Dita Audio has always been among my personal favorites.
I liked their moderately minimalist approach, their elegant packaging, their high-quality accessories, and, of course, their sound. Even though I didn't always use their IEMs, I followed the company's development with genuine interest. What has always attracted me is that there are no frankly unsuccessful or incomprehensible models in the range. So this company definitely knows how to make sound.

As a disclaimer, I can add that I am positively biased toward this company. Nevertheless, I spent more than a month with the model, so during this time, I was able to calm my excitement. It does not prevent me from evaluating the sound with a cold mind.

Recently, I have rehabilitated myself and returned to my collection several models of the company that give me pleasure even now. Among them, there are already classic sub-flagship Dream XLS and two limited edition models – Project 71 and Brass. The former remains for me not only one of the best dynamic IEMs but also one of the best neutral IEMs I have ever heard. That's why I still regret not being able to buy their current top-of-the-line. I recently got acquainted with it and plan to post my thoughts on it later.



Anyway, the combination of ergonomics, style and sound still touched some strings in my soul, and their models have stuck with me for a long time.
What's even more interesting is that in this era of various hybrids, Dita was, until recently, the last company to produce models with just one dynamic driver. Some people thought incredulously that a single dynamic driver couldn't sound good enough to justify the cost of several thousand dollars. But this is exactly the case when the minimalist approach fully justifies itself.

And yet, the time came when this seemingly eternal approach changed. Dita Audio has released its first hybrids. Without anything extraordinary, it's 1 dynamic driver complemented by 1 BA. But what seems familiar or even mundane to some people plays with completely new colors here. So today, we'll talk about Dita Audio Project M. IEMs that cost about $325, and this price tag contains so many things that many manufacturers should be ashamed of. IEMs that I was waiting for like few others.

Packaging and Equipment

On the one hand, compared to more expensive models, everything here is more modest. On the other hand, you need to be able to make this simplification so that it is almost not felt.
We have a small black box in front of us. It slides out of the supercover and has a luxurious embossed design that looks like fabric. It's really beautiful and not ordinary, even though it's a typical black color.
The main characteristics are placed on the supercover. Namely, the logo and the model name are in the large silver font on the grille's background, schematically showing the model's frequency response.

There is also not much information on the back. Only the main things. 1 DD + 1 BA driver, 9.8 mm DD size. The frequency range is from 20 Hz to 20 kHz. Impedance is "standard" 32 ohms, sensitivity is 107 dB. And in fact, the model combines well with various sources, not collecting noise from the outputs, but not requiring particularly high power either.
Inside the box, there is a booklet with detailed information about the current model, as well as the company's previous developments. And it has a slightly more interesting design, so it is noticeable that they have thought about it a bit. In fact, not many companies pay much attention to their history. And this cannot but inspire respect. For example, the name of the aforementioned Project 71 model refers to the year the company was founded. So it really has a lot of experience.
There is also a warranty card and the main content itself.
Everything is placed in cutouts made of foam material.

These are the IEMs, a case holding the cable, and a box with tips.



The latter are made by Final Audio specifically for the model. Among their features, they have a light, luminescent glow in the dark. So, if you listen to the IEMs on a sunny day or just admire their case in the light and then put them in the case, they will glow inside. However, to observe this, you can simply go into a dark room, as I did.

The Case

The case is a small gray Systainer3 container made by Tanos with the Dita logo on the lid. The case has an additional internal silicone lining, which, in turn, effectively protects the contents from damage, dust, etc. However, the case is not waterproof, as it has a hole in the back. The size of the case is quite small; it is about the same as the LPGT. It is a few millimeters thicker but slightly narrower and lower in height at the front. So, personally, I had no problems with fitting it in my jeans pocket.
However, it should be noted that this is still not as sturdy and shock-resistant as, for example, Pelican offers. But this case is noticeably smaller than the well-known 1010.
The internal volume is small but enough to fit IEMs and a stock cable inside.

The Cable

The company has always been famous for its non-trivial and attentive approach to cable selection. The previous models had silver or copper cables made by Van Den Hul, which were known for being highly unruly in terms of ergonomics but still excellent in terms of sound. So they were replaced by OSLO cables, which offered an unusual design with conductors impregnated with a special liquid.
Finally, together with the modern top, the Dita Celeste cable was released, which used conductors produced by Kondo Audionote – I hope one day I will have the opportunity to listen to it.

For the budget model, a special cable was made using a copper conductor made by Cardas, written on the jack. I don't think I need to tell you who this manufacturer is and why it is so cool. I only note that their Clear series has made a lot of noise among audiophiles around the world.

This time, the cable ergonomics does not raise any questions. It is not quite soft, like a rope, but still quite comfortable. It is white and covered with transparent insulation. The braid is a spiral of two conductors to the splitter and one conductor per channel above it. Moreover, one conductor also has a spiral under the transparent insulation. But, unlike conventional cables, you can't see the conductor strands – only a white coating. This is probably silk insulation, which is often used for external shielding of the lithium-ion conductor.

The notch, in the general style of the cable, does not touch or interfere and also does not pull the cable with its weight.
Two-pin connectors with molded housings for QDC connectors are used on the IEMs side. I don't know why the company decided to use this particular standard, but in defense of the company's decision, everything connects well and holds securely. The only criticism here is that the connectors are filled with plastic and are not very transparent compared to crystal-clear shells.



There are default molded temples made of transparent heat shrinkage. They do their job well, so even the absence of a tie to adjust the length is not very critical for me.
On the IEMs side, a special second-generation interchangeable jack system developed by the company is used. At one time, Dita was the first to do this for their cables. It was followed by many different attempts and visions to the point that now it has become almost a trend, even in budget models. However, even now, years later, I still like Dita's laconic solution because I have never seen a more compact, convenient, and reliable design.

In short, the second generation of the interchangeable jack system looks almost the same as before: an angled jack, a connection to a proprietary socket, and a threaded lock. But now the replaceable connectors are a bit smaller and more compact. The difference is small, but there is one. The complete system looks as solid as before as a regular angle jack. But now everything has become even more convenient and reliable.
The scheme is the same. You need to unscrew the metal housing that secures the jack to the thread, disconnect the connector, connect a new one – the guide element in the upper part will help you do this correctly – and tighten the lock again.
Here, I can only note the professionalism once again. Paying $325 for such a cable alone would not be a pity. And here it is in a set of headphones, which cost the same amount.

The only pity is that this system is now incompatible with previous jacks. And that there is no 2.5 mm jack in the package. On the other hand, I can understand it since the standard is gradually becoming a thing of the past.

Design, ergonomics and technical features

The shells themselves are a universal version of custom. The shell is made of acrylic resin of absolute transparency. This approach imposes a lot of quality requirements because any accidental bubble, etc., will be very noticeable. But everything is so perfect here that even the driver unit compensation hole is almost invisible.

What is even more surprising is that due to the minimalistic interior, the shell looks as if it is empty, as if it is carved out of a block of ice, and contains only the dynamic driver unit itself, which is placed at an angle to the plane of the faceplate. At that, the dynamic driver unit itself has the company's logo and is made in the recognizable style of The Answer Truth Edition models. I have to admit, it looks really extraordinary and beautiful.

At that, the DD is set up differently, as happens in most hybrids. It is responsible not only for the low frequencies but also for the full range. And, in order to make the high frequencies have a better extension, BA assists it.
And here, a natural question arises. Where is it if the case is transparent, but all you can see is the connector socket, DD block and a bent rather wide tube leading to the sound guide?

The BA is located just in the stainless steel nozzle. The DD housing is also made of it, and this is a deliberate decision to properly tune them and eliminate resonances.
The driver, in turn, is well integrated into the acrylic shell and looks like a single unit. There is a protrusion for attaching the nozzle, and a metal mesh also protects it.
Interestingly, there is a small, almost imperceptible compensation hole on the sound guide. It has the right place where it will not be blocked by either the tip or the ear.



All this is certainly interesting, but it does not give an idea of ergonomics. And everything is fine here. The stock medium-sized tips fit me perfectly and provided a comfortable fit that did not require adjustment to the shells, etc. The fit is rather average, but the sound insulation was even slightly above average for me.

SOUND

But let's move on to the main course – the sound.
Here, I have to say that Dita remains true to itself. We are looking at an almost completely neutral presentation that is detailed, accurate, and technical. This model sounds great if you don't mind monitoring sound that doesn't emphasize anything. And it's something that you can spend a lot of time with without worrying about anything sounding off. But this is in case you have an already established music library and a desire to hear the recording as it is.

If you are a streaming and modern technologies fan, then there should be no problems here, either. Usually, they do not show as high a quality as offline listening can provide. However, it's usually enough quality to enjoy the music if you accept it.

So it's a matter of how critical you are to the quality of the recording. After all, the IEMs play everything exactly as you would expect from a neutral model – conveying the bad as it is, but not emphasizing it, but just pragmatically separating compression artifacts from any effects, etc.
True or raw black is still difficult to listen to, but the grunge or lo-fi style of recording sounds quite authentic and expressive.

When it comes to combining with sources, using a somewhat simpler source is common. However, I usually tested them with higher-quality models. I can especially note the combination of the model with some devices, and I note that I did not come across any bad combinations. IEMs always show the nature of the recording and, of course, the nature of the source well.

Good combos were obtained with Acoustic Research AR-M2, Hiby R6 Pro 2, LPGT, ALO CDM, and LP W4. But if you like the neutral sound of the model, then the selection of the source becomes more of a matter of taste. The model is not very difficult to open and does not require special efforts from the source.



As for the selection of cables, it also has an influence. I am not convincing anyone; I am only saying that it is not a useless activity, and it is possible to get more from the model, as well as to shift their sound a little more into the warmth. However, I can easily stop with the stock cable and enjoy it.
Also, for my taste, the best are the stock Final Audio tips.

I can characterize the sound of the model as neutral, well-controlled, accurate, detailed, technical, and informative. With excellent speed, which is not typical for hybrid designs, excellent driver matching and overall sound coherence. The model has quite a lot of air and perfectly shows the features of the recording, remaining a great option to touch how your favorite recordings really sound. After all, it is often like a good dish that does not require additional spices.

There are no obvious accents on any frequencies. Neither a typical heavy emphasis on bass nor the midrange pushed forward. Only high frequencies cannot be called comfortable. They are also neutral, so the model may be harsh for those who are critical of this. However, this was never observed in my listening.
In addition, due to the lack of heat and additional weight, Project M may seem a bit dry, but I still can't call them exactly that. Yes, they are not fat. But are they dry? Not really. They are neutral, and they effortlessly adhere to this neutrality.

But they have one easy trick to overlook – a slight emphasis on the low end. A small one, I think, within a few decibels, no more. But this allows you to achieve neutrality without dryness, as well as a good punch in the low end, where necessary.

It also has a very relaxed and organic sound. The model reproduces small details of the recording well but leaves them as a part of the overall sound canvas. And the aforementioned ease gives the necessary lightness. It adds nicely to the naturalness by preserving the integrity of the composition but at the same time conveying many subtle touches that often go unnoticed in the sound of other IEMs.

BASS

There is not much of it, and it has almost no additional expressiveness. Everything sounds exactly as it is in the recording. Compared to many models, it may seem dry. However, this bass can be quite exciting if you like a neutral or close-to-neutral presentation. It is fast, very variable, textured, and diverse. The peculiarities of the musician's playing, the positioning of the strokes, and their textures, sizes, and character are well conveyed – excellent speed, control and definition.
However, when the recording is focused on the bass, it also sounds as it should. Expressive, massive, dense and convincing. But to the extent that the recording provides for it.

Interestingly, this detail and careful approach does not make the IEMs boring. On the contrary, if the recording emphasizes low frequencies, they provide a significant part of emotionality.
This is achieved because there is still a light, barely noticeable punch and added weight on the bass. It is easy not to notice it because most models, which even accentuate the bass neatly, give it a little more. So, Project M neutrality is not total. But it is not so much emotionality or added energy that it gives – no, it instead helps to open up the recording better and does not make the model sound dry. It also prevents the bass from sounding too light and getting lost in the recording.
Along with the definition, light and subtle fragments are also well reproduced. The bass has the necessary growl but does not make it too massive. So, where the part is cautious and atmospheric, gradually enveloping the listener, it happens naturally and organically.

From the description, it may seem that the model analyzes the record, transmitting only details. However, this is not the case. The details are indeed clearly and distinctly reproduced, but the macro is also at an excellent level, so the composition is reproduced holistically, naturally and multifacetedly without losing its musicality and emotionality.
It also passes the blast beat test perfectly, giving the necessary amount of weight and providing a wall of sound but leaving it with the necessary delineation and fragmentation, showing a series of individual beats.

At the same time, some of the metal sounds rather dry because it is sometimes recorded that way. On the other hand, low bass layers are clearly visible due to the rather smooth presentation. The midbass does not obscure them; if the recording provides it, you can hear it. Therefore, well-recorded metal – I mean well enough because audiophile quality is practically impossible to find here - sounds as it should. Expressive, massive, rocking, emotional and convincing. So, I easily choose Project M even to listen to some brutal, heavy and extremely technical recordings. Their speed, detail, and definition allow you to get what was intended in the recording without losing massiveness.

Finally, high-quality live recordings also sound good. They often deliver the right amount of emotion as well, thanks to the more natural and expressive sound of the drums compared to studio recordings.

MIDDLE FREQUENCIES

Perhaps this is the most interesting part partly because it is the most interesting part of many recordings but also because Project M is among those rare models that do not highlight, emphasize or accentuate this part of the range. This allows you to convey the features of the recording with the necessary attention to the recording, revealing them in a way that not all models can. On the one hand, it gives no one a head start. However, it perfectly demonstrates both the real skills of vocalists and various effects.

Even in comparison with some models that emphasize the lower middle more, giving more attention to low vocals, the musician has to use their charisma and the instrument itself. However, the good thing is that the vocals sound natural and open. This is especially noticeable in recordings of vocalists with, for example, baritone voices. It is very well articulated, but at the same time, light fades and reverberations, vibrato, which can be almost imperceptible with other models, are well transmitted. Finally, transitions up or down also sound not only effective but also quite organic. And when a vocalist does it, especially live, it sounds really cool. So does the fading of notes, touching the strings of an instrument, and so on.

All of this is often not useful information on its own, and some studio recordings deliberately remove these moments. Still, good recordings leave them in, making them even more realistic and natural.

In addition, this way, male and female vocals sound equally expressive and convincing, as required by the recording. At the same time, the model fully conveys the necessary depth, conviction and expressiveness, as well as the peculiarities of pronunciation and timbre of, for example, vocalists. Good detail also means good articulation to the extent that the vocalist has it. In addition, the vocalists' skills also sound very convincing. Thanks to the high-quality reproduction of the mids, it shows why a particular vocalist is so famous and recognizable. And it is, of course, not only a matter of characteristic timbre or manner.

Of course, strings sound good, too. Whether natural or electric. There is no impression that a cello is a slightly larger electric guitar.
In addition, the present detail prevents the bass guitar from losing at low frequencies. Still, when it comes to the middle, it also transmits, for example, an acoustic guitar, where a dense and loaded mix can almost completely omit it. For example, you can hear the blowing of air in wind instruments, which conveys their nature well and makes the recording more lively.

At the same time, good dynamics and realism make the recording quite expressive and exciting if it is recorded in this way.
However, as I mentioned above, for some people, vocals and mids in general, can sound a bit thin, as they don't add weight or expressiveness, instead focusing on conveying emotion with the means available in the recording. Therefore, the IEMs are a good model for those who like high-quality vocals or mids in general and neutral presentation.

HIGH FREQUENCIES

As I said before, it is difficult to determine where exactly the DD range ends and the BA range begins. By ear, everything feels as homogeneous and coherent as possible. On the one hand, the highs here are not smoothed out and not overly comfortable. On the other hand, I can't call them excessively harsh or sharp. They convey the necessary details and expressive textures, effects, fades, and reverbs, but even on rapid attacks, they avoid excesses. Thus, I didn't feel tired from prolonged listening, but I also didn't feel that the sharpness or detail of the high frequencies was unnatural.

On the contrary, there is a feeling of rich highs, which give a significant part of information and do it qualitatively, layered, precisely. The cable selection can slightly improve the black background, which makes the model an even better choice for recordings requiring high-quality high frequencies.
It goes without saying that this applies both to live instruments, where naturalness and realism are required and to something heavy or electronic, where the question is instead to convey all those fifty separate tracks that the director mixed into a single recording.

It goes without saying that high-quality tops also show the difference between different recordings, remasters, etc., well.
There is also good dynamics here. It is also present in the rest of the range, but perhaps it is more noticeable here. So instruments or parts of the background are not lost, even if they seem not so important, and at the right moment, their presence in the composition is quite logical. This also allows you to realistically convey the features of the recording, not just pulling all the details to the fore but carefully conveying their features and positioning. And, on the other hand, it does not violate the integrity of the composition; on the contrary, adding to its versatility.

SCENE

The model has a good scene, which shows the features of the recording well. This is especially noticeable when you are used to using random. Some tracks sound large and wide, with good depth, while others are purely chambered. However, it is noteworthy that in the case of the latter, the scene structure of the recording itself changes. Still, the edges of the scene do not become noticeable and do not create discomfort.

So, the width is larger than average. Of course, it can't compete with something top-of-the-line. Still, even when switching from better and many times more expensive models, I didn't have the impression that the IEMs openly give up in the width of the scene (as well as in other things).
The only thing smaller than the width is the depth. And this can be slightly improved with a cable.



As for the positioning of the instruments, it is quite realistic and accurate. Some instruments are literally slightly oversized, but there is enough air, so the images have excellent articulation and definition. At the same time, there is no feeling of excessive emptiness. The parts of the instruments are well-read, expressive, and logical and interact well within the composition, leaving enough space. There is no sense of compression or oversaturation.
The stage is built from the middle, providing the main focus for the vocal or soloist but without detracting from the merits of the accompaniment.

COMPARISONS

When it comes to comparisons, I won't be able to be very verbose because I don't have many models at hand. And almost all of them are different – more tasteful.
But let me try to give some brief notes.

Dita Project M vs. Oriveti OH700VB

These are almost entirely opposite approaches. The Dita model is much more neutral, technical, accurate and detailed. In terms of these parameters, as well as in terms of the structure of the scene, the length of the downward and upward range and its control, it leaves no chance to the competitor. It transmits what is in the recording.
Oriveti, on the other hand, interprets the recording in their own way, giving it more than enough weight, density, warmth and emotion. Instead, the recording is less technical, precise and more tube-like and rich. It is a model for relaxed listening when realistic reproduction is not the main thing, and it is enough just to listen to music and enjoy it.

Dita Project M vs. CA Black Star

This is where we can expect a similar approach. Both models are neutral, but if Project M slightly emphasizes the woofer, the Black Star goes beyond that, emphasizing the middle. More specifically, the lower middle. This gives more expressive and fleshy vocals. Especially male vocals. Moreover, it is both clean and extreme. It sounds expressive and convincing, but this approach leads to a simplification of timbres and textures, giving more body, weight, and expressiveness. This makes it sound denser and more expressive. On the other hand, the same recording on Dita demonstrates more restraint and less weight, but it sounds wider, more voluminous, more open and lively. Reverberations and subtle moments of the recording, which are leveled in the first case, flourish on Dita. This creates a slightly dirtier but more realistic sound.
At the same time, the Dita also demonstrates better detail and control across the entire range. This translates into a more accurate rendering of textures and timbres, as well as the peculiarities of the instrument. So, the background also sounds more accurate and convincing. But, of course, it is also much closer because no soloist is pushed forward. But male and female vocals sound equally convincing.

Dita Project M vs. Dita Dream XLS

Here, of course, there is no miracle. This is an example of the fact that the IEMs are practically the same tonally. However, the qualitatively older model is still more expensive for a reason. First of all, of course, it is even more neutral. And this is despite the fact that it was criticized for moving away from the neutrality of Dream and adding emotions. So, Project M has more emotions. At the same time, the details are somewhat less. As well as dynamics and depth. Because of this, Dream XLS can create more realistic and multidimensional images, better conveying their interaction and dimensions. At the same time, everything sounds technical, precise, and accurate, but it is even more realistic. Therefore, if you need a completely neutral model, then the not-so-new and not-so-top XLS still has something to offer.

CONCLUSIONS

I don't say this often because I've listened to a lot of things, and it's not easy to surprise me. Nevertheless, my expectations were extremely high. I love this firm and did not doubt that it would be good. But it turned out even better than I expected. That's why I'm saying this with a lot of ice, but I think Project M should cost a lot more. I'm willing to pay more for such a sound.
However, of course, when choosing, you need to take into account that this is a model that is close to neutral, so it is advisable to listen to them before buying.

The modern world is changing rapidly, and the favorites in both the affordable and mid-range price ranges are changing just as fast. So, sometimes, it turns out that some brands decide to make a big comeback without hype on their past merits. This happened to Oriveti, which used to be, if not in the tops, then clearly in the news. I didn't have a chance to evaluate their previous models, but I remember the favorable reviews of several friends who preferred the company's IEMs. And, what's also nice is that they didn't complain about the quality over time.

So today, we will talk about the top model Oriveti OH700VB.



It sells for $699, but the IEMs have a lot to offer for that price. Along with them, younger, more affordable models were released - OD200 and OD100. I'll talk about them later.

Technical Aspects

I'll easily skip the detailed specifications of the OH700VB because it's boring. I only have to mention that the model has 7 drivers – 6 BA and 7 DD.

Impedance is 12 ohms, and sensitivity is 118 dB. This means that the IEMs can be called rather sensitive. However, in fact, they are closer to average. They are well combined with various sources and do not require too much power to drive them properly. At the same time, I also did not notice an excessive tendency to pick up noise from the source.

I used devices from my own collection as sources for testing.

DAPs the Bit Opus #2, Acoustic Research AR-M2, Hiby R3, Hiby R6 pro 2, Lotoo Paw Gold Touch Ti, Luxury & Precision LP6Ti. As well as DAC/amps ALO Audio CV5 (Toshiba 6021 tube) and CDM (Tung Sol 6111 tube), Aroma A100 (with opamps and Sparkos SS2590 and Staccato OHS OPA) and Miu Audio Alpha Tube (HP 6DJ8 tube).

With all devices, the IEMs were quickly paired, retaining their own character well and conveying the character of the source.

Complete Set

The supercover has an interesting pattern that plays well with the company logo and the color of the faceplates. There are specifications on the back.

The main box is almost a regular black cube with a flap on magnets. It has the company logo and name on its surface. The embossing imitates wood, and it really looks good.

Right under the lid, the IEMs themselves are located in the cutouts and a box with accessories slides out to the side. The envelope with the same name contains tips in the cutouts (2 sets of 3 sizes of silicone with different stiffness and base diameter and one set of 3 sizes of foam), a cleaning tool and two interchangeable jacks - 3.5 and 2.5 mm. One more - 4.4 – is already attached to the cable.



There is a round case under the envelope, which is made of natural leather (at least, it has such embossing on the bottom). However, it opens not with a ziplock but simply with a button. The inside is lined with microfiber. It looks really nice and is quite comfortable. The sewing appears to be machine-made since the seams are smooth and neat. Nevertheless, they are excellent. It's a nice little puck. It's not very pocketable but quite suitable for a bag or backpack. It also holds IEMs with a cable.

The cable is inside the case. It is woven with a familiar cross of 8 dark blue and gray conductors. There is a proprietary system of interchangeable connectors on the source side. Without additional fixation, you just need to disconnect the base from the jack. They are made with metal cases with different textures, so this will not be a problem. I'm a little worried about reliability, but time will tell.

On the IEMs side, there are 2-pin connectors and default molded earpieces. The connectors on the IEMs are not recessed adequately into the case; they are only partially suspended. So, the fit is somewhat unaesthetic. However, the connection does not look unreliable. Instead, the cable holds in the sockets well.

All accessories, including a compact splitter and a length-fixing tie, have metal shells. It looks good, and the splitter is not too massive. It is neat and does not get in the way.

The cable is comfortable and soft. In addition, it is not heavy. Therefore, I did not have any problems while using it.

IEMs

The shell is a universal version of custom acrylic resin in purple with partial transparency. If you want, and there is enough light inside, you can see the drivers, their layout, etc. There is a small compensation hole with a metal rim.



The faceplate is made of gray-brown material, forming an abstract pattern and looking like stabilized wood. So, the pattern on the left and right earbuds is different. I've seen photos of other units, which also look slightly different.
The right shell has the company's name on the faceplate, and the left has the logo. Also, there is a small, neat toggle switch on the front opposite the sound nozzle. It is the VB from the model’s name – Variable Bass. It has two positions, which can be conditionally defined as off and on. At that, the toggle switch works quite accurately; it adds about 3 dB from the bottom to the midbass, falling higher in the range so that the influence of the toggle switch does not directly affect the midrange. I speak about the direct influence because the additional bass changes the general sound balance.

At that, the model is well, reliably and qualitatively assembled, and the external varnishing of the shells makes them one whole, creating essentially a seamless construction.

The weight of the cases is quite small, and the cable is also convenient. So, ergonomics is quite well. For me, prolonged wearing of headphones did not cause discomfort. The only thing is that the fit feels a little deeper than average. However, the sound cable is placed at a convenient angle.



So, the stock tips that came with the IEMs from the start worked well for me. I didn't have to adjust the headphones or look for the correct placement in my ears. Thus, I can give 5 stars for this item because the model deserves it.

Sound

First of all, let's talk about the sound with the additional bass turned off. For me, this sound was the closest. It reproduces the Harman curve well, successfully emphasizing what is needed. So as a result, the sound feels well-balanced and also coherent. It has good conviction, smoothness and musicality. The bass creates the necessary punch and expressiveness with a slight accent. It doesn't attract too much attention, but if you like an utterly neutral setup, this is the seasoning you'll notice. When it comes to most modern models, this is a universal setting that will suit most people well.

At the same time, the IEMs have good sound fullness and weight. They are not overloaded with excessive density or fat; they are organically combined in the overall sound, and the balance is well maintained.

Thus, the model does not deviate too far from the conventional reference and, therefore, responds well to changes in recording, its mixing, etc. At the same time, it remains quite musical. However, good macro hides a good technicality.

The additional bass changes the rules of the game a bit. The fact is that with the off option, it is already a bit accentuated. The thing is that with the offsetting, it is already a little bit accentuated. The additional 3 dB does not turn the model into a bass-heavy one – I have dealt with more accentuated low frequencies – but the low frequencies attract more attention, so the sound becomes more energetic, more driving, and more percussive. At the same time, it is even more coherent and compact. The detail is somewhat reduced due to the shifted accents, and the overall frequency control is slightly weakened, which gives additional musicality but, in my opinion, loses versatility. Middle frequencies play a lesser role in the overall sound. The bass does not overwhelm them but attracts more attention. The same goes for high frequencies. There are no less of them, but the model is perceived as somewhat darker since the emphasis on high frequencies does not balance the additional bass.



Therefore, let's return to the sound with the additional bass switches off.

Bass

The bass is expressive and slightly accentuated, creating the necessary recording foundation. The model as a whole adheres to the holistic sound and does not emphasize individual details too much. The same applies to the bass. It is solid, embossed, punchy, with good, but somewhat smoothed variability. It does not emphasize textures but presents them with broader strokes without losing the overall accuracy and control. The overall sound is coherent and smooth, so there is often a sense of relaxation. However, it may seem so only at first glance.

It may not be the fastest bass, but its good control allows it to be accurate, not smeary, and keep a great tempo even on complex polyrhythmic recordings.

In addition, there is a good gradation of strokes in terms of character and dimension, as well as the accuracy of strokes. Of course, the nature of the model somewhat generalizes the sound of low frequencies, but it is worth noting that the headphones cope well with the peculiarities of the recording, where necessary, creating good mass and scale with the correct pressure. This is especially effective on recordings with really low bass, and its slight accentuation sounds pleasant. However, when we talk about heavy music, the headphones also create the necessary effect.

And if there are some drawbacks here, it's more a matter of taste. You can achieve a more accurate and technical bass, but it will either be drier or/and harsher, and the model will have a higher price tag. But the headphones manage the available means and skills well.

Middle frequencies

Despite the emphasis on the bass, it does not overshadow the middle. So much so that I would call it the main gem of the sound; it's very coherent, smooth and musical. But at the same time, it is expressive and convincing. Behind the integrity is a good reproduction of the nuances and details of the recording. The headphones are fast and have a convincing sound in the middle, reproducing the nuances of the recording well but leaving the details in their places and not emphasizing them further.

A noticeable warmth and sweetness or moisture goes well with the same character of the bass. The light fat allows instruments and vocals to sound with sufficient expressiveness and conviction, emphasizing the emotions of the recording well but still not making them excessive. In this way, the headphones convey emotions first and foremost, relegating the audiophile component with textures and the like to the background. At the same time, when dealing with instruments in the foreground, everything sounds with the necessary expressiveness and accuracy.

It is the middle that is unmistakably in the center of the recording. The vocalist takes a step forward, and together with his characteristic vocals and charisma, it is enough to get applause.

On the other hand, the male and female vocals are well-balanced. They do not overpower each other too much, creating the necessary convincing duet.

This also works well on live recordings where the vocalist moves away or closer to the microphone, etc. This creates that necessary layering and adds realism to the recording.

High Frequencies

I noticed that the highs of the model are quite careful and accurate. The headphones work well in this range, but the necessary work has been done to maintain the atmosphere and emotions. So, despite the necessary detail and a good amount of air, the headphones are still not harsh. This can vary slightly depending on sources and recordings – some add sharpness and contrast, but the model still remains solid, musical, and a bit warm.

I didn't detect any hints of sibilance or excessive treble harshness with any source or recording.

At the same time, the model cannot be called overtly dark. The sound of cymbals, percussion, etc., is clearly audible but does not attract much attention. The model is an interesting example of comfortable tuning at high frequencies, which preserves good expressiveness and necessary details but does not emphasize them.

Of course, the disadvantages here are a bit of simplified decay and weakened attacks. However, this fits into the overall tuning of the model, so if fast, sharp, airy, and high frequencies with majestic layering are your preference, then this is probably not your cup of tea.

As with the low frequencies, I can't say that they are record-breakingly extended somewhere beyond human perception, but at the same time, the headphones rely on the middle, and the relatively short extension of frequencies downward as well as upward fits well into this paradigm, so it rarely attracts attention unless it is something critical for the listener.

Sound Stage

The sound stage may be considered one of the model's weakest points unless you need something with a penchant for integrity. Probably, the fact that I am used to the sound of IEMs of a slightly higher level makes a difference here, but I still can't help but notice a certain chamberiness of the model. Again, this is a general setting, so I can't say that this is a significant disadvantage – these are the taste features, the kind of rules of the game that can agree to or not. Therefore, when compared with more budget models, the tendency to compactness can be overlooked.

The width is closer to average. The edges are not very visible, but still noticeable. However, they do not press. At the same time, the depth is proportional to the width, which makes the scene well-balanced.

At the same time, there is still a gradation of the scene size depending on the recording. Some tracks sound really compact and intimate, while others sound quite spacious, with plenty of air and energy.

As you might guess, the size of the images is somewhat enlarged. And their outlines are slightly blurred. This gives the scene a pleasing fullness. In addition, the instruments interact well with each other. Thanks to this, some components of the recording are well-readable. For example, the rhythm section has a somewhat more expressive combination with each other than with the vocals, and so on.

The separation of plans is at a reasonable level. The main part always remains well-expressed and convincing. At the same time, it is in the middle that the separation of the plans is most noticeable. However, the second and other plans remain where they should be, and the headphones do not emphasize everything that remains there. This is approximately how additional expressiveness and convincingness of the first plan are created. And yet, as I have already said, the integrity and organicity of the recording is not violated.

Conclusion

We are looking at an openly tasteful model, which can be called melomaniacal. Despite minor shortcomings, competent tuning levels their value, leaving emotions in music for the sake of which we all listen to it.

Please note that I am not connected to the manufacturer in any way, all of the above is my personal opinion and does not claim to be the truth in the last resort. Do not take the above as a general verdict or advice. No review can replace personal experience. Therefore, I would recommend listening to the IEMs before buying them to make your own decision.