls off sharply, and is coupled with similar levels of amp scalability, energy and excitement.

NX7: The VX has similar levels of excitement & energy to the three-way hybrid configuration of NX7 - the piezoelectric of boosting bass, treble & detail retrieval. However they do suffer from transient peaks, generating inauthentic instrument timbres - making percussion seem plastic. The VX matches their energy easily, negating any transients, & adding a more refined 3D stage, plus mid-centric presentation.

Conclusion:

Having no experience of any previous releases by TRN, I’m now a TOTL fan of the TRN-VX. Arguably, they do/don’t compete at the authentic sonic level of high/mid-tier sets....despite this however; imho they still represent a remarkable bargain at their price point! They're an iem that require prolongued burn-in, alas the results can be extremely rewarding!

The caveat is that the VX present a very individual tuning - fortunately this signature really does suit my listening preferences, subjectively speaking. I’ve not heard another set that produces a similar tonality, so kudos goes out to TRN on this occasion for sticking to their guns during the tuning process! Being unable to discover what the letters TRN actually mean?....I'll apply my own interpretation of the acronym:
They Redefine Nuanced !

I really look forward to their next iteration which utilises a similar 6BA+1DD configuration - maybe tuned with less treble extension? By implementing a hybrid configuration adding, for example, a planar driver with correct crossover circuitry - could possibly increase the 3D spherical stage. In turn, such a modification could generate a more full bodied, hence thicker note signature, whilst potentially improving upon the imaging and authenticity of instruments in the mix!


Ratings:

Build: 90

Fit: 90

Bass: 85

Mids: 90

Treble: 85

Soundstage: 85

Imaging/Layering: 90

Accessories: 70

Price: 90

Ordering the KBEAR Diamond - after dealing with the friendly AK Audio store (product link below) was an absolute breeze, the parcel dispatched speedily – arrived in time with no issues at all.

https://www.aliexpress.com/item/4000493337285.html?spm=a2g0s.9042311.0.0.c2664c4dNseFPt


The KBEAR Diamond packaging has the wow factor beyond their budget price range, with a cool faux leather case, which is very useable.

Out of the box, the set can be used with any source, and modified to generate audiophile levels of enjoyment. The pronounced bass/sub-bass presentation of the KBEAR’s Diamond-Like Carbon (DLC) coated PET dynamic driver – which helps to render ample quantity of bass & sub bass.



On this occasion, I specifically ordered two sets: KBEAR Diamond and Blon BL05. This was a strategy to depart from the usual hobby collecting - avoiding simply upgrading & adhering to improved price ratio relative to sound signature, builds & configurations.

My aim in this instance was to pair both left & right channel of the iems, to SE & balanced cables. The two respective configurations I settled upon are:

1) Blon (L) & KBEAR Diamond (R) attached to 2.5mm balanced (VE) cable.

2) Blon (R) & KBEAR Diamond (L) to AK pure silver 3.5mm SE cable.

The synergy between both pairings works remarkably well....so much so that after the process of burn-in occurs the strengths of both blend into a set which is imho, ostensibly greater than the sum of the individual parts. I usually opt for balanced out or silver cable for SE listening to provide extra stage "air."



Couple this with the forward mids & treble extension of the Blon....you eventually become accustomed to their differences. The seeming disparity between the two is not an overriding distraction once one's brain has had time to process the dichotomy and merge both sets.

The main objective I was looking to acheive:balanced sound via lighter/smaller housings - for a convenient fit & allow pillowing listening whilst in bed. I decided to try out this iem configuration whilst waiting for high-end gear to trickle down to mid-range, i.e. a set that improves upon Tri-i3....without necessarily parting with excessive funds.

This hobby is defined by experimentation in tuning, and modification. I have previously tried mixing other pairs of iems & earbuds - which resulted in a total mismatch - hence I was pleased on this occasion to hit a bullseye! During my Tri-i3 review, I mentioned that the heavy (metal) shells had a tendency to slip - I overcame this issue by piggy-backing two pairs of tips. Dsnuts also implemented this method recently with similar success. If you simply cut off the stem of one pair of tips, & slide them over the column of the outer pair - the arrangement embellishes the tips, thus providing a much more secure seal.



It's a matter of opinion whether one considers that listening preferences are of less importance than the sources used...I'd argue that both are of equal importance. When traversing between hi-res: 24-bit/96kHz FLAC files, and lo-fi recordings – many variable factors should be taken into consideration: genre; cable/tip choice; warm/cold source; EQ application; impedance etc.


Build/Fit:
Excellent build quality with stylish carbon fibre faceplate – adds a premium feel to this set. The fit is ergonomic but the nozzle length could be extended further by a few mm for a better seal. There is some protrusion alas they streamline effectively with the ears tragus.

Tuning / Sound Signature:
The KBEAR have a boosted bass-response and sub lift rendering a controlled balanced signature.

Soundstage:
The stage is less deep than wide – hence the sound spectrum is not overly 3D holophonic, but is adequately encompassing, and not congested.

Highs:
This set doesn’t really suffer from transient peaks – the presentation remains smooth & refined, no matter how busy or complex the time changes within particular tracks.

Mids:
Much less pronounced than mid-centric sets, however this can be compensated for by boosting mid range frequencies via EQ.

Bass:
This is where the diamond stands out: the carbon coated PET DLC dynamic driver assuring improved quality and quantity of authentic bass, which sits neatly in the mix - whilst managing to not be overpowering or bleed into the mids.

EQ response:
The KBEAR implement EQ well, especially when trying to order to balance out their signature, within the mid-range frequency range.

Amp Scalability:
KBEAR amps efficiently, without distort at high volume levels - the bass response clarity remains, being non-muddy once a “hi-fi” sweet spot is attained.

Sources:
I prefer devices that offer two-way Bluetooth. The best synergy is attained listening to FLAC files via balanced output of Sony NW-ZX300a – the DAP remains distortion-free at max volume. BT receiver mode of the Sony DAP with vinyl processor switched on, adds extra “analogue” warmth - in order to experience balanced output from Dell 7559 gaming laptop.
SE output: Behringer UMC404HD / Xiaomi Mi 9T smartphone / iPad Air3 / Cayin N3 & NX4 DAC - gain switch increases all frequencies plus quantity of bass & rumble of sub-bass allows for “sweet spot” volume levels over halfway with no distortion. Additional mobility is provided by Radsone EarStudio ES100 with additional EQ via iPad app.




Listening preferences:
Ambient Internet Radio (NTS) / Soundscapes / Live Gigs, Vocals / Jazz.
Classical / Electronica / FLAC LP’s: Andy Dragazis - Afterimages - this soundtrack appears visceral, airy and binaural, the timbre of strings is wonderful & otherworldly underpinned by suspenseful cello.

To test Binaural capabilities of this set, album tracks were auditioned such as:

“Jettison Mind Hatch” by Tipper, and “Y Dydd Olaf” by Gwenno.

Velvet Universe - Voyager LP (Full) – 1981


Monochrome Echo


“Shard of Glass” by Fenella


Fuku-Ura



Musicality:
After one week’s period of burn in, the DLC driver has become more transparent & revealing. The warm tuning coupled with adequate micro detailing results in a very more-ish, refined sonic experience. Additionally, superb bass rendering portrays an incredibly musical signature, excelling with a wide gamut of genres (especially Classical/Vocals & Electronica) imbibing tracks with a “live” feel.



Comparisons:
Tri-i3: The KBEAR with their smaller housings are less 3D holophonic/ Binaural - having a narrower stage than the wider, deeper Tri-i3. Bass-centric tracks are favoured by the KBEAR sounding slightly punchier. The Tri- i3 remains unsurpassed at rendering classical timbres; both excel at male & female vocals.

Hibiscus Diamond: Star of the show is the supplied copper cable….providing extra warmth & bass/sub-bass, however the tuning of the carbon diaphragm dynamic driver, pushes mids too far forward in comparison to the KBEAR, however they do remain a decent mobile set.

Blon BL-05: The KBEAR used in tandem with Blon-05 fill in the bass light signature to create an overall balanced set, both reciprocating each other’s strengths and deficiencies.

Conclusion:
I’m a big fan of the KBEAR Diamond – their excellent build quality, & emphasis upon generating an extended bass-range via the DLC configuration. They represent good value if you’re looking for an overall bass-centric sound signature. I found them easy to amp using warm or neutral sources, their analogue synergy seamlessly adapting to any situation! I can forsee using them in conjunction with the Blon BL-05 as an invaluable aid in instrument separation & layering, whilst composing & mixing tracks!


Ratings:

Build: 90

Fit: 85

Bass: 85

Mids: 80

Treble: 85

Soundstage: 85

Imaging/Layering: 80

Accessories: 90

Price: 85

When ordering the Blon BL-05....communication with AK Audio store (product link below) was as usual efficient - parcel dispatch was swift & arrived in uber quick time!

https://www.aliexpress.com/item/4000932019151.html?spm=a2g0s.9042311.0.0.c2664c4dNseFPt


On this occasion, I specifically ordered two sets: Blon BL05 and KBEAR Diamond together. This was a marked departure from the usual collecting strategy - i.e. linear upgrading in accordance with price ratio of improved sound signature, builds & configurations.

My aim in this instance was to pair both left & right channel of the iems, to SE & balanced cables. The two respective configurations I settled upon are:

1) Blon (L) & KBEAR Diamond (R) attached to 2.5mm balanced (VE) cable.

2) Blon (R) & KBEAR Diamond (L) attached to AK pure silver 3.5mm SE cable.



The synergy between both pairings works remarkably well....so much so that after the process of burn-in occurs the strengths of both blend into a set which is imho, ostensibly greater than the sum of the individual parts. I usually choose balanced out by default on via Sony & ES100, & use silver cable for SE listening to provide extra stage "air."

Initially, obviously, you're conscious that two independent signatures are at play: aware of the pronounced bass/sub-bass presentation of the Diamond, coupled with forward mids & treble extension of the Blon....despite this you eventually become accustomed to their differences.

However the seeming disparity between the two is not an overriding distraction once one's brain has had time to process the dichotomy and merge the two.



The main facets I was looking to retain a balanced sound via lighter/smaller housings - for a convenient fit & allow pillowing listening whilst in bed. I decided upon this iem configuration whilst waiting for high-end gear to trickle down to mid-range, i.e. a set that improves upon Tri-i3....without necessarily parting with excessive funds.

Regarding comfort the Blon-05 are the perfect set for pillow listening whilst in bed, which provides a totally visceral experience - almost feeling as though you’re not wearing any earphones whatsoever!



Build/Fit:
Excellent build quality & exceptional ergonomic fit - never slips and maintains the seal. Initially the angle of the nozzle seemed wrong - alas with continual wear you realise they fit perfectly. Admittedly, the nozzle length could be extended further by a few mm for a better seal. Despite this, they’re streamlined perfectly within the ears tragus – totally plush with no protrusion at all.

Tuning / Sound Signature:
Blon-05 has a bright, energetic signature - reducing the bass experienced in the 03 counterpart whilst boosting the mid-range. However, the lack of bass / sub lift can be boosted via EQ.

Soundstage:
The stage is less deep than wide – hence the sound spectrum is not overly 3D holophonic. This can be useful when for example, mixing tracks where placement and layering are crucial to the final mix.

Highs:
Can be perceived as slightly spiky initially - but any transient peaks become smoothed out and less “shouty” once the burn-in process has taken place.

Mids:
The stand out feature of the set is their pronounced mid-range which is full of energy & excitement, without being too distracting or fatiguing. This can be a useful asset when to isolate the mid-range, whilst composing, layering &finally mixing tracks.

Bass:
Bass is present with a good seal, however the quantity of sub-bass is minimal…they’re certainly not a set for bass-heads!



EQ response:
Respond well to EQ especially to boost low–range frequencies in order to bring out the bass & develop a more balanced signature.

Amp Scalability:
The Blon-05 amp much more effectively than Blon-03, which easily distort at greater volume levels - the bass response gets muddier – hence mid-tier sets left them behind.

Sources:
I prefer devices which offer two-way Bluetooth. The best synergy is attained listening to FLAC files via balanced output of Sony NW-ZX300a – the DAP remains distortion-free at max volume. BT receiver mode of the Sony DAP with vinyl processor switched on, adds extra “analogue” warmth- in order to experience balanced from Dell 7559 gaming laptop.
SE output: Behringer UMC404HD / Xiaomi Mi 9T smartphone / iPad Air3 / Cayin N3 & NX4 DAC - gain switch increases all frequencies plus quantity of bass & rumble of sub-bass allows for “sweet spot” volume levels over halfway with no distortion. Additional mobility is provided by EarStudio ES100 (Radsone) with EQ added via iPad app.




Listening preferences:
Ambient Internet Radio (NTS) / Soundscapes / Live Gigs, Vocals / Jazz.
Classical / Electronica / FLAC LP’s: Andy Dragazis - Afterimages - this soundtrack appears visceral, airy and binaural, the timbre of strings is wonderful & otherworldly underpinned by suspenseful cello.

I’m currently listening to a gamut of electronica album tracks such as:

“Jettison Mind Hatch” by Tipper, and “Y Dydd Olaf” by Gwenno.

Velvet Universe - Voyager LP (Full) – 1981


Monochrome Echo


“Shard of Glass” by Fenella


Fuku-Ura



Musicality:
Warm tuning coupled with the extra energy and micro detailing results in a very moreish refined sonic experience. Furthermore, the superb mids adds to an incredibly musical signature, excelling with a wide gamut of genres (especially Classical/Vocals & Electronica) imbibing tracks with a “live” presentation. After one week’s period of burn in, the planar seems to be more transparent & revealing.

Comparisons:
Tri-i3: The BL-05 with their much smaller housings is less 3D holophonic/ Binaural - having a narrower stage than the wider, deeper Tri-i3. The BL-05 favour electronic music, presenting a much punchier signature. IMO the Tri- i3 remains unsurpassed at rendering classical timbres; whilst both sets excel with male & female vocals.

KBEAR: The BL-05 in a way mirrors the KBEAR, their forward mids complementing the inherent bass-centric signature of the DLC driver.

Blon BL-03: A/B’ing Blon-05 with the 03 reveals the shortcomings of the latter. Admittedly there is more bass presence in the latter; however the amp scalability of the 03 is poor, becoming unlistenable at high volume levels. It’s also apparent that they lack energy and excitement, whereby the treble is more smoothed out & rolls off sharply. Consequently vocals & instrument timbre can seem distant & unengaging.

Conclusion:
I really like the BL-05 – as my LP/track collection comprises of predominantly electronica and synthesiser based music. Hence my signature preference will always lean towards iems with an extended mid-range. Their build quality, seamless fit, plus their ability to manage extra amping & EQ are in my opinion, a definite improvement over the previous 03 incarnation. Within the budget range they’re good value, possibly their next iteration will no doubt add a boosted bass response, in order to generate a more balanced sound, whilst managing to retain their addictive forward-mids emphasis.


Ratings:

Build: 90

Fit: 90

Bass: 75

Mids: 90

Treble: 85

Soundstage: 80

Imaging/Layering: 85

Accessories: 70

Price: 85

Once again, dealing with the friendly AK Audio store (product link below) was an absolute breeze, the parcel dispatched speedily – arrived in time (totally avoiding the chaos of Chinese New Year!)
https://www.aliexpress.com/item/4000366807250.html

Out of the box, the provided stock accessories, cable and tips are usable but these are in need of upgrading - in order to reveal & maximize the audiophile qualities of the Tri-i3.

Whilst the stock cable sounds great (regardless of source) Tri - as a new company, recommends pairing their sets with quality Kinboofi cables. Hence, I opted to include a parcel upgrade bundle: Kinboofi 4-core pure copper/silver plated/ gold mix 2.5mm balanced cable – which was also acquired via AK Audio store, product link: https://www.aliexpress.com/item/32968749034.html?

The above cable oozes quality from the jack plug to strain reliefs, its perfection & the results are jaw-dropping – taking the Tri to a much higher level sonically – presenting crisper micro details, improved imaging & adding an “airy” 3D stage. Mids totally spring to life & become embellished alongside a tighter, better resolved bass. In this case, coated/pure silver wins out over copper cable – as any added warmth is negated, because the Tri’s tuning is already perceptibly warm.





Despite this, the i3 do have some caveats to take into consideration: the mmcx connectors are of questionable quality, especially with a view to possible repeated cable exchange – hence it’s probably advisable to leave the upgrade attached, rather than attempting any cable rolling.

Also the bulkier shells do take some getting used to – in comparison to those of a compact form factor…hence ear protrusion is more noticeable. Plus the CNC metal is very cold to the touch and is an obvious fingerprint magnet.

However, these niggles become totally insignificant once you experience their "floor speaker-like", superbly all-enveloping big sound…which transports the listener out of the realms of low-end chi-fi…..into wondrous mid-tier territory - instantly incredibly addictive!

Subsequent to achieving the best seal, & once you become accustomed to their size…the extra heft eventually becomes appreciated as an asset – the shells now seemingly redolent of Campfire Audio Andromeda ( - obviously minus the very much lighter wallet...haha!)




Build/Fit:
The CNC metal is extremely durable and very eye-catching. Whilst not an amazing fit, the set is fairly ergonomic & streamlined enough to be retained by the ears’ tragus (worn over-ear.) As I was experiencing some tip slippage, Dsnuts recommended that I try using foam tips, as an alternative to achieve greater grip. Instead, I modded (wide bore) Spiral Dots & added a pair of the supplied tips, with their inner column cut off. Attaching these modded tips underneath the Spiral Dots, pads them out – which fortunately results in a much better grip & near perfect seal. Tri isolation is easily well above average - minimal leakage is heard, even with the volume cranked up.

Soundstage:
The large shell housing of the Tri is most probably the reason why their sound-stage is so large. I’m currently using my set to mix electronica tracks, that combines analogue synthesizers, with VST plugins, sequenced by iPad app or DAW via laptop – hence an increased stage, imagery and layering is greatly appreciated, whether actively composing tracks ( & listening passively.)
For some LP’s they are more 3D holophonic, both in terms of width and depth – now not just limited to height…but also front and rear placement also are perceived (- I’ve been reliably informed their stage is similar to Solaris!) Hence, complex tracks never get congested or too intimate, whereas on an experiential level they sound “live” – thus akin to binaural recordings!
Classical/electronica never sounded quite this good! - Instrument timbres really pop out of the mix – the combination of large shells with planar disc makes such a huge difference to the stage.
SciOC stated that in his experience with RHA CL2, after a significant burn in period, planar does improve over time (i.e. > 200 hours) whereby imaging and layering could potentially match or exceed high–end multi BA configurations, once fully burned in.

Tuning / Sound Signature:
The triple hybrid driver configuration is tuned to absolute perfection, resolving timbres of instruments amazingly well - adding to the overall authentic signature. Their warm tonality is very analogue rather than cold or analytical. Not overly bright, details are transparent & revealing, whilst retaining an energetic presentation.

Highs:
Treble extension is quite sublime, the planar driver doing an incredible job of reproducing timbres of instruments, whereby strings sound lush, classical instruments, guitars all sound stunningly authentic, whilst the attack and decay of percussion is extremely realistic. Not a trace of transient peaks, shoutiness or sibilance is heard – thus they are non-fatiguing with no post ear-ringing.

Mids:
The real star of the show are the truly sublime mids. They’re well extended and lush, maintaining the addictive nature of the sound signature. For fans of mid-centric iems this set is ideal. The stage, image separation and instrument placement all benefit from such classy mids.

Bass:
Once a good seal is achieved there is enough quantity of bass/sub-bass which underpins the mids rather than being too forward in the mix. Maybe the inclusion of a larger 10mm DD would emphasize the mid bass, thus giving it more energy. If bass notes could be tuned to sound slightly punchier, without overshadowing the mids - this would help improve image separation and instrument layering.
Switching from the stock copper cable to the upgraded 4-core Kinboofi silver cable, there is a perceptible improvement in bass tightness and low end rumble presence.

Amp Scalability:
Easily the best set I've heard in this regard, the Tri never distort, maintain clarity & always remain in control, with no treble or bass roll-off. Whether being amped via a warm SE/Balanced source – an audiophile hi-fi sweet spot is attained easily, whereby micro detail retrieval is bolstered, resulting in an engaging and encompassing listen.

EQ response: Responds amazingly well to an additional frequency boost via laptop & Behringer soundcard: Midas pre-amps make them really shine. Experimenting with different settings with software such as: Boom 3D - the stage goes way deeper than sets I've heard so far - seems to effortlessly convert tracks to binaural recordings! I found that increasing bands from 20-250Hz had an overall beneficial effect on boosting bass and sub-bass, without any muddiness. The bandwidth between 300-120KHz doesn’t need any additional EQ.

Musicality:
The truly outstanding quality of Tri-i3 in ear monitors is their musicality - their amazing authentic timbre (paired with Kinboofi cable) is like having a pair of my beloved Bowers & Wilkins speakers strapped to your head! (Mine are connected up to my Nad 3020a – a classic analogue amp!) Dsnuts agrees that their sound signature compares favourably with high-end sets such as: iBasso IT04 & CA Andromeda.

The warm tuning coupled with the extra energy and micro detailing provided by the Kinboofi cable – results in a very more-ish, refined, all-encompassing sonic experience.
Additionally, superb mids adds to an incredibly musical signature, excelling with a wide gamut of genres (especially Classical/Vocals & Electronica) imbibing tracks with a “live” presentation. After one week’s period of burn in, the planar seems to be more transparent & revealing.

Comparisons:
NX7: The three-way hybrid configuration presents an extra level of energy compared to the results in a more refined TOTL level set. The piezoelectric of the NX7 boosted bass, treble, and detail retrieval, however they were unable to reduce shouty transient peaks and produced inauthentic instrument timbres, & made percussion sound very plastic indeed. The triple hybrid of the Tri matches their energy & totally negates transients, with a more refined, better stage, mid-centric presentation.

DB3: extra bass from the single DD driver coupled with upfront mids helps with instrument timbres, separation and layering - but alas their bass presentation eventually becomes a bit of a one trick pony. The mid-tier Tri obviously trumps them on every sonic level.

Hibiscus Diamond: Star of the show is the supplied copper cable….providing extra warmth & bass/sub-bass, however the tuning of the carbon diaphragm dynamic driver, pushes mids far too forward. However they do remain a good mobile set, but again, not in the same ballpark as Tri.

Blon BL-03: A/B’ing this set with Tri-i3 totally reveals their shortcomings. Scalability of the Blon is poor; they become unlistenable at similar high volume levels. It’s also apparent how they lack energy/ excitement, treble is more smoothed out & rolls off. Consequently vocals & instrument timbres seem distant & unengaging; the stage is far less deep, when compared to the Tri.


Listening preferences:
Ambient Internet Radio (NTS) / Binaural Soundscapes / Live Gigs, Vocals / Jazz & Soundtracks.

Classical / Electronica / FLAC LP’s:

· Andy Dragazis - Afterimages ( 2019) Soundscapes appear visceral, airy and binaural, the timbre of strings is wonderful & otherworldly underpinned by suspenseful cello - a soundtrack that constantly leaves you in a state of endless goosebumps!

· Nicolas Godin: Contrepoint & Concrete and Glass – particularly stand out, traversing between traditional & electronic instrumentation. Tri effortlessly resolves tracks, maintaining timbre authenticity (– regardless of any genre switching.) Tracks fluctuate between electronica, pop, rock, jazz, classical & authentic - layered with silky female vocals & vocoders...simply devine!

· Anna Meredith - Fibs (2019) Tracks are incredibly busy, with complex multi-layering of guitars, classical instruments, electronics & female vocals. You are placed in the centre of all this aural activity, totally distinguishing placement & layering of instruments, the resulting imaging sounding incredibly 3D & holophonic!

Sources:
Balanced: Best synergy is attained listening to FLAC files via Sony NW-ZX300a - DAP remains distortion-free at max volume. The Sony’s blue-tooth receiver mode (with vinyl processor adds extra “analogue” warmth) is an ideal way to experience balanced out from my Dell 7559 Laptop.
SE Output: Behringer UMC404HD / Xiaomi Mi 9T smartphone / iPad Air3 / Dell 7559 Laptop / Cayin N3 & NX4 DSD/DAC (- gain switch increases all frequencies plus quantity of bass slam / rumble of sub-bass.) Tri allows for volume levels over > halfway, with no distortion & resolve at optimum clarity.

Conclusion:
The triple hybrid configuration is tuned to absolute perfection….making this set the perfect introduction to mid-tier gear! It’s hard to nit-pick any faults with them, especially considering their incredible value & bang for buck!

I feel that the journey of collecting sets from NX7 > Blon, has resulted in this latest landmark mid-tier set. Obviously, affordable mid-tier budget sets are becoming quite a crowded area - all vying for attention. Tri-i3 should be included for consideration on any shortlist, hence I wholeheartedly recommend them!

I’ll definitely be looking forward to future iterations of this set, with boosted bass & sub-bass – maybe implementing, e.g. a larger 10mm bio-cellulose diaphragm driver into the configuration (- as used in Tri-i4.)

It will be essential to address the poor quality issue of the mmcx connectors– which will in turn improve confidence in future cable switching. Additionally, my wish-list would include: a smaller form factor, suitable for mobile usage (however, I wouldn't want to compromise the large stage!) Despite any drawbacks - the set excels with all genres and are an absolute no-brainer imho!

To continue the sporting analogy of the opening headline: With the release of i3....Tri have well & truly “Knocked it out of the Park!”


Ratings:

• Build: 93
• Bass: 87
• Mids: 95
• Treble: 95
• Imaging/Layering: 90
• Soundstage: 90
• Fit: 80
• Accessories: 80
• Price: 95

I acquired this amazing set from the very friendly AK Audio store (URL link here) the iems were dispatched quickly with no delivery issues!

I became aware of Blon BL-03 subsequent to watching the video review & glowing recommendation of Tanchjim Oxygen by ‘Bad Guy Good Reviews.' Out of the box, it’s apparent that the accessories stock cable and tips are useable but probably need upgrading to make the Blon truly shine.




In order to attain their optimum listening experience I changed stock with a balanced 8-core SPC silver cable. Also, I attached wider bore tips: JVC Spiral Dots - this combination helping to add a feeling of “air.” Any further modding is not required, additionally they appear to open up and benefit from a burn in period.

The Blon sound truly awesome with any source: whether laptop, DAP/DAC or android smartphone. For the latter I’ve been using an app: Max Volume Booster.
https://play.google.com/store/apps/details?id=com.cool.volume.sound.booster&hl=en_GB

The Blon respond extremely well to being amped, especially via a warmer source. When switching on a high gain selector to boost all frequencies – emphasis of mids & treble response is very noticeable, plus bass and sub-bass rumble can be effectively be extended further with additional EQ.

Their only caveat appears to be the short nozzle – this was also a shortcoming of the much more expensive Tanchjim Oxygen.




Build:
The extremely light Blon shells are constructed with very durable metal – the stunning gunmetal finish leave a premium impression. The small form factor & excellent build quality are faultless!

Listening preferences:
Ambient Internet Radio (NTS) / Electronica LP’s / Binaural Soundscapes / Live Gigs & Events / Vocal/Classical/Jazz & Soundtracks.

Sources:
Balanced output:
I find the best synergy is attained listening to FLAC files with Sony NW-ZX300a (bluetooth receiver mode.) The Sony DAP remains distortion-free at max volume.

SE output: Xiaomi Mi 9T smartphone
&: iPad Air3 / Laptop /Cayin N3 & NX4 DSD/DAC (- gain switch increases all frequencies plus the quantity of bass slam and the rumble of sub-bass.) Volume level needs to be limited to just over halfway for optimum clarity.

Fit:
Amazing fit which is ergonomically streamlined to the ear....however the shorter nozzle does require experimenting with suitable tips, in order to achieve perfect seal. This certainly excludes any possibility of being worn down securely. Over-ear wearing has no such problems – especially when using wider bore tips.

Tuning / Sound Signature:
The DD driver renders timbres of instruments amazingly well, adding to the authentic signature. Their warm tonality is analogue rather than cold or analytical. Not overly bright, details are transparent & revealing, whilst retaining an energetic presentation. The smoothed out treble extension manages to avoid any peak transients.

Modding:
8-core silver SPC balanced 2.5mm cable, plus wide-bore JVC Spiral Dots tips.

Soundstage:
For electronica and binaural recordings, Blon are wide and deep enough to render tracks with an expansive aural vista admirably! Not overly congested or too intimate, however they’re not quite at 3D holophonic level. Modifications can be implemented to reveal a greater sense of air - helping with stage and micro detail retrieval.

Highs:
The DD driver does a fine job rendering the timbre of instruments and percussion, making them sound extremely authentic, whilst never succumbing to being sibilant, shouty or shrill. Any transient peaks are kept at bay - so even for the treble sensitive....the Blon never become fatiguing.

Mids:
The real star of the show are the truly sublime mids. They’re well extended and lush, adding to the addictive nature of the sound signature. Alas sometimes, low-end mids can be perceived to overshadow bass and sub-bass – this is an area for future improvement which would further help with image separation and instrument layering.

Bass:
Once a good seal is achieved there is a enough quantity of bass/sub-bass, however this is slightly compromise by the short nozzle. Switching from silver to more expensive 16-core copper cable, there is a perceptible improvement in bass, which in turn slightly reduces the treble.

Amp Scalability:
The set attains a chi-fi sweet spot very easily, responding well to being amped with a warm source (SE or balanced output.) Once frequencies are duly bolstered, the mids become totally engrossing, in turn, eking out extra micro details, thus totally engaging and encompassing the listener.

EQ response:
I found that by increasing bandwidths <1 KHz had an overall beneficial effect on boosting bass and sub-bass. However, any adjustments are very much trial and error - susceptible to producing muddy bass. In such cases exchanging the cable to copper might be a better option. Fortunately, the Blon don’t really require any additional EQ boost in the 1-16KHz frequency range.

Musicality:
An extremely accurate timbre organically renders any genres you audition them with!...the Blon are not just limited to appreciation of Jazz/Classical/Vocal genres- they also excel at electronica allowing tracks to breathe with a “live” feel. Tuning is warm, coupled with an energetic refined presentation - hence a unique experience.
Additionally, the superb mids generate an overall incredibly musical signature….LP’s that traverse a wide gamut of styles e.g. Floating Points - Late Night Tales…do sound especially awesome!

Comparisons:
NX7: The three-way hybrid configuration presents an extra level of energy compared to the Blon, the piezoelectric of the NX7 boosts the bass, treble, and detail retrieval. The single DD driver doesn’t match their energy, but the treble is smoothed out to avoid transient peaks. Coupled with the mid-centric presentation, this results in a more refined TOTL level set.

DB3: Where the DB3 deliver in extra bass, the single DD driver of the Blon excel at pushing the mids upfront, extending them way more forward. This helps to really appreciate the timbre of instruments, improving their separation and layering - but alas can perceptibly be noticed on some tracks, at the cost of bass response.

Conclusion:
A fraction of the cost of Tanchjim….the Blon are simply stunning value – imho they are the best bang for buck. The fact that the Tanchjim currently retail at £210 make this set an absolute no brainer imho!

At the paltry sum of £23 - have Blon achieved TOTL level of experience??…..no question undoubtedly!

The single dynamic driver is tuned to absolute perfection. The next iteration will no doubt boost bass & sub-bass frequency responses, & address the issue of having a more extended nozzle.

I’ll be looking forward to comparing this set with Shuoer Tape during the 11/11 sales. It will be interesting to discover if the DD driver of Blon competes with the new tech: “Low-Voltage Electrostatic Dynamic Driver.”

Ultimately, the Blon manages to magically sound both energetic and refined, it seems almost impossible to be fatigued by their signature - they easily deliver a balanced TOTL performance - which is very addictive indeed!

For this reason, they have now become my go-to reference set, brilliant with all genres & excel especially whilst listening to my favourite electronica tracks!

Ratings:

• Build: 90
• Fit: 82
• Accessories: 55
• Bass: 80
• Mids: 95
• Treble: 85
• Imaging/Layering: 87
• Soundstage: 80
• Price: 95

Ordering this set from the uber friendly Alice at the VS Audio Store (URL link: here) was a total breeze, the package was received smoothly and speedily as usual. VS always provide excellent communication during pre & after sales service!

Out of the box, in order to achieve audiophile level results, the poor accessories: stock cable and tips should be completely ignored.

I initially auditioned with 8-core silver cable. However, to attain optimum listening experience, I opted instead to add balanced 16-core copper cable (URL link: here)




I found this cable really helped to bolster the extra bass/sub-bass response the DB3 are seemingly renowned for…& they deliver in spades! (– as lauded by Dsnuts!)

The three way hybrid configuration of the DB3, echoes their more expensive sibling NX7, implementing a BA driver (for treble) in place of the piezoelectric of the latter, whilst 10mm Dual Dynamic graphene drivers cater for mids and bass.

Regarding the weight of the 16-core cable it’s incredibly light and flexible, superb build quality & looks far heavier & more cumbersome than it actually is…alas in this case looks definitely deceive!

Previously, whilst collecting I’ve always been extremely mindful about being mobile & usually try to avoid phones paired with a chunky/heavy cable.

I recollect some complaints concerning some earbuds, notably the BS1 Official Version with unwieldly attached cable– fortunately, I managed to avoid such issues since.

A step up in quality can be can definitely be perceived, with a notable discernible improvement in bass & sub-bass response etc.

No additional modding with this set is required (just the usual burn in period.) In preference, I attached JVC Spiral Dots – their wide bore tips helping to increase soundstage & “air.”

Recently, I’ve added a new smartphone & now seamlessly connect between phone / laptop DAP’s/ DAC’s & portable amps - by using an android max volume boost app: https://play.google.com/store/apps/details?id=com.cool.volume.sound.booster&hl=en_GB





Build:
DB3 shells are constructed with the same materials as NX7 – i.e. aluminium faceplate screwed onto a plastic-almost resin-like (premium finish) body. The small form factor & excellent build quality are very impressive in this price range.

Listening preferences:
Lately, I’ve been listening to NTS & Ambient Internet Radio / Krautrock / Prog Rock / Electronica / Binaural Soundscapes, Vocal/Classical/Jazz & Film Soundtracks.

Sources:
Balanced output:
I find the best synergy is attained listening to FLAC files with: Sony NW-ZX300a (bluetooth receiver mode.)

SE output: Xiaomi Mi 9T smartphone
&: iPad Air3 / Laptop /Cayin N3 & NX4 DSD/DAC (- gain switch increases all frequencies / quantity of bass slam and rumble of sub-bass.)

Fit:
Amazing fit with wide bore spiral dots - shells are streamlined, don’t protrude from the ear, the nozzle angle perfectly seals in-ear. Sony DAP is distortion-free at maximum volume, N3/NX4 level needs to be limited to halfway for optimum clarity.

Tuning / Sound Signature:
Less bright than NX7, hence a less revealing & energetic presentation, still however maintaining a live analogue signature. They veer towards a warm tonality rather than being overly analytical.

Modding:
16 core copper balanced (2.5mm plug) cable & wide-bore spiral dot tips attached.

Soundstage:
A greater sense of air would be preferable, however the stage is fairly wide and deep - not quite holophonic & doesn’t succumb to being overly congested (or too intimate.)

Highs:
To my ears the treble is well rendered, smoothed out and refined. The timbre of instruments in general sounds very authentic, being treble sensitive I never find the DB3 fatiguing, or susceptible to treble peaks and transients.

Mids:
The mids are slightly veiled - possibly tuned intentionally so - to allow the bass to dictate the performance. Maybe image separation and layering could be slightly improved if the mids were a tad more forward? Hence the bass is perceived to overshadow the low-end mids (- not distractingly so.)

Bass:
Undoubtedly, the star of the show (with a good seal) delivering substantial quality and quantity of bass and sub-bass. To improve on this bass further, switching to a more expensive copper cable can help to render and distinguish bass frequencies, from the low-end mids. Soundtracks can produce an awesome level of bass rumble, leaving you with a lasting impression akin to a visceral “live” experience!

Amp Scalability:
The set responds well to being amped via a warm source, whether via SE or balanced, a chi-fi “sweet spot” can be achieved easily before discomfort. Micro retrieval is authentic, conveying a feeling that sounds are being generated internally.

EQ response:
Similar to NX7 they respond well to EQ between the 1-16KHz bandwidth range. Fortunately, it isn’t necessary to reduce 2 & 8 KHz bands to avoid peak transients.

Musicality:
The DB3 are amazingly musical, especially when listening to club and dance music - tracks with extra bass and sub-bass, shine but remain controlled and refined. As opposed to being cold and analytical, they have a warm energetic signature.

Comparisons:
NX7:
Being a big fan of the three way hybrid configuration, A/B’ing them with the DB3, highlights the extra energy level, treble response and detail retrieval of the piezoelectric of the NX7. The BA driver of DB3 doesn’t match this level of energy, but does manage to negate any transient peak issues – however, this smoothing out process, of the mids and treble, doesn’t reduce their excitement level one iota imo!

Blon BL-03:
Where the DB3 deliver in extra bass, the single DD driver of the Blon excel at pushing the mids upfront, extending them way more forward. This helps to really appreciate the timbre of instruments, improving their separation and layering - but can (on some tracks) perceptibly be noticed to be at the cost of bass response.

Conclusion:
At £15 the DB3 are an absolute bargain- punch well above their weight in comparison to similar budget sets.
From the viewpoint of having a triple set (including Blon & NX7) the fact that they can live with the two other iems speaks volumes. It is easy to switch between all three, according to genres being listened to namely:

Bass: DB3 / Mids: Blon BL-03 / Treble: NX7

Interchanging with an additional copper cable, which also has awesome build quality, interjects extra bass when required. Imho, the DB3 represent part of a triple set that mutually complements each other, when listening to different genres, hence catering for all moods.

This trio helps to pave the way for an informed 11/11 sales decision - most likely to be the Shuoer Tape. I’m really looking forward to making comparisons with this new set: “New technology with Low-Voltage Electrostatic Dynamic Driver.”

Ratings:

• Build: 90
• Fit: 85
• Accessories: 45
• Bass: 90
• Mids: 78
• Treble: 82
• Imaging/Layering: 80
• Soundstage: 78
• Price: 95

Ordering the superb NX7’s from Alice at the VS Audio Store (URL link here) was very smooth as usual, resulting in their speedy receipt – the store always delivers excellent communication & service!

NX7’s driver configuration initially polarised opinion, however they truly shine with minimal modding using wider bore tips coupled with micro pore tape, whilst listening via balanced cable with a warmer source. Such improvements in signature/tonality have been experienced by those that were initially detractors - reflected by gradual changes in opinion (following numerous references to frequency response graphs.)



Fortunately, I agree with reviewers who consider NX7 to represent a landmark in budget iems. Three weeks of burn-in later I don’t regret my choice one iota. One caveat though, out of the box, the horrendous stock cable and average tips, should instantly be dismissed (- they only serve to harness this sets true potential.) In preparation, stock was replaced with Nicehck SPC balanced 2.5mm cable recommended by Dsnuts.

Personally speaking, gravitating from listening with earbuds and full-sized cans, the transition from iems always proved a fairly difficult challenge - budget sets I accrued never quite hit the mark. Progressing with my earbud collection was an easier proposition, and allowed for greater lateral scope to make tuning adjustments via DIY builds.

I was looking for a budget gateway iem, offering a fast track to a balanced sound signature. Initially cautious & reticent at the arrival of NX7- being aware of the hyperbole surrounding new releases.

Previously, I'd stopped collecting budget iem’s ages ago – as a result of being irritated and fatigued by these sets (such as KZ.) Throughout the hobby, I tried to refrain from buying expensive sets, hence reluctant to venture into the foray of iems costing: £150 - £300+.

The previous “hype train” I got embroiled in (Smabat ST10 earbuds) were a great example of excessive advertising. Whilst the trans-line speaker system is commendable, on reflection they had a limited scope & remain genre specific & analytical – however, I felt they lacked the necessary warmth and visceral experience, when rendering vocal/classical/jazz/soundtracks.



Build:
Superb construction, aluminium faceplate screwed onto the plastic-almost resin-like body, which gives the set a premium feel. I really love their small form factor & excellent build quality!

Listening preferences:
Electronica/Binaural Soundscapes, Vocal/Classical/Jazz/Soundtracks.

Sources
In order to achieve perfect synergy they are warm source dependent. Listening to FLAC files via balanced output of Sony NW-ZX300a via bluetooth receiver is optimum (& iPad Air3.)
Switching over to SE output: Cayin N3 & NX4 DSD (as DAC) combination - boosts all frequencies - increasing the quantity of bass slam and the rumble of sub-bass, ( - but sometimes results in piercing treble.)

Fit:
Amazing fit - shells are streamlined & don’t protrude, the nozzle angle attaining a perfect seal in-ear - I can’t really fault them, hence they’ll be my reference seal in future. I’m using wide bore spiral dots & intend to experiment with various tips. With the Sony DAP distortion-free clarity can be maintained at maximum volume, whereas with N3/NX4, I limit the volume level to just over halfway, in order to avoid any potential excessive peaks.

Tuning / Sound Signature:
Very bright, transparent, revealing & energetic presentation coupled with a live analogue signature. They veer towards having a warm tonality rather than feeling digital or analytical.

Modding:
Nicehck SPC balanced 2.5mm cable & also attaching wide-bore JVC spiral dot tips.
To tame peak treble transients, Micropore tape can be applied, which avoids any adverse bass-boom.

Soundstage:
I prefer a 3D holophonic stage, as wide and deep as possible. Whilst not huge, NX7’s stage isn’t overly congested or too intimate. At times a greater sense of air would be a welcome addition, to reduce any feelings of being overwhelmed by the level of micro detail retrieval.

Highs:
Definitely boosted treble in the 1-16K frequency range. However even though I am treble sensitive, I never find NX7 fatiguing. The effect of the piezo can make some percussion feel slightly splashy & artificial; but instruments in general sound entirely authentic.

Mids:
The mids are well extended and lush, again on some tracks, high treble piezo can occasionally overshadow low-end mids - but not distractingly so. Crossover could be tuned in order to resolve any treble peaks and transients, which in turn, would improve image separation and layering.

Bass:
Once a good seal is achieved there’s a substantial quantity of bass/sub-bass. There’s an option to improve bass and reduce treble by switching to more expensive SPC copper cable. On some soundtracks the rumble is stunningly huge, generating an incredibly visceral “live” experience, leaving a lasting impression you tend not to forget!!

Amp Scalability:
The set responds well to being amped by a warm source, whether via SE or balanced output, hitting the hi-fi sweet spot prior to any treble discomfort. Micro retrieval is further extended, neither too distant or intimate, whilst generating a live experience that is visceral and all encompassing.

EQ response:
They are very responsive to EQ, and particular attention is required between the 1-16KHz bandwidth range. I found that by reducing 2 & 8 KHz bands had an overall beneficial effect on helping to reduce transient peaks.

Musicality:
As opposed to being cold and analytical, their warmth coupled with energetic presentation, provides a unique level of excitement - I find the resulting signature incredibly musical. Three weeks in they still sound as magical and refreshingly wonderful - both at high and low volumes.

Comparison:
It’s been claimed that costlier NiceHCK M6 are warmer sounding, however these apparently suffer from bass-boom. I’d also considered acquiring **** - possibly having an airier stage & smoother piezo frequency response - but their timbre seems questionable and the fit is more akin to NiceHCK EP35. After A/B’ing all sets, neither the EP35/Tenhz P4 don’t compete at any level, never matching the NX7‘s transparency, energy, balanced sound or fit.

In order to appreciate the gulf between NX7's and higher-end gear, I intend to audition: Campfire Audio Solaris/Andromeda, iBasso IT04, Empire Ears, IMR R2 Aten (IMR Acoustics) & Fearless Audio (Roland.)

The impact of three way hybrid iems, incorporating three different types of driver is still in its embryonic stage. The lifespan of piezoelectric will thus be proportional to the eventual cost reduction in electrostatic drivers, e.g. the costly Fearless Audio (Roland) employ: dual electrostatic drivers (treble) + dual balanced armature (mids) + single dynamic driver (bass.)

Conclusion:
It will be interesting to see if NX7’s have potential for longevity - less likely to be side-lined with improvements in future iterations. At $65 they represent amazing value - & imo punch above their weight in comparison to sets of a similar configuration. Taking everything into consideration, for me personally, the NX7’s fulfil a niche perfectly once you’ve become accustomed to their signature and have managed to attain their sweet spot.

I never find NX7 fatiguing, as their compact form factor providing excellent fit and seal. There is an overriding sensation and presence of a “live” experience, whilst rediscovering dormant tracks in your collection, now seem to take you on a new journey. Nothing being recessed or veiled - their power and transparent energy shakes things up, which creates a buzz of excitement.

In future, however, I’d like to see treble peaks & transients reduced, an increase in the 3D holophonic soundstage, coupled with precise crossover-tuning, without compromising their unique listening experience! Their warm, revealing & energetic presentation means they are never dull, overly refined, or analytical. Experimenting with sources, cables & tips can effectively alter the tonal signature to reveal additional facets, and hence become amply rewarding.

Although there is obviously disparity between NX7’s and higher-end gear, in my book they’re a winner; & at the very least they equip you with a flavour of what to expect….Enjoy!

Rating:

• Build: 90
• Ergonomics: 95
• Accessories: 55
• Bass: 85
• Mids: 80
• Treble: 75
• Crossover/Image layering: 80
• Sound-stage: 85
• Price: 85

Specs:





Build Quality:

The first batch of ST-10 had poor MMCX connectors resulting in loose contacts with stock cable.

However, dealing with Alice at the VS Audio Store on Ali Express (URL link here) provided excellent customer service to resolve this issue!

Communication with VS Audio Store was very smooth & quick! - Alice arranged replacements to be sent out asap. After experiencing loose contacts, Smabat honoured to replace all faulty units with the fixed version.

The fixed batch is much improved, having very solid MMCX connectors, which attach with a reassuring snap. The green metal textured finish of the shell seem much more sleek & professional in the second batch. The upgraded stock OFC cable now seems to push the mids forward noticeably.


Foams & packaging:

Along with the stock cable, ST-10 buds are supplied in a premium box, containing thick foams, donut foams, silicon rings plus a faux leather pouch.

I attached silicon rings to the ST-10 shells from the VE Ex-Pack, added donut foams, then full thick foams. This seems to be the best seal combination imho for great bass & micro details retrieval – however forward mids & spiky treble can still be an issue on certain tracks.


Sound Signature:

On a subjective level ST10 could be considered fairly neutral analytical & cold…and are susceptible to being treble bright. Fortunately this aids in the superb level of micro detail retrieval alloyed with very realistic sounding bass and quantity of sub-bass.

They are transparent with a wide & deep soundstage, however the forward mids can overshadow image separation & layering of instruments. Thus they do seem to excel listening to electronica soundscapes. Alas not so much for genres such as: Classical /Jazz/Vocals…where warmer coloration/more intimate sound signature is required. It is for this reason that their “musicality” is rather underwhelming.

Timbre and instrument separation can be improved by switching the stock cable with a good quality balanced cable, whereby a more holophonic / 3D effect can be experienced.

Out of the box they sound great…slowly revealing more details after a few days burn-in. They do also respond well to EQ via the iPad app for Radsone ES100.



Transmission Line System:

The port behind the shells of the ST10 implements a unique Transmission Line system (included previously with Svara Pro version.)

The tuned Smabat 45 ohm drivers produce very authentic bass along with enough sub-bass rumble, the TLS maze ports convey an emulation of speaker sub-woofers. This certainly is conducive to enhancing a feeling of wearing full-sized open headphones!


Conclusion:

The star of the show is obviously the unique Transmission Line system which make these buds feel like you’re listening to full-size open headphones (– but not suitable for all music genres!)

They do however fortunately excel at rendering electronica soundscapes - generating ample bass & sub-bass & micro details – maybe with a tad too forward mids and highs – which can impact against full appreciation of their soundstage.

With the next iteration of TLS buds – maybe implementing different drivers, which are retuned to tame mids & treble - Smabat could potentially have a winner on their hands (& ears!)


Rating:

• Sound signature : 8/10
• Soundstage : 8.0/10
• Micro Details : 9.0/10
• Bass : 9.5/10
• Mids : 7.5/10
• Highs/treble : 8.0/10