Reviews by baskingshark

DISCLAIMER

I would like to thank Oriveti for providing the OD100.
It can be gotten here: https://www.oriveti.com/product-page/oriveti-od100-single-dynamic-driver-hifi-iem (no affiliate links).




SPECIFICATIONS

• Driver configuration: 9.2mm DLC dynamic driver
• Impedance: 16 Ω
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 105 dB/mW
• Cable: 2-pin, 0.78 mm cable; 3.5 mm termination
• Tested at $69.90

ACCESSORIES



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

For a sub-$100 USD set, the accessories are pretty premium, can't complain much about this aspect.




3 variants of tips are included.

Firstly, we have the foam tips, which increase isolation, though they may tame treble sparkle. We next have 2 types of silicone tips - the narrow-bore ones boost bass though with some compression of soundstage; the wide-bore ones increase treble and air.

Do tip-roll to see what suits your preferences.




There's no info on the stock cable material, but this cable is pretty well-braided with minimal tangling. Microphonics are also negligible, and there's a chin cinch for added grip. I appreciate that it comes in a 2-pin termination, which is generally less prone to failure than MMCX.




Lastly, we have an elegant semi-rigid ovoid carrying case. It is quite resistant to compression, with a velvety interior to cushion the contents. There is webbing internally to to store some accessories too.

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


BUILD/COMFORT



The OD100 is fashioned from CNC-milled metal, and comes in a bullet-shaped design analogous to the Tin T2 series. It is literally build like a tank, and is extremely solid.

Ergonomics are meticulously designed, with no awkward protrusions to poke the ears, coupled with a light chassis. Additionally, this IEM can be worn cable-down or over-ears, which increases fit permutations.



Isolation is bang average, as a result of venting, though thankfully, I did not find any driver flex (which is once again a sign of a well-designed acoustic chamber).


DRIVABILITY

I tested the OD100 with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is easily driven from weak sources, though it may scale with amplification (in terms of bass tightness and dynamics).


SOUND & TECHNICALITIES


Graph of the Oriveti OD100 via IEC711 coupler. 8 kHz is a coupler peak.

The OD100 can be described tonally as having a "fun-sounding" bright U-shaped profile.

The mid-bass is the predominant frequency band amongst the bass, with a visceral thump heard on bass heavy tracks. There is just a tinge of sub-bass extension, and it isn't the most rumbly set. Bass is however, clean and relatively fast, with just a hair of mid-bass bleed. Sadly, texturing is average - on very complex bass tracks, the OD100 may come across as one-noted on occasion.

The lower midrange is a tinge recessed, though not overly so. This region is quite transparent without bass encroachment. Unfortunately, the upper mids are an area of contention, with a 14 dB ear gain. As such, vocals may sound slightly shouty, especially at louder volumes (Fletcher Munson curve). This area can be mitigated somewhat with source and eartip pairing, in addition to perhaps using the OD100 at lower volumes.

The lower treble continues on from the augmented upper mids, peaking at 5 kHz. This area is quite clear with decent resolution, though with some smattering of sibilance. Treble extension and sparkle is quite moderate, with high hats and cymbals not overly splashy.

In keeping with its single DD roots, timbre is quite natural for acoustic instruments, though vocals are a bit nasal due to the boosted upper mids.

Technically, the OD100 is probably above average when compared against other sub-$100 USD single DDs. Soundstage is above average in all 3 dimensions, furnishing a spacious soundscape. Instrument separation is quite well rendered, with adequate micro-detailing. Imaging is a tinge fuzzy though, and is not exactly pinpoint.


COMPARISONS

Comparisons were made with other sub-$100 USD single DDs. Pure BA, hybrids and planars were left out of the comparisons as the different driver types have their pros and cons.




Simgot EA500

The EA500 has 2 tuning nozzles to provide more versatility - it can be tuned between a neutral bright lilt on the black nozzle, or a warmer Harmanish tone on the red one.

The EA500 has a more natural timbre, and has improved soundstage, imaging and micro-detailing. It is however, brighter than the OD100 in the treble, and the EA500 may display sibilance and fatigue for longer sessions.


Moondrop Aria 2

The Aria 2 follows the virtual diffuse sound field (VDSF) signature - which is essentially Moondrop's in-house variant of the Harman curve.

The Aria 2 is not as bassy, with a less pronounced upper midrange. The Aria 2 has a smaller soundstage, and a hair less precise imaging, with similar instrument separation.


DUNU KIMA Classic

The Kima Classic is a V-shaped IEM, with more bass than the OD100. It isn't as extended in the treble as the OD100 however.

The Kima Classic has a less natural timbre. In technicalities, it fares worse than the OD100, with inferior instrument separation, imaging and soundstage.


CONCLUSIONS



The Oriveti OD100 is a decent entrant to the cut-throat sub-$100 single DD ocean. It imparts a "fun-sounding" signature for head-bopping listening sessions. Additionally, this set brings excellent accessories, solid build and comfortable ergonomics to the table, and is also easily driven.

Timbre is quite organic, with above average technicalities and a spacious and transparent soundscape. The OD100 also scores a bonus point in the area of fit - it can be worn cable-down or over-ears, which makes fitting a breeze!

There are some areas that need brushing up though. Firstly, we have an overly-zealous 14 dB ear gain, which can cause shoutiness. Bassheads may bemoan the lack of texturing and sub-bass roll-off, and imaging is not pinpoint per se. Some sibilance is present, though there are worse offenders for sibilance when other rival single DDs are compared.

In the big scheme of things, the OD100 would probably be considered as an average budget single DD, and it does more things right than wrong. It might be forgotten in a few weeks' time, such is the competitiveness of the current budget CHIFI scene.

DISCLAIMER

I purchased the EPZ 530 at a discounted price from Aliexpress.
It can be gotten here: https://www.aliexpress.com/item/1005004100928567.html (no affiliate links).

SPECIFICATIONS

• Driver configuration: 5 x balanced armature drivers - dual Sonion 38AM007 for the bass, 1 x Sonion 2389 for the midrange, Shengyang ED05 BA + E50DT BA for the treble
• Impedance: 32 Ω
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 115 dB
• Cable: 2-pin, 0.78 mm; 16-core gold, silver and palladium alloy cable; 2.5 mm, 3.5 mm and 4.4 mm modular termination
• Tested at $386 USD

ACCESSORIES



Other than the IEM, these are included:
- 3 pairs of wide-bore silicone eartips (S/M/L)
- 3 pairs of narrow-bore silicone eartips (S/M/L)
- Cable
- Modular terminal plugs for 3.5 mm, 2.5 mm and 4.4 mm sources
- Semi-rigid carrying case
- Large wooden case
- Cleaning brush



The packaging is downright luxurious, and is well-befitting of something retailing at the midFI region. The 530 comes in a massive wooden box, which adds a whiff of elegance. I've definitely seen pricier sets with stingier accessories, and other than the lack of foam tips, everything else that an audiophile needs is included.




We have wide-bore and narrow-bore eartips provided - the former boost treble and stage, whereas the latter increase bass, though with some compression in soundstage. Do explore to see what suits your needs.




EPZ has provided a 16-core gold, silver and palladium alloy cable. This cable terminates in a 2-pin connector (which is my preferred connector type compared to MMCX), and it is well-braided with minimal microphonics. There is a chin cinch for added grip.

The cable's selling point are the 2.5 mm, 3.5 mm and 4.4 mm modular plugs, which promises greater source synergy, for various single-ended and balanced sources.




Last but note least, we have a cleaning brush and a leatherette semi-rigid case. The case is tough externally, with the innards containing webbing and a soft material to cushion the contents.

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


BUILD/COMFORT



The 530's wooden shells are milled from 5-axis CNC carving. Not many IEMs utilize wood as a shell material, and this aids in the tuning/resonance, in addition to adding allure to the aesthetics. During ordering, one can opt between an exotic mamba green or lava orange hue, and both are lookers in their own right.

The housings are akin to semi-customs, and are light with excellent ergonomics. Fit is snug with an added concha protrusion, and I found no discomfort despite longer sessions.




Each shell has an emblazoned serial number, and we can see a well-designed acoustic tube in the nozzles, unlike some CHIFI which just dump an undampened BA in the nozzle and hope for the best.





Being an unvented IEM, passive isolation is top-notch, and EPZ advertises that it can hit 26 dB. On my field tests, it is thereabouts, and that allows the EPZ 530 to be used in noisy places or even for stage monitoring.


INTERNALS

This is a 5 BA setup:
- 2 x Sonion 38AM007 handles the bass
- 1 x Sonion 2389 takes care of the midrange
- The treble is settled by a Shengyang ED05 BA + E50DT BA.

It is uncommon to find Sonions nestled in $300ish IEMs, so kudos to EPZ for using such prized ingredients at this price-point. Of course, tuning and implementation trump driver brand/type/count, so let's read on to check out how the EPZ 530 fares sonically.


DRIVABILITY

I tested the EPZ 530 with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is easily driven even off weaker sources, with amplification not truly required.


SOUND & TECHNICALITIES

Graph of the EPZ 530 via IEC711 coupler. 7 - 8 kHz is a coupler artefact peak.

Tonally, the EP530 sports a consumer friendly mild V-shaped signature, which is quite all-rounded for most music genres.

The 530 is a sub-bass focused IEM, with bass quantity just north of neutral. There is a lack of rumble like most pure unvented BA IEMs, and the decay moves less air than a traditional DD bass. However, the bass here is of exquisite quality, being very textured, tight and fast, with not an ounce of mid-bass bleed.

There is just a slight lower midrange recession. This frequency band is very transparent due to the tuning (ie no big bass encroachment). With the 530's superb layering and imaging, it is very easy to pick out instruments and vocals on a dark background in the midrange. With a 6 dB ear gain, the upper mids are forwards without being shouty, which is much appreciated.

The 530 is bright in the treble, make no bones about it. It is sparkly in the higher frequencies, bringing great clarity and resolution to the table. Sibilance is mild, though the tuning may be fatiguing for our treble-sensitive folk, especially at higher volumes (Fletcher Munson curve). However, trebleheads will love this region, so YMMV. Nevertheless, the treble may be adjusted with eartip choice, source pairing, or playing at lower volumes.

The EPZ 530 is a technical beast, with a holographic soundstage and excellent micro-details; one can pick up minute nuances in the music, and technical junkies and analytical heads will find a kindred spirit. Imaging is pinpoint and instrument separation is very spacious. It is probably one of the most resolving midFI IEMs, and can give some pricier contenders a run for money in technicalities.

Indeed, with the great ergonomics and isolation, and coupled with the stellar technicalities, the EPZ530 may be an option for audio work or stage monitoring.



Being a pure BA IEM, there is no running away from BA timbre, though it is not the worst offender in this department; I've definitely heard other pure BA sets which do much worse here. As mentioned above, there is some BA bass heard with regards to bass decay, and perhaps using a vented BA would have helped here (though of course this is asking for the moon considering the price of the 530).


COMPARISONS

Comparisons were made with other pure BA IEMs. Single DDs, hybrids and planars were left out of the comparisons as the different driver types have their pros and cons.




Tangzu Nezha

The Nezha - Tangzu's erstwhile flagship - contains 7 BAs: 2 x Sonion BAs, 4 x custom BAs, and 1 x EST (the EST is an electret/magnetostat). It sports a warm U-shaped tuning, and is much thicker in note weight, with a darker treble, compared to the 530.

While treble-sensitive folk may be more comfortable with the Nezha, it is however, quite veiled and muddy in sonics, and is a league or two behind the 530, losing in soundstage, micro-detailing, imaging and instrument separation. The Nezha's timbre is a bit more natural though.


Audiosense T800

The T800 is an 8 Knowles BA IEM. Likewise, the T800 has solid isolation, almost hitting 30 dB in this region, though it is a bit more uncomfortable to wear.

The T800 is more V-shaped, and is brighter in the treble/upper mids, resulting in a more fatiguing and sibilant soundscape. The T800 has a vented subwoofer bass, so it actually sounds very close to a DD bass in terms of bass decay and movement of air.

Both sets are technical champs, and provide excellent soundstage, micro-detailing and imaging.


Hiby Crystal6 II

The Crystal6 II is a neutral bright 6 Sonion BA set. It has less sub-bass, but markedly more treble and upper mids. As such, the Crystal6 II is very fatiguing and sibilant, and is even more harsh than the 530 in the upper frequencies.

The Crystal6 II has poor isolation, and has bad BA timbre, with an unnatural BA bass heard. The Crystal6 II is quite proficient in technicalities, but still lags behind the 530 in soundstage and imaging.


Kiwi Ears Orchestra Lite

The Orchestra Lite is warm neutral. The Orchestra Lite is thicker in note weight, with a tamer upper mids/treble region, and it is smoother than the 530.

The Orchestra Lite has way weaker technicalities, and it is not even close in this department.


CONCLUSIONS

The EPZ 530 is one of the best purchases I've made in 2023. It blends beauty and brawn nicely into an elegant package (literally and figuratively!). Accessories - with the modular cable specifically - are stellar, and fit and aesthetics are second-to-none.

In addition to sporting a consumer friendly V-shaped profile, technicalities are the 530's calling card, with soundstage and imaging a highlight, allowing it to best other pure BA gear at around the same price point. The easy drivability and top-notch passive isolation are also laudable traits, and indeed, this IEM may be an option for stage monitoring and audio work.

For a pure BA setup, there is admittedly a tinge of BA timbre and some BA bass, but those are common issues that most other all-BA IEMs face, and the 530 is arguably not the biggest villain in these areas. Tonally, the 530 is a bright IEM, so our treble-sensitive brethren might want to explore with eartip rolling or source pairing or using it at lower volumes (Fletcher Munson curve), but once again, there are other pure BA competitors out there which do way worse here.

The 530 was released about 2 years ago and I am thankful to have unearthed such an underrated gem. As someone who does stage monitoring weekly, I will surely be bringing these puppies along for gigs, in addition to using it for listening sessions on the go.

DISCLAIMER

I would like to thank Linsoul for providing the Nuo.
It can be gotten here: https://www.linsoul.com/products/ziigaat-nuo (no affiliate links).

In case anyone is wondering what's up with the Ziigaat moniker, it stands for: Zero-in on Ideas, Innovate, Grow and Achieve All Together.




SPECIFICATIONS

• Driver configuration: 10 mm LCP dynamic driver
• Impedance: 32 Ω
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 107 dB/mW
• Cable: 2-pin, 0.78 mm; 3.5 mm termination. Oxygen-free silver-plated copper
• Tested at $24 USD

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of silicone eartips (S/M/L)
- Cable

The accessory inclusion is quite spartan, but I guess for $20ish bucks, one can't ask for the moon.

We do not have any foam tips included, and only one set of silicone tips are provided, which thankfully, are pretty serviceable.




The stock oxygen-free silver-plated copper is surprisingly decent. It is not too tangly, and has a chin cinch, though it lies on the thinner side. Microphonics are slight, and it has a 2-pin termination, which generally has better shelf-life than MMCX.




There is no case or pouch in the packaging.

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


BUILD/COMFORT

The housings are fashioned from semi-transparent resin, with a triangular shaped motif. The shells are very light and ergonomic, with a concha protrusion for added grip. Comfort is top-notch, and this IEM can be used for hour-long sessions without issues.



Being a vented IEM, isolation is bang average. I did not encounter any driver flex on my pair.




DRIVABILITY

I tested the Nuo with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

The Nuo is easily driven even off weaker sources, with amplification not truly required.


SOUND & TECHNICALITIES

Graph of the Ziigaat Nuo via IEC711 coupler. 8 kHz is a coupler peak.

Tonally, the Nuo can be described as having a bright U-shaped signature.

This IEM is sub-bass focused, with a nice rumble heard in heavy bass tracks. However, the Nuo is not a basshead IEM per se. Bass quality is very good for the coin, we hear a fast and nimble bass, with decent texturing and no mid-bass bleed.

The lower midrange has a hair of recession, but is otherwise very transparent and clear without any mid-bass bleed encroaching into this area. With just a 5 dB ear gain, the upper mids are forwards without shoutiness, so folks sensitive to upper mids should be quite at home with the tuning.

The lower treble continues on from the upper mids boost, and this region has good resolution for an ultra-budget single DD. Thereafter the upper treble does roll-off slightly. However, treble-sensitive folk may have an issue with this set: There is some sibilance, with splashiness of high-hats and cymbals, but perhaps EQ, warmer sources or eartip rolling may mitigate this region.

Note weight lies on the thinner side, and timbre-wise, there are instances of nasal vocals and metallic overtones to acoustic instruments.

In technicalities, the Nuo is quite good, and actually belies its $20ish entrance fee. Soundstage is above average in all 3 dimensions, with nice instrument separation and layering. Micro-details are retained pretty well, and imaging, while not exactly pinpoint, is probably head-and-shoulders above other similarly priced rivals. Clarity is excellent, but this is a function of the boosted treble.


COMPARISONS

Comparisons were made with other $20ish single DDs. Pure BA, hybrids and planars were left out of the comparisons as the different driver types have their pros and cons.




Salnotes Zero 2

The Salnotes Zero 2 has a thicker note weight and is warmer than the Nuo. It has a deeper bass, with less treble extension, though the treble isn't as fatiguing and sibilant as the Nuo's.

The Zero 2 has a more natural timbre for acoustic instruments, though it lags behind in technicalities, with poorer micro-detailing, instrument separation and imaging. Soundstage is a bit wider on the Zero 2 however.

Fit is more contentious on the Zero 2, as its angular chassis may poke the ears, compared to the more ergonomic Nuo.


Tangzu Wan'er

The Wan'er is darker, with a thicker note weight. Bass bleeding is quite obvious on the Wan'er, and this region isn't as clean as on the Nuo.

Timbre is more organic on the Wan'er, though it loses in technical chops, with the Wan'er having worse imaging, soundstage and micro-detailing.


Tanchjim One

The Tanchjim One has more upper midrange (ie it is shoutier), though it has slightly less upper treble and extension.

Timbre is a tinge less natural on the Tanchjim One. It has a bit of a larger soundstage, though weaker imaging and micro-detailing compared to the Nuo.

The Tanchjim One is bullet-shaped, though it has driver flex, which may be a deal-breaker for some.


CONCLUSIONS



The Ziigaat Nuo is a decent ultra-budget single DD, boasting of solid value proposition at the cost of a mere $20ish USD. It is easily driven, with great ergonomics. Technicalities are good when A/B comparisons are performed against the usual $20 single DD benchmarks, and bass is of high quality, with a clean and transparent midrange.

There are some compromises though. The treble, while resolving and detailed, has some sibilance and fatigue, and the Nuo may not be the best bedfellow for treble-sensitive peeps as such. On the flip side, trebleheads might actually appreciate the sonics of this set, also perhaps analytical-seekers and detail-heads. However, timbre has some metallic overtones, but I can close one eye considering the Nuo costs the same as a restaurant meal.

In the big scheme of things, the Nuo does more things right than wrong, and I would recommend it for newcomers to the CHIFI rabbithole, or even as a gift or everyday carry beater set, in view of the exceptional price-to-performance ratio. Dyed-in-the-wool CHIFI addicts will probably have something higher-end in their collection, and this subset of audiophiles might be wise to keep their powder dry for a more substantial (though expensive) upgrade down the line.

DISCLAIMER

I would like to thank Letshuoer for providing the S15.
It can be gotten here: https://letshuoer.net/products/lets...ve-filtering-module-hifi-wired-in-ear-monitor (no affiliate links).




SPECIFICATIONS

• Driver configuration: 14.8 mm planar driver + 6 mm R-Sonic passive filtering module
• Impedance: 30 Ω
• Frequency response: 20 Hz - 40 kHz
• Sensitivity: 106
• Cable: 2-pin, 0.78 mm; silver-plated monocrystalline copper; 2.5 mm, 3.5 mm and 4.4 mm modular termination
• Tested at $329 USD

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of wide-bore "vocal" silicone eartips (S/M/L)
- 3 pairs of narrow-bore "balanced" silicone eartips (S/M/L)
- Cable
- Modular plugs for 2.5 mm, 3.5 mm and 4.4 mm termination
- Hard case

The accessories are quite decent for a midFI pair of IEMs, perhaps other than the lack of foam tips.




2 variants of silicone tips are included. The wide-bore "vocal" ones boost treble and air, and improve soundstaging, whereas the narrow-bore "balanced" ones increase bass but compress soundstage somewhat.




Letshuoer has included a silver-plated monocrystalline copper cable. This is well-braided and tangle-free, with minimal microphonics. I appreciate the presence of a chin cinch, and the selling-point is its distal modular terminals that allow users to pair the S15 with 2.5 mm, 3.5 mm and 4.4 mm sources.




Lastly, we have a round screw-on hard case, which is build like a tank. The innards are spacious and lined with a soft material to cushion the contents.



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


BUILD/COMFORT



HeyGears has utilized 3D-printed resin for the housings, with an anodized aluminum faceplate. The housings sport a greyish hue, but admittedly, look a bit childish. Nevertheless, the build is solid and light.




With no awkward protrusions on the inner aspects, the S15 is well-fitting for longer listening sessions. 2-pin IEMs are always my preferred connector-type, as I've encountered my fair share of MMCX failures with cable swapping.




Despite being vented, isolation is actually above average. Sadly, I encountered driver flex on my pair, but this is partially dependent on ear anatomy and types of eartips used.


INTERNALS

The S15 is actually not a pure planar IEM. It houses a 14.8 mm dual chamber planar driver, but also has a passive filtering module, which Letshuoer terms the "R-Sonic Dynamic Harmonic Technology." Basically, instead of a traditional passive radiator, this operates as something analogous to a reverse concept passive radiator, which adjusts ear pressure at different volumes.

For folks interested in the technical jargon, check out Letshuoer's post about it here: https://letshuoer.net/blogs/news/letshuoer-r-sonic-dynamic-harmonics

The planar driver and passive filtering module are aligned via a dual acoustic tube structure, with crossovers.


DRIVABILITY

I tested the S15 with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is relatively easy to drive, and robust amplification is not 100% essential. It will however scale in dynamics with clean amplification.


SOUND & TECHNICALITIES

Graph of the S15 via IEC711 coupler. 8 kHz is a coupler peak.

Tonally, the S15 boasts of a pleasant and warm U-shaped signature.

It is mid-bass focused, with quantity just a tinge more than neutral. The sub-bass is not the most extended, with a noticeable roll-off, resulting in no big rumble heard. The S15 makes it up in quality of the bass, with solid texturing noted, with a punchy, nimble and clean bass without any mid-bass bleed.

The lower mids are not too depressed, and this region is thick and lush, with an enveloping syrupy tone heard. The upper mids are sedate, with just a 5 dB ear gain, resulting in no shoutiness. The midrange can be described as euphonic as such.

The S15 is a set for the treble-sensitive, there is no sibilance. Indeed, this region is very smooth and fatigue-free. It is a double-edged sword though, as there is a lack of air and sparkle, so trebleheads might want more pizazz. However, resolution is still quite commendable for a signature bordering on the dark side, and the S15 keeps micro-details in check, but does not need to use the hackneyed CHIFI cheat-code of overly boosting this region for "fake clarity".

Continuing on with technicalities, the S15 has above average soundstage, and layering and imaging are a highlight - instruments are easily pinpointed on a dark background. Instrument separation is solid, with music not sounding congested in the least. As detailed above (no pun intended), micro-details are respectably portrayed, though edge definition of notes is somewhat blunted.

Generally, most planar IEMs flop at timbre - possibly a consequence of the fast transients and rapid decay of planar drivers, especially at the bass. Admirably, the S15 has the most natural timbral accuracy I've heard in my journey of around 15 planar IEMs, and the bass has decent decay, sounding close to a DD bass rather than a typical truncated planar-type bass.

The keyword to describe the S15 would be "effortless".


COMPARISONS

Comparisons were made with other planar IEMs. Pure BA, pure DDs and hybrids were left out of the comparisons as the different driver types have their pros and cons.




Letshuoer S12 Pro

The older brother S12 Pro is a more aggressive and bright V-shaped planar, with greater treble quantity and air. The midrange is more recessed, and the S12 Pro's bass isn't as tight too. For the treble sensitive, the S12 Pro's upper midrange/treble is definitely more fatiguing and sibilant.

Soundstage and imaging is better on the S15, though the S12 Pro is more defined in edge definition, and is more "in-your-face" with the music.

The S12 Pro suffers from a marked metallic timbre, whereas the S15 is exponentially more natural sounding. Note weight is thinner on the S12 Pro.


Sivga Nightingale

The Nightingale is a mid-centric planar, with way worse bass roll-off than the S15. The midrange is more forwards on the Nightingale, with greater treble quantity. The Nightingale isn't as all-rounded due to the bass roll-off, and it arguably only shines for certain genres like acoustic and vocal-focused ones, but falls flat in bassier tracks.

Note weight is much thinner on the Nightingale, and it suffers from a bad planar timbre, compared to the more organic S15. The Nightingale is also harder to drive.

In technicalities, the Nightingale has a smaller soundstage and worse imaging/instrument separation, though it has more clarity and micro-detailing, partially as a function of its brighter and thinner tuning.


Hidizs MP145

The MP145 has 3 tuning nozzles and is more versatile as such. Across all tuning nozzles, the MP145 is brighter, with more sibilance. There is more obvious mid-bass bleed on the MP145, and it isn't as textured here.

The MP145 has a tinge less natural timbre, with a thinner note weight. Technically, the MP145 has a more expansive soundstage, with better instrument separation/layering.

The MP145 also suffers from driver flex, and its shells are heavier and larger, so ergonomics are a bit less proficient.


CONCLUSIONS



The S15 is a smooth and lush-sounding planar, bringing to the cut-throat planar fray, a warm and agreeable U-shaped tone, with not a shred of fatigue or sibilance. Our treble-sensitive brethren will be very at home with the tuning, with timbre a highlight amongst the planar competitors.

Despite the warmer (and borderline darkish tuning), resolution is respectable, with imaging and layering done very well. Additionally, the S15 is easily driven, with decent accessories and comfort.

The creamy tuning does come at a cost of treble air and sparkle, so it won't be the cup of tea for trebleheads or analytical-heads. Bassheads might also find the quantity and sub-bass roll-off wanting, though the S15 cedes outright quantity for good quality bass.

In terms of externals and aesthetics, the resin shells look more like a Fisher Price toy than a sophisticated IEM, but the ergonomics are thankfully well-designed, other than some driver flex.

As per diminishing returns in this hobby, the S15's price lies on the steeper side, especially moving from cheaper planars like the MP145 and S12 Pro to this $300ish range. But that is the nature of this beast, sometimes chasing that last 10 - 20% of acoustic refinement will only yield incremental improvement, but at the expense of less value-proposition.

To sum it up, the S15 is well-suited for long chill sessions, yet without much compromise in technical tangibles like imaging, instrument separation and soundstage. Timbre is arguably the best I've heard in a planar IEM. Its warm tonal balance is very affable and enveloping - think of a musical, smooth and addictive syrupy tone, without veering too much to a veiled mushy profile - something that is quite hard to balance.

DISCLAIMER

I would like to thank Linsoul for providing the Zero 2.
It can be gotten here: https://www.linsoul.com/products/7hz-x-crinacle-zero-2 (no affiliate links).




SPECIFICATIONS

• Driver configuration: polyurethane + metal 10 mm dynamic driver
• Impedance: 32 Ω
• Frequency response: 10 Hz - 20 kHz
• Sensitivity: 108 dB/V
• Cable: 2-pin, 0.78 mm oxygen-free copper silver-plated cable; 3.5 mm termination
• Tested at $24.99 USD

ACCESSORIES

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

This is a pretty bare-bones accessory line-up, but is par for the course for an ultra-budget pair.




While no foam tips are included, we have 2 types of silicone ones. The set on the left are narrower in bore size, and are stiffer to the touch. These increase bass though with some compression in staging. We have another set (on the right) that are wider-bore, which increases air and treble; these are less stiff too.




The stock cable is a 2-pin oxygen-free copper silver-plated cable. It has a chin cinch, but lies on the thinner side and is somewhat tangly, with a smattering of microphonics noted. Not the most haptic-friendly, but serviceable for an ultra-budget pair. No biggie swapping out for an aftermarket cable should you wish to do so.

No case/pouch is included, but once again, this is expected for the retail price.

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


BUILD/COMFORT



Like its predecessor, the Zero 2 has acrylic housings with metal faceplates. When placing an order, one can opt for a silver, orange or blue hued version.



While the inner aspects are smooth without protrusions, the shell itself has perpendicular edges, which may be an issue for some; this was a similar complaint of the original version. Nevertheless, the shells are light, and are not fatiguing from a weight point of view.




2-pin housings are always welcome in my book, as budget MMCX tends to be not so robust with frequent cable swaps.

Being a vented IEM, isolation is average. Nevertheless, the Zero 2 is very useable for outdoors still. I did not find any driver flex on my pair.


DRIVABILITY

I tested the Zero 2 with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is moderate easy to drive, though amplification assists in scalability (in terms of bass tightness and dynamics).


SOUND & TECHNICALITIES

Graph of the Zero 2 via IEC711 coupler. 8 kHz is a coupler artefact peak.

Tonally, the Zero 2 can be described as having a warm neutral signature, which is pleasant and smooth.

It is sub-bass focused, with solid sub-bass reverberation and extension. Bass is north of neutral but not at true basshead levels. In terms of quality, texturing is decent, with a nimble speed and just a slight pinch of mid-bass bleed.

The lower midrange is a tinge recessed, but not overly so. This area is hefty and lush, aided by the aforementioned slight mid-bass bleed. With just a 6 dB ear gain, the upper mids are sedate without shoutiness. Vocals are forwards without being piercing, and those sensitive to shout will be very at home here.

The Zero 2's lower treble continues on from the slight upper mids hump, but thereafter the upper treble has a roll-off - as a result, there is minimal sibilance. Treble-sensitive peeps will like this tuning choice, though perhaps trebleheads might want to stick to the original Zero 2.

Timbral accuracy is excellent, acoustic instruments and vocals are very authentically portrayed; this is one of the highlights of the Zero 2.

I would class this IEM as having above average technicalities for a $20ish single DD. Soundstage and instrument separation is above average. Micro-details are decent. Imaging is very well done for the coin. While many budget CHIFI like to boost the treble to provide an illusion of resolution, the Zero 2's resolution is still laudable without needing to resort to this party trick.


COMPARISONS

Comparisons were made with other $20ish single DDs. Pure BA, hybrids and planars were left out of the comparisons as the different driver types have their pros and cons.




Salnotes Zero (Original)

Graphs of the Salnotes Zero versus Zero 2 via IEC711 coupler. 8 kHz is a coupler peak.

The original Zero uses a different driver (metal composite diaphragm), and is neutral bright, with about 3 dB less bass, but more treble extension than the Zero 2. The original Zero has a thinner note weight and a more metallic timbre. The original Zero has a cleaner bass, but displays more sibilance, and may be more fatiguing for treble-sensitive folk.

Technically, the original Zero has better micro-details and imaging, but a less expansive soundstage.

The original Zero is more analytical sounding, and is an option for critical listening and for folks who want a more neutral and resolving set. The younger sibling is more suited for those yearning for a lusher and warmer single DD, which retains decent technicalities but is more smooth and "fun" sounding.


Tangzu Wan'er


Graphs of the Salnotes Zero 2 versus Tangzu Waner via IEC711 coupler. 8 kHz is a coupler peak.

Both sets are warm neutral, though the Waner has less sub-bass. The Waner is also less clean and tight in the bass, with a more marked mid-bass bleed.

Both IEMs are solid in timbre, though the Waner is behind in technicalities, with inferior soundstaging, micro-detailing and imaging.


Tanchjim One


Graphs of the Salnotes Zero 2 versus Tanchjim One via IEC711 coupler. 8 kHz is a coupler peak.

The Tanchjim One is a bullet-shaped single DD. There is a DSP version and a non-DSP one; we will be comparing the non-DSP variant to keep it as an apples to apples comparison.

The Tanchjim One has less sub-bass, but is brighter, with a thinner note weight. Timbre is slightly more artificial on the Tanchjim One.

The Tanchjim One has a smaller soundstage, with worse instrument separation. However, it has better micro-detailing and imaging. The Tanchjim One can get hot in the lower treble for those sensitive to this area, and it also has driver flex, which may be a deal breaker for some.


CONCLUSIONS



One of the hardest things, is to release a sequel to a legendary IEM. We have seen brands like Moondrop try to twang on pangs of nostalgia by releasing a sequel to a popular original model, trying to ride on reputation but to meh results. If too much of the tuning is changed, then consumers will ask why is it called a Mark II, while if the tuning is too similar, then they will ask where is the value-add?

The Zero 2 does something different from the highly lauded original, yet still retaining some of its roots. It furnishes a warmer tone, with improved bass quantity and extension, coupled with a richer note weight. Sibilance and treble-fatigue - some of the complaints of the original - are also addressed here, with a smoother top-end. Additionally, the Zero 2 has a more organic timbre, though there is admittedly some loss of resolution.

The Zero 2 is quite easy to drive, though amplification may improve sonics, and it has good build and lovely timbre. Similar to the original, the shells may be a bit "pokey" due to the perpendicular edges, and perhaps trebleheads may need to look elsewhere.

Like the original, the Zero 2 boasts of exemplary price-to-performance ratio - it brings a different flavour to the table to differentiate itself from the predecessor. For those new to the hobby, or for ones looking for affordable everyday carries/beater sets, the Zero siblings are very suitable options, depending on your sonic preferences.

DISCLAIMER

I would like to thank Oriveti for providing the OD200.
It can be gotten here: https://www.oriveti.com/product-page/oriveti-od200-single-dynamic-driver-hifi-iem (no affiliate links).




SPECIFICATIONS

• Driver configuration: 9.8 mm beryllium-coated dynamic driver
• Impedance: 16 Ω
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 108 dB/mW
• Cable: 2-pin, 0.78 mm cable; 2.5 mm, 3.5 mm and 4.4 mm modular options available
• Tested at $199 USD

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of wide-bore silicone eartips (S/M/L)
- 3 pairs of narrow-bore silicone eartips (S/M/L)
- 3 pairs of foam eartips (S/M/L)
- Cable
- Modular distal plugs for 2.5 mm, 3.5 mm and 4.4 mm terminals
- Leather carrying case
- 2 pairs of tuning nozzles
- Cleaning brush

The accessories are a luxurious affair, definitely befitting of a midFI set. Everything required is included.

There's even a nifty little insert where the accessories are inlaid.

The foam tips provide the best isolation, though they may tame the treble and compress staging. The wide-bore silicone tips give the most treble/air, whereas the narrow-bore ones boost bass. Do explore to see what suits your needs.




Oriveti has provided an 8-core hand-braided stock cable. We do not have information on the components, but this is a 2-pin one with distal modular plugs for 2.5 mm, 3.5 mm and 4.4 mm terminals, which increases source pairing options (for balanced or single-ended sources). It is very well braided with zero microphonics. An added chin cinch for grip is present.




A leather round case is a nice addition. It is hard externally, but its innards are lined with a velvety material to cushion the contents. It operates via a button clasp and is quite spacious. We also have a cleaning brush for removing wax and debris.




Last but not least, we have the all-important tuning nozzles, which are needed to vary the frequency response. We will discuss about them in further detail below.

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


BUILD/COMFORT

The housings are teardrop shaped, and come in a refined olive green shade. They are fashioned from CNC-milled metal and built like a tank.

Shell weight is light and ergonomics are top-notch, with no discomfort on using the IEM for longer sessions. The inner aspects have no awkward surfaces, with a concha protrusion for added grip.



2-pin housings are always my preferred connector type, as MMCX may be less sturdy with frequent cable swaps.




Of note, the OD200 utilizes a unique Dedicated Airflow Distribution (DAD) concept, which diverts the airflow to influence tuning.



Tuning aside, the airflow arrangement seems properly designed in my book, with no driver flex noted. Isolation is average though, in view of the vents.


INTERNALS/TUNING NOZZLES

The OD200's engine is a 9.8 mm beryllium-coated dynamic driver.

Beryllium is a light material with a high modulus of elasticity, which in theory, allows the driver to be kept low in weight, yet with an extreme rigid core. This is marketed to furnish rapid transients with negligible distortion.


This IEM's selling point are the 2 tuning nozzles, which are no gimmick - they actually vary the soundscape:

Graphs of the OD200 via IEC711 coupler. 8 kHz is a coupler peak.

With the black nozzles installed, the OD200 furnishes a sterile neutralish bright signature, which is very resolving and crisp. Transients are quick and this set showcases great technicalities for a single DD. It can however, be shouty in the upper mids on this configuration - with a 13 dB ear gain - especially at louder volumes (Fletcher Munson curve). These black nozzles will be a great option for analytical listening.

With the silver nozzles in place, the OD200 becomes a sedate warm beast, with larger bass on tap. However, there is some resolution lost in this setup, and the mid-bass does bleed a tinge into the midrange, though this gives heft and a syrupy tone. With these silver nozzles, we get a more laid-back sound, with less fatigue in the upper mids.

Thus, the OD200 is kind of like a 2-in-1 IEM due to the tuning nozzles giving quite differing sonics.


DRIVABILITY

I tested the OD200 with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is easily driven from weak sources, though it may scale with amplification (in terms of bass tightness and dynamics).


SOUND & TECHNICALITIES

The rest of this review will be done with the silver nozzle in place - ie the warmer tuning nozzle.

With the silver nozzle on, the OD200 tonally has a warm V-shaped profile.

It is mid-bass focused, with bass north of neutral. We hear a satisfying thump on bassy tracks, though it is not at basshead jaw-rattling levels. Sub-bass has a slight roll-off. Quality-wise, texturing is decent, with quite nimble bass speed noted. There is a tinge of mid-bass bleed.

This mid-bass bleed warms the lower mids, thickening the note weight when compared to the black nozzles. Nevertheless, the midrange is still relatively transparent, with the mids not overtly encroached upon. The upper mids with the silver nozzles have a 9 dB ear gain, so vocals are forwards without veering too much to shouty territory (compared to the black nozzles).

The treble tails off after the upper mids, and is relatively smooth and sibilant-free. Trebleheads might want a bit more sparkle here, but it will be a suitable option for our treble-sensitive friends. Decent resolution is still retained though, and the OD200 doesn't need to resort to the usual CHIFI trick of a steroid infused treble to give "fake clarity".

The OD200 has a very organic timbre, with lifelike vocals and acoustic instrument replay. Timbre freaks (timbre is actually one of my higher priorities) will have no complaints.

In terms of technicalities, the OD200 is definitely more resolving on the black nozzle. Even with the silver nozzle in place, the OD200 fares quite well for a single DD. Soundstage is above average, with good instrument separation. Micro-detailing is present and not forced (as alluded to in other sets). Imaging is a tinge fuzzy though.


COMPARISONS

Comparisons were made with other midFI single DDs retailing at low $200ish USD. Pure BA, hybrids and planars were left out of the comparisons as the different driver types have their pros and cons.

Once again, the following comparisons are made with the silver nozzle installed on the OD200.




Tanchjim Oxygen

The legendary Oxygen is a Harman-tuned set. It has more sub-bass, but less mid-bass than the OD200. The Oxygen is also more extended in the treble, though note weight is thinner.

Technicalities are a wash between the 2. The Oxygen is slightly better in micro-detailing and imaging, though it has poorer soundstage and instrument separation.

Of note, the Oxygen has a more contentious fit due to stubby short nozzles, whereas the OD200 is better designed in ergonomics.


DUNU Falcon Ultra

The Falcon Ultra also has 2 tuning nozzles, so it is as versatile as the OD200. One nozzle furnishes a laid back L-shaped tone versus the other giving a more traditional Harmanish fare,

In technicalities, the Falcon Ultra has better micro-detailing and imaging, but loses to the OD200 in soundstage and instrument separation.

The Falcon Ultra has hiss noted on some sources, and it may be a scratch or fingerprint magnet due to the mirror-like shells. I would consider these 2 as sidegrades.


Final Audio E5000

The E5000 is a very dark bullet-shaped single DD. It is much more bassier, with a thicker note weight. The E5000 is less extended in the treble.

The E5000 is weaker technically, with inferior soundstage, micro-detailing and instrument separation, though it has better imaging.

The E5000 is one of the hardest IEMs to drive due to its low sensitivity, and not many portable sources can juice it well, unlike the more source agnostic OD200.


CONCLUSIONS

The OD200 is a nice addition to the midFI single DD pool. Versatility is its calling card, with the tuning nozzles providing 2 IEMs in 1 box - the OD200 is able to switch from a neutralish bright set to a warmer smoother single DD in the blink of an eye.

Accessories are generous, and ergonomics and build are second to none. It is easily driven, with top-notch timbre and good technical chops. This IEM is well suited for treble sensitive folk, though perhaps trebleheads might want a bit more pizazz in the upper frequencies.

There are areas for improvement though, as imaging is not its strongest suit. Additionally, there are some compromises to be made when switching between the 2 tuning nozzles - the black ones can veer to shoutiness in the upper midrange, whereas the silver ones lose a bit of resolution.

Nevertheless, in the big scheme of things, the OD200 is a solid single DD to consider, for consumers who want to savour gear in the single DD midFI market, and get an IEM with 2 tunings in one.

DISCLAIMER

I would like to thank HIFIGO for providing the AFUL MagicOne.
It can be gotten here: https://hifigo.com/products/aful-magicone (no affiliate links).




SPECIFICATIONS

• Driver configuration: Single balanced armature
• Impedance: 38 Ω
• Frequency response: 5 Hz - 35 kHz
• Sensitivity: 103 dB
• Cable: 2-pin, 0.78 mm; oxygen-free copper silver-plated Litz cable; 3.5 mm and 4.4 mm termination available
• Tested at $139.99 USD

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of soft silicone eartips (S/M/L)
- 3 pairs of stiff silicone eartips (S/M/L)
- Cable
- Hard carrying case

For something retailing above $100 USD, the accessories are quite decent, other than perhaps the lack of a modular cable and foam tips.




Speaking about tips, we have 2 variations of silicone tips on offer. Both tips are similar in bore size, but the white ones are softer to the touch, whereas the dark grey ones (with a blue-bore for left side, and red-bore for right side) are stiffer. Do explore to see what suits your preferences.




The stock cable is an oxygen-free copper silver-plated Litz cable, with a 2-pin termination, which is my preference over MMCX in terms of durability. It is well-braided and of good heft. Tangling and microphonics are minimal. During ordering, one can opt for a 4.4 mm or 3.5 mm termination.




Last but not least, we have a round hard case, which should protect its contents very well. The innards are lined with a soft material, while the exterior is of solid metal.

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


BUILD/COMFORT

The MagicOne is made from transparent resin, allowing one to visualize the goodies inside (we will dive into the special tech below). The faceplates feature a falling snowflake motif.



The shells are very solid, yet light. The inner aspect has a concha protrusion for grip, with no poky edges. Ergonomics are excellent, and this IEM can be used for long listening sessions without discomfort.



Despite being a vented BA set, passive isolation is marketed to hit up to 26 dB. Indeed, the MagicOne is one of the better isolating IEMs that is not a custom IEM, and it can hold its own in noisy environments.


INTERNALS

The MagicOne utilizes a single balanced armature driver. This configuration is rarely seen nowadays, as it is arguably the weakest driver setup; single BAs combine the worst traits of a single driver (namely weaker technicalities and poorer sub-bass/treble extension), and a BA driver (namely BA timbre), and hence IEMs nowadays usually use multi BAs, or even hybrids to overcome these shortcomings.

Personally, I'm not a fan of single BA sets as such. I didn't have high expectations for the MagicOne, but was pleasantly surprised after putting it in my ears. If I didn't know that it was a single BA, I would have thought that this was actually a multi-driver pair.



How did AFUL manage this? Well, 2 novel technological marvels are incorporated within these puppies, to prevail over the single BA limitation.

Firstly, we have “SE-Math” - this furnishes better treble extension - by incorporating an RLC electric-acoustic array within a unique acoustic design.



Secondly, AFUL's "Nautilus Acoustic Maze Technology" features a special rear cavity acoustic tube. This 3D-printed ultra-thin (77 mm x 0.91 mm) acoustic tube is inspired by the nautilus snail shell, and is deliberately extended in a maze-like design for tuning purposes. Think of it as an acoustic damper via air pressure to down-throttle certain frequencies, and essentially it results in an increased bass resonance, much more than what a standard single BA can execute.

As such, via these 2 innovations, the deficiencies of a single BA are handily mitigated, as we will read below.


DRIVABILITY

I tested the MagicOne with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

With an impedance of 38 Ω, and sensitivity of 103 dB, the MagicOne is quite difficult to drive for an IEM. It is not a matter of volume, but amplification is recommended to improve dynamics, soundstage and bass tightness. It may sound meh from a weak source with insufficient juice.


SOUND & TECHNICALITIES


Graph of the AFUL MagicOne via IEC711 coupler.

Tonally, this set sports a well-balanced warm neutral signature.

Incorporating the best of a BA bass, this region is textured, fast and clean, with no mid-bass bleed. Quantity is just north of neutral, but not at basshead levels. Compared to pure DD bass, the MagicOne still has a slight lack of movement of air/decay and sub-bass extension, but the MagicOne does this area way better than other BA bass counterparts that are not vented, in view of the Nautilus concept.

The lower midrange is very transparent, with not much recession. Instruments and vocals are nicely layered on a dark background, allowing them to be pinpointed with ease. Mid-lovers will have a field day. The upper mids are sedate, with just a 6 dB ear gain, translating to some forwardness in vocals without shoutiness.

The treble is very well-dosed, in being smooth, yet with decent extension and resolution, courtesy of the aforementioned “SE-Math” implementation. The sonics are quite sibilant-free, and the MagicOne retains good clarity without resorting to the usual CHIFI cheat code of a boosted treble to give "fake resolution".

Timbral accuracy is quite decent for a pure BA setup. There is minute BA timbre heard (can't get away totally from it with a BA driver embedded inside after all), with a tinge of hollowness to notes, but it is probably the least offensive of the single BA sets I've heard.

Coherency is superb, which is a benefit of a single driver. We do not hear a disjointed slower bass driver for example, or differences in timbre and technicalities in the various frequency bands. None of the three frequencies overshadow or eat into the other ranges.

Technical chops are well-done for a single BA set. When well amped, soundstage is above average in all 3 dimensions, and imaging and layering are class-leading for this driver configuration. Instrument separation is spacious without any compression, and micro-details are showcased without needing to veer to a brighter soundscape.

Verily, I think the MagicOne might even make for a good stage monitor, in view of the neutralish profile, top-notch comfort and isolation, and commendable technicalities.


COMPARISONS

Comparisons were made with other single BA IEMs. Multi-BAs, single DDs, hybrids and planars were left out of the comparisons as the different driver types have their pros and cons.




Westone UM1

The UM1 is a bean-shaped IEM which also has great isolation and ergonomics.

This Westone model is tuned warm-neutral, but it has a thinner note weight and a markedly more metallic timbre. Bass is also much weaker in extension, decay and texturing, which is a perennial issue with single BAs.

The UM1 is many leagues behind in technicalities, losing to the MagicOne in soundstage, micro-details, imaging and layering.


Etymotic ER4XR

The contentious point of most Etymotic gear, is the requirement for deep insertion, which can be rather uncomfortable for the uninitiated. There is an argument to be made that no matter how heavenly an IEM sounds, if one cannot tolerate the fitting, then the sonics are a moot point, which is the case with the ER4XR (personally, I can't wear it for more than a couple of minutes).

Fit aside, the ER4XR is inferior in technicalities (imaging, soundstage and micro-details). The ER4XR is warmer overall, and darker in the treble, with less treble extension. This set is also way more expensive than the MagicOne, and is probably obsolete with the advent of the MagicOne, perhaps other than having classleading passive isolation for a non-custom IEM.


KBEAR Neon

The Neon is another bullet-shaped IEM, which requires deep-insertion for optimal sonics (comfort is hence less pleasant than that of the MagicOne).

The Neon is midcentric, with a noticeable roll-off in the sub-bass and treble. It also has a more plasticky BA timbre.

In terms of technicalities, the Neon is a few steps behind, with weaker soundstage, imaging and micro-details.


CONCLUSIONS



As written above, I was a detractor of single BAs, due to their inherent weaknesses of BA timbre, sub-par end-to-end extension and second-rate technicalities. However, in the MagicOne, AFUL has done a convincing job in addressing these limitations with impressive cutting-edge technology, literally changing my viewpoint overnight!

Sub-bass and treble extension are more than decently portrayed with the “SE-Math” and Nautilus concepts, with a fast and clean bass, clear midrange and smooth yet resolving treble. Technicalities are nothing to sniff at - with imaging and layering the star of the show - and the MagicOne bestows a smooth warm-neutral tone, which is very well-balanced and coherent, with not an ounce of sibilance.

The MagicOne easily stomps on other single BA competitors - some maybe costing even more - and actually sounds more like a multi-driver transducer due to these special innovations. It can even be used for stage monitoring or audio work due to the solid technical chops, great comfort, splendid isolation and neutralish profile.



Nothing is perfect though. The MagicOne requires amplification to do the sonics justice, and I'm afraid driving it off a weak source will result in a meh sound. Despite packing the most creative of designs, the bass still does not sound 100% as natural as a DD bass in terms of extension and decay, though it comes pretty close.

Some might argue that the pricing is a bit prohibitive for a single BA (though some Etymotic single BAs are actually pricier!). Truth be told, at $100ish, we can't deny that there may be established hybrid or planar tech out there which are more technical.

Ultimately, the MagicOne is a proof-of-concept of what a single BA can achieve, with proper tuning and implementation. The magical one - or the magic that can be pulled off with one BA - is an apt namesake, and we now have a revolutionary formulae that may spur manufacturers to refine on. For example, planar IEMs were for a long time thought to be exotic and costly, but in the span of just 1 year, we have seen its proliferation evolve to a planar craze. Nowadays, we routinely see sub-$100 planar IEMs that are respectable sounding! What AFUL has done here is literally ground-breaking, and I do hope these advancements will filter down to future (cheaper) releases, such that all consumers can benefit!

DISCLAIMER

I bought the Q5 at a discounted price from Aliexpress.
It can be gotten here: https://www.aliexpress.com/item/1005005790619423.html (no affiliate links).




SPECIFICATIONS

• Driver configuration: 10 mm ceramic carbon nano dynamic driver
• Impedance: 26 Ω
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 109 dB
• Cable: MMCX; 4-core single crystal copper silver-plated cable; 3.5 mm termination
• Tested at $54 USD (frequently on sale for cheaper)

ACCESSORIES



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

For a set retailing around $50ish USD - and even cheaper than that on sales - the accessories are par for the course.




No foam tips are included. However, we have 2 variants of silicone tips - the wide-bore ones boost soundstage and treble, whereas the narrow-bore ones compress soundstage but tame the treble slightly.




Included is a 4-core single crystal copper silver-plated cable. This is on the tangly and thinner side. There's a chin cinch for added grip. Sadly, it is an MMCX cable, which in my experience, may be less robust than 2-pin ones with frequent cable swapping.

A rectangular semi-rigid zipper case graces the packaging. The innards have a soft material and webbing to cushion the contents. Lastly, we have a velvety cleaning cloth.

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


BUILD/COMFORT



Fashioned from dermatological-friendly 3D-printed resin, the housings suspiciously look like the (more expensive) Meze Advar's shells. While CHIFI may understandably be not so robust with regards to patents and licensing, it would have been more respectable if EPZ could have sourced for a more individually unique design for the Q5.

Thankfully, the housings are light and ergonomic, no complaints with fitting on my end. The inner aspects are smooth without any protuberances. EPZ has nicely added serial numbers to each IEM, which adds a whiff of exclusivity.



When placing an order, one can opt for a black or white design.



As discussed above, the Q5 utilizes MMCX connectors, which are not my preferred ports. Nevertheless, on this model, the cables connect and disconnect off quite easily, with no overly loose or tight connectors. Hopefully, it will last a long time.

Despite being vented, isolation is above average. Unfortunately, I found driver flex on my set, but this is partially dependent on ear anatomy and type of tips used, so YMMV.


INTERNALS

The Q5's engine is a dual magnetic dual cavity 10 mm ceramic carbon nano dynamic driver.




DRIVABILITY

I tested the Q5 with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is relatively easy to drive, and amplification isn't 100% required.


SOUND & TECHNICALITIES


Graph of the EPZ Q5 via IEC711 coupler.

Tonally, the Q5 is tuned to a bright V-shape.

This IEM is sub-bass focused. Sub-bass extension is not the deepest though, and quantity is just north of neutral but not at true basshead levels. Laudably, the bass quality is solid, and we hear a fast and clean bass with no mid-bass bleed. Texturing is quite decent for the coin.

The lower midrange is a tad recessed. With no big mid-bass to bleed into this area, it is on the thinner side for note weight. However, we get a very transparent and clean midrange, and the Q5 allows instruments to be nicely layered on a dark background. The upper mids sport about 8 dB of ear gain, and vocals are in the forefront, and are just at the edge between shoutiness and forwardness (as per the Fletcher Munson curve, at louder volumes, this region might be fatiguing, but should be manageable at low to moderate volume levels).

The lower treble continues on from the upper mids peak, and climaxes at around 5 kHz, bringing lots of clarity and resolution to the table. Trebleheads will like this tuning choice, though treble-sensitive folks might need to look elsewhere. We have a lot of micro-details showcased, but there admittedly are instances of sibilance.

Timbral accuracy is quite decently portrayed, as per its single DD roots.

In technicalities, the Q5 shines for a $50ish single DD. Soundstage is above average in all directions. Micro-details and clarity - as alluded to - are very good. Imaging and instrument separation belies its price point. Along a spectrum between musicality and analyticity, the Q5 definitely sings towards the latter.


COMPARISONS

Comparisons were made with other budget single DD sets. BAs, hybrids and planars were left out of the comparisons as the different driver types have their pros and cons.




Dunu Kima Classic

The Kima Classic is more V-shaped, with greater bass and upper mids on show.

The Kima Classic has inferior technicalities, losing to the Q5 in soundstage, imaging, micro-detailing and layering. Timbre is a bit less natural on the Kima Classic, and it has a more recessed midrange.

The Kima Classic is however, better accessorized.


Simgot EA500

The EA500 has 2 tuning nozzles to furnish a Harmanish tone versus a neutralish bright lilt. Thus, it is more versatile as such.

The EA500 is more subdued in the sub-bass but more zealous in the upper mids on both tuning nozzles. Thus, the EA500 can come across tonally as brighter and more fatiguing/sibilant.

Both are technical sets, but the EA500 is a hair ahead in technicalities, boasting of better imaging, instrument separation and micro-details.


CONCLUSIONS



In a nutshell, the EPZ Q5 is a solid entrant to the budget single DD game. It features a bright V-shape tuning with excellent technical chops. Ergonomics, accessories and drivability are its strong suits, in addition to a fast and clean bass, with nice resolution.

Some areas are a letdown, specifically to do with its façade - namely the MMCX connectors, driver flex and the glaringly obvious Meze doppelganger looks. Additionally, the Q5's tuning lies on the brighter side, and may not be the cup of tea for our treble sensitive brethren. Consumers wanting a lush and thick note weight might also have to consider alternatives.

By and large, the Q5's forte is its technicalities, and it is relatively affordable for an introductory transducer for those new to the hobby. It is definitely one to consider in the conversation for users looking for a bright analytical budget single DD.

DISCLAIMER

I would like to thank HIFIGO for providing the Moondrop Aria 2 unit.

It can be gotten here: https://hifigo.com/products/moondrop-aria2 (no affiliate links).




INTRODUCTION

The Aria 2 we are discussing about today, is actually the 5th "Aria" iteration in the Moondrop lineup.

Unbeknownst to some audiophiles, the very very first Aria was actually a bullet-shaped set - https://shenzhenaudio.com/products/...ube-composite-diaphragm-line-type-in-earphone - but this flew under the radar.

Thereafter, we had the more recognizable Aria 2021, which was one of the benchmarks for a CHIFI single DD in 2021. It was appreciated by consumers for good tonal balance and timbre, though there were issues with the paint chipping/bubbling, which is still a meme on some audio forums today.

Lastly, we have the Aria Snow, and an exclusive Elven Maiden (Hatsune Miku) variant for her fans - https://www.aliexpress.com/item/1005002540674378.html.


SPECIFICATIONS

• Driver configuration: single dynamic driver with ceramic-coated spherical dome composite diaphragm
• Impedance: 33 Ω
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 122 dB/Vrms
• Cable: 2-pin, 0.78 mm; copper and silver-plated Litz cable; 3.5 mm and 4.4 mm termination modules included
• Tested at $89.99 USD

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of silicone eartips
- Cable
- Modular distal plugs for 3.5 mm and 4.4 mm terminals
- Leatherette carrying case



It wouldn't be a Moondrop IEM without the quintessential waifu gracing the packaging, and today's waifu is indeed gracefully playing a violin.

For something retailing close to 90 bucks, the accessories are a mixed bag. While we have a modular cable and an elegant case, there is only one set of eartips included! It is quite a disappointment that no foam tips or alternative silicone types are added in the packaging, considering Moondrop are famous for their Spring Tips.



The round zipper leatherette case is really tasteful, with the innards lined by velvet and webbing.




Thankfully, Moondrop redeems itself with the addition of a modular cable, which allows pairing with 3.5 mm (single-ended) and 4.4 mm (balanced sources). This is a 2-pin copper and silver-plated Litz cable; it is well-braided and hefty, with a chin cinch and minimal microphonics. Indeed, this is one of the better stock cables for a sub-$100 USD set.

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


BUILD/COMFORT

Fashioned from CNC milled and casted zinc alloy, the shells are on the heavier side, but they are literally built like a tank. The brass acoustic nozzle are also gold-plated and are purportedly replaceable - in the event of blockage or damage, or even for tuning purposes, for those adventurous enough to do so.



The solid metal shells are on the heavier side, but ergonomics are pretty decent, with no awkward protrusions on the inner surfaces to poke the ears.



The Aria 2 is heavily vented - Moondrop has designed this IEM with a special pressurized vent - and isolation takes a hit and is below average. However, the venting does contribute to a good sub-bass extension and decent soundstage (we will read more below), and I also did not find any driver flex.


INTERNALS

The Aria 2 utilizes a single DD, with a ceramic-coated spherical dome composite diaphragm, which is pretty unique as a material in CHIFI single DD sets.


DRIVABILITY

I tested the Aria 2 with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is relatively easy to drive. Some scalability occurs with amplification, but most weaker sources should be able to drive it adequately.


SOUND & TECHNICALITIES


Graph of the Moondrop Aria 2 via IEC711 coupler. 8 kHz is a coupler peak.

Tonally, the Aria 2 follows the virtual diffuse sound field (VDSF) - which is essentially Moondrop's in-house variant of the Harman curve. The sound signature is a bit on the thinner side with an upper midrange boost, which provides a "clean" soundscape.

Thankfully, the Aria 2 avoids being totally sterile with a sub-bass boost. Bass extension and rumble goes quite deep, though quantity-wise, it is not at basshead levels. In terms of quality, the bass is speedy and agile, with minimal mid-bass bleed. Texturing is very well done.

The lower midrange is a tinge recessed, but is quite transparent without bass encroaching into this area. Instruments and vocals are easily layered and pinpointed in the midrange as such. However, some folks might prefer a bit more thickness in this region, so there are pros and cons to this tuning philosophy.

The upper mids sport a 9 dB ear gain, and are at the edge of shoutiness. Vocals are definitely forwards in the mix, but may be a overly zealous if the Aria 2 is used at louder volumes (Fletcher Munson curve).

The lower treble continues on from the boosted upper mids, and tails off thereafter. There is a smattering of sibilance, and the treble is on the airier side.

Timbre is very natural, as per its single DD setup, no complaints for acoustic instrument playback.

In technicalities, the Aria 2 performs at an above average level for a sub-$100 single DD. Soundstage is above average in all 3 dimensions, with acceptable micro-detailing and imaging. Layering and instrument separation are quite well done.


COMPARISONS

Comparisons were made with other sub-$100 USD single DDs. Pure BAs, hybrids and planars were omitted as the different driver types have their own pros and cons.


Moondrop Aria 2021 and Snow Edition


Graph of the Aria sisters via IEC711 coupler. 8 kHz is a coupler peak.

I've grouped the 2 predecessors of the Aria 2 here. They are all tuned to variants of the VSDF curve, but the Aria 2 beats the 2 older siblings in technical performance.

The Aria 2021 is bassier and darker, with a less extended treble. Technically, the Aria 2021 is also weaker in imaging, instrument separation, soundstage and micro-detailing.

As for the Snow Edition, it is a tinge less bassy, with less treble sparkle. The Snow Edition is a hair behind in technicalities (micro-details, instrument separation, imaging and soundstage). The Snow Edition has a worse cable and build, but in the big scheme of things, the Aria 2 is probably just a marginal upgrade over it.


DUNU Kima Classic

The Kima Classic is a V-shaped IEM, with more bass and treble than the Aria 2. The midrange is more scooped out on the Kima Classic, so midrange lovers might need to look elsewhere.

The Kima Classic has a less natural timbre. In technical chops, it also lags behind in instrument separation, imaging and soundstage, compared to the Aria 2.


Simgot EA500

The EA500 has 2 tuning nozzles to provide slightly more versatility. The EA500 lies towards a brighter Harmanish tone, and is more boosted in the upper mids and treble than the Aria 2. Sibilance is also more marked on the EA500, so it is more fatiguing for extended usage, and probably not for our treble sensitive brethren.

In technicalities, the EA500 beats the Aria 2 in micro-detailing, imaging and clarity, though the Aria 2 has superior soundstage and instrument separation.


CONCLUSIONS



The Aria 2 is a decent sub-$100 single DD, offering robust build and ergonomics, and solid technical chops. It furnishes a nicely textured bass, with a clean midrange, coupled with natural timbre. The upper mids may be a tinge on the hotter side, but upper mids perception is somewhat dependent on volume played at (Fletcher Munson curve), eartip choices, ear anatomy (pinna gain), hearing health and source choices, so YMMV.

Ever since the Moondrop Stellaris, the brand has released a series of sidegrade meh products, and are riding on waifus and VSDF curves to tide them thru against tough competition. These may only get the company so far. Case in point: sequels of lauded classics in Moondrop's stable - such as the Starfield 2, Solis 2, Chu 2, and Blessing 3 - were launched to twang on strings of nostalgia, but reception was mixed amongst consumers.



Verily, the Aria 2 has a very difficult namesake to live up to, being a sequel of the legendary Aria 2021. In that regard, the Aria 2 is thankfully an improvement over its lauded predecessor, bringing better technicalities to the table.

However, in the big scheme of things, it is probably a marginal upgrade over the Aria 2021 and Snow Edition, and existing owners of those might want to considering keeping your powder dry for a more substantial upgrade down the line. Amongst the sub-$100 USD single DD pool, the Aria 2 is competent, but ultimately a sidegrade (ie nothing ground breaking). Nevertheless, for consumers who have never tried any gear in the Moondrop Aria family, this set is worth a listen.

DISCLAIMER

I bought the FF3S from Aliexpress at a discounted price. It can be gotten here (no affiliate links): https://www.aliexpress.com/item/1005006078629914.html




SPECIFICATIONS

• Driver configuration: 14.2 mm beryllium-plated dome + polyurethane gasket diaphragm dynamic driver
• Impedance: 45 Ω
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 105 dB
• Cable: 2-pin, 0.78 mm; silver-plated monocrystalline copper; 4.4 mm and 3.5 mm termination modules available
• Tested at $89.99 USD

ACCESSORIES

Other than the earbuds, these are included:
- 6 pairs of donut foams
- 6 pairs of full foams
- 1 pair of silicone wing hooks
- 3 pairs of silicone rings (L)
- 3 pairs of silicone rings (M)
- Cable
- 2 modular plugs for 3.5 mm and 4.4 mm termination
- HB11 carrying case

The accessories are almost perfect for the coin, and honestly, I've not seen a better accessorized earbud packaging in my audio journey so far.



Two types of foam covers are included - the full foams increase warmth and bass, whereas the donut ones tame the bass a bit and let the mids shine thru better.

I also appreciate that Fiio has added a multitude of silicone rings and hooks, which will assist in fit and grip. Do explore the various permutations - double foams or silicone ring + foam is an option - to see suit what your comfort and sonic preferences.




Fiio has included a 2-pin silver-plated monocrystalline copper cable, which is detachable, unlike the predecessor FF3. On the distal end we have 4.4 mm and 3.5 mm termination modules available, thus allowing the FF3S to be paired with various single-ended and balanced sources, which is a nice touch.

Removing the modules involves screwing it off the cable, and locking in the new one in place. Align the inner dot of the cable to the groove of the module and you are good to go.



The cable is sheathed with German-made TPU, which is advertised to reduce hardening and to improve suppleness. It also aids in getting rid of microphonics - indeed there is none noted here - and there is a chin cinch for added grip during usage. The left terminal has 3 dots for guidance, which is useful for those with visual impairment.

Unfortunately, this cable is proprietary, and aftermarket cables cannot be paired with the FF3S, unless one shaves off the edges of the cable terminal. Sadly, this is a tick against the FF3S, and I'm sure consumers would have liked Fiio to provide a standard 2-pin or MMCX detachable housing so that we could use our favourite aftermarket cables or even BT adapters.




Last but not least, we have a HB11 storage case (https://www.fiio.com/productinfo/974710.html). Made of tough plastic, it is hard enough to withstand compressive forces. It features an innovative lego concept, so additional cases can be stacked on top of it.

There is a handle for ease of use - it operates like a sock drawer - and the transparent walls allow one to easily identify the contents. The HB11 is space-sparing, with a thickness of 2 mm for the walls, and it weighs 118 g, and measures 116 x 72 x 39 mm.

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


BUILD/COMFORT

The FF3S is fashioned from aluminum alloy, with a matte finish and a golden triangle motif faceplate. With each earpiece weighing a mere 3.9 g, they are almost half the weight of the predecessor FF3 (some earbud enthusiasts complained about the original's FF3 heavy weight!).



The ergonomics are thoughtfully designed: we have a long slender stem, which nicely balances the CG of the housing, to snuggly fit in the intertragal notch of the ears. I did not encounter any discomfort despite using the FF3S for marathon listening sessions.




INTERNALS

At the heart of the FF3S, lies a 14.2 mm beryllium-plated dome + polyurethane gasket diaphragm dynamic driver. This contains an ultra-fine copper Daikoku voice coil, which is only 0.0033 mm in diameter!

Beryllium is a light material with a high modulus of elasticity, which in theory, allows the driver to be kept low in weight, yet with an extreme rigid core. This is marketed to furnish rapid transients with negligible distortion.




Another interesting concept is Fiio's use of a deliberately lengthened flute-like tube, which increases sub-bass quantity. This is because higher frequency sounds are dissipated first in a longer acoustic tube, and on actual listening, the FF3S is indeed a very bassy transducer.


DRIVABILITY

I tested the FF3S with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This flathead is moderately difficult to drive due to the 45 ohm impedance. While it can be driven off a weak smartphone, the FF3S definitely scales better with amplification, in terms of dynamics and bass texturing.


SOUND & TECHNICALITIES



The following impressions are done with full foams installed.

The FF3S can be described tonally as having a bassy L-shaped profile. It is a warm and smooth earbud, suited for longer listening sessions, unlike thinner and more fatiguing counterparts.

The bass is north of neutral, with a huge thump which is focused at the mid-bass. The bass quantity is quite exceptional for a earbud, with decent sub-bass extension compared to other traditional flatheads, due to the aforementioned flute acoustic tube design. Despite the copious bass on tap, the quality is not too compromised, and we hear a textured and fast bass, with just slight mid-bass bleed (this is way less than expected for such a bassy bud). I didn't note much smearing even on complex bass tracks.

The lower midrange is a tinge depressed, but not overly so. This area is warmed by the slight mid-bass leak, giving a lot of heft and thickness. The upper mids are slightly forwards without being shouty (at moderate volumes), which is quite appreciated.

The FF3S is smooth in the treble, and may not be the cup of tea for trebleheads. Surprisingly, clarity is still very decent, and we do not lose too much micro-details for a darkish signature. Treble-sensitive folk will surely like the tuning on offer, with minimal sibilance and splashiness heard.

Timbre is very natural, in keeping with the usage of a dynamic driver, with no artificial or metallic overtones heard. Note weight lies on the thicker side, as discussed.

In technicalities, the FF3S does above average for a sub $100 set. Soundstage is expansive in all 3 dimensions, though imaging is a hair fuzzy, so placement of instruments may not be pinpoint. Instrument separation is solid, and despite the darker tuning, micro-details are quite preserved.


COMPARISONS

Comparisons were made with other earbuds residing just below the $100 USD bracket. All A/B comparisons were done with full foams installed, to compare like-for-like as differing foam covers can change the sonics.




Fiio FF3

The predecessor FF3 is heavier in weight due to its steel exterior (it weights double of the FF3S). Thus, the former's build seems more robust but it can cause fatigue in the ears with longer sessions, compared to the successor FF3S.

With the different shell materials, there are some slight sonic differences. Both generally share the same DNA in being bassy and warm sets, but the original FF3 is even bassier but less resolving, losing in technicalities and treble extension. For folks who found the first FF3's bass to be intrusive, the FF3S tones it down slightly here, thus allowing the rest of the frequencies to breathe more. I'm not a bona fide basshead, so I do prefer the FF3S's more versatile sound signature in a way.

The original FF3 has a non-detachable cable, though it also has modular plugs (albeit one can argue that having a proprietary detachable cable in the FF3S isn't a true improvement in this department).


DUNU Alpha 3

The Alpha 3 is a non-detachable earbud with only 3.5 mm termination. It is a brighter bud with less bass but more fatigue/sibilance in the upper registers.

Timbrically, the Alpha 3 is thinner in note weight. The Alpha 3 also has a smaller soundstage and poorer instrument separation. It has a hair better imaging and micro-details.


Smabat ST10

The original ST10 is a more aggressive V-shaped tuned earbud. Sub-bass is more profound on the ST10 due to a conch acoustic labyrinth tube, though the upper mids and treble are more fatiguing and sibilant.

The ST10 is more metallic in timbre, sounding notably artificial in this area.

Technically, the ST10 has a smaller soundstage and worse instrument separation, but superior imaging and micro-detailing. The ST10 is much harder to drive. It has a standard MMCX detachable housing, unlike the proprietary 2-pin one in the FF3S.


CONCLUSIONS



The FF3S is a great addition to the MidFI earbud stable, bringing a smooth and sedate soundscape to the table. Build and ergonomics are solid, and the accessories are second-to-none. Timbre is a delight, and the FF3S boasts of big bass that still retains a high level of quality, due to a flute-acoustic tube design.

Treble-sensitive peeps will be at home with the tuning, though trebleheads might be alienated due to the calm and tranquil treble. I'm also glad to report that the FF3S's soundstage is also bigger than some competitors at this price range.

Though weaker sources can be paired with it, the FF3S does take a bit of juice for optimal sonics. The proprietary cable is a disappointment too, though haptically it is very well designed (zero microphonics with modular distal plugs).

Of note, the FF3S improves on the predecessor FF3 by bestowing better resolution and a less bombastic bass (which some may find intrusive). Also, the shells are lighter and cause less discomfort as such. The FF3S has my recommendation for earbud aficionados looking for a serene companion for long listening sessions, yet retailing decent technicalities.

DISCLAIMER

I would like to thank Hidizs for providing the S9 Pro Plus Martha.
It can be gotten here: https://www.hidizs.net/products/hidizs-s9-pro-plus-martha-hifi-balanced-dongle-dac (no affiliate links).





SPECIFICATIONS/COMPATIBILITY

- DAC chip: ESS9038Q2M
- Dimensions: 55 × 25 × 11 mm
- Weight: 17 g
- Supported audio formats: Native DSD64/128/256/512; PCM up to 32bit/768kHz
- USB connector: Type-C
- Ports: 3.5 mm (single-ended), 4.4 mm (balanced)
- Frequency response: 20 Hz - 40 kHz
- Output power: 138 mW+138 mW (single-ended); 180 mW+180 mW (balanced)
- Separation: 75 dB (single-ended); 115 dB (balanced)
- Signal-to-noise ratio: 123 dB (single-ended); 120 dB (balanced)
- Distortion: 0.0019% (single-ended); 0.0008% (balanced)
- Output impedance data not available
- Tested at $79.99


The Martha supports native DSD64/128/256/512, and PCM files up to 32bit/768kHz.

This device is compatible with Android, Windows, Mac OS, iPad OS, Harmony OS. On Windows 10 and above, the Martha is plug-and-play, with no need for installation of additional drivers. It was easily recognized on various Android devices too.

The Martha boasts of a fully balanced architecture, with 4 components in the chain - a USB interface processor, a ES9038Q2M DAC chip, an independent headphone amplifier, and a POP sound cancellation system - indeed I did not hear any nasty "pops" when connecting transducers to this dongle, which is appreciated. ESS's patented 32-bit HyperStream® II QUADDAC™ architecture and Time Domain Jitter Eliminator are also implemented inside.


ACCESSORIES



Other than the S9 Pro Plus dongle, these are included:
- 1 x USB-A to USB-C cable
- 1 x USB-C to USB-C cable




Unfortunately for our Apple users, there is no lightning adapter included, and this may necessitate an aftermarket purchase.


DESIGN/FUNCTION

Manufactured from CNC integrated aluminum alloy, the Martha sports a black rectangular chassis, with rear and front glass panels. The S9 Pro Plus is quite sturdy. Buyers can choose amongst a silver, blue or black hued version when placing an order.



Measuring 55 × 25 × 11 mm, and weighing a mere 17 g, the Martha is a very sleek and portable dongle.

The Martha has a cool RGB display to signify the various sampling formats and rates:

• Yellow: DSD 64/128
• Purple: DSD 256/512
• Blue: PCM 176.4/192(kHz)
• Red: PCM 352.8/384(kHz)
• White: PCM 705.6/768(kHz)
• Green: PCM 44.1/48/88.2/96(kHz)

At one end of the dongle, we have the 3.5 mm (single-ended) and 4.4 mm (balanced) ports. The 4.4 mm port is reinforced with gold-plating, which is a very nice touch.




On the opposite end, we have the USB-C port, which functions as a power and signal input port.




Volume buttons are found on the side. The volume steps are decently spaced, and click with a nice haptic feedback. Sadly, there are no independent volume controllers.




Simultaneously pressing both volume buttons will allow one to cycle thru the 6 DAC filters that this dongle has. The effect of the filters are very subtle, but these are what Hidizs advertises they do:

• Green Light - Anodizing fast roll-off (Default Filter): Vocals are slightly forward, and high frequencies are extended with reduced resonance.
• Red Light - Linear phase fast roll-off: Enhanced analytical capabilities, delivering a clean and crisp sound.
• Blue Light - Linear phase slow roll-off: Enriched harmonics, fuller low frequencies, and natural reverb.
• Yellow Light - Minimum phase fast roll-off: Balanced sound.
• Purple Light - Minimum phase slow roll-off: Clean sound with a forward signature.
• White Light - Hybrid fast roll-off: Soft and smooth sound with enhanced detail.

SOUND/PERFORMANCE

I tested the Martha with various Android phones, Windows laptops and PCs. Apologies, I am not an Apple user and can't vouch for the compatibility/performance with Apple devices.

On the default DAC filter, the Martha can be described tonally as having a warm-neutral profile.

There are no output impedance specs available, though most of the connected transducers display somewhat less stridency in the upper registers. The Martha has a mid-bass boost, and it synergizes well with brighter or edgier gear. Indeed, this dongle can be used for longer listening sessions, unlike brighter and fatiguing sources.

Despite lying on the warmer side, this DAC/AMP is not as analogue sounding as something like the Cayin RU6, and still displays respectable resolution and clarity. For the sub-$100 price, imaging and soundstage is above average, and music does not sound claustrophobic or congested. Instrument separation and layering are well done.

Timbre is very natural - it is one of the highlights of this dongle - with note weight on the slightly thicker side. Acoustic instruments and vocals are very accurately played back.

Coupled with the aforementioned mid-bass boost, the sub-bass extends very well, and sub-bass heavy tracks will showcase a visceral rumble when called for. The midrange is transparent yet lush, which provides a euphonic soundscape. The treble is quite smooth and sibilant-resistant, and treble sensitive peeps will appreciate the tuning choice.



Hidizs advertises power output specs of 138 mW (on single-ended), and 180 mW (on balanced), which is definitely adequate for easy to moderately-demanding gear, with the balanced port providing more juice than the single-ended one. Alas, there is no gain switch available on the Martha.

My crucibles for testing how powerful a source is include 3 of my hardest to drive gear:
1) Final Audio E5000 (low sensitivity at 93 dB/mW)
2) Sennheiser HD650 (high impedance at 300 ohm)
3) Yinman 600 ohm (600 ohm impedance and 87 db/mW sensitivity)

On the 4.4 mm port, the Martha is able to drive the E5000 acceptably to avoid a one-noted bass, though more powerful amps will arguably do a better job in texturing. The HD650 sounds okayish on balanced, but is a tinge undynamic, even at higher volume. This dongle struggles to power the Yinman 600 ohm, as it comes across as flabby, untextured and boring. However, it is no shame to lose to the notorious Yinman 600 ohm - which has a double whammy of low sensitivity and high impedance - and most portable sources fail in this challenge.

Thus, the Martha is optimally used for driving low impedance/high sensitivity transducers, and behemoth outliers are probably better paired with sources with more power on tap.

This dongle has a slight hiss with fussy high sensitivity IEMs, but generally once music plays, it is not that obvious, unless in quieter parts of the music. It gets a tinge warm during usage, but not overtly scalding.


COMPARISONS

Comparisons were made with some other dongles residing in the $50 - 100 USD range.


Truthear Shio

The Shio's utilizes a dual Cirrus Logic CS43198 chip. Both dongles are warm tonally - the Shio a bit more - with the Shio having a more pronounced treble roll-off.

The Shio is notably inferior in technicalities, with poorer soundstage, imaging, edge definition, micro-details and instrument separation. Both dongles have a 3.5 mm and 4.4 mm port, but the Shio has less power available.


Fiio KA13

The KA13 houses a dual CS43131 DAC chip. Sound-wise, the KA13 is thinner in note weight and more analytical. The KA13 is more sibilant and hotter in the treble, compared to the more sedate Martha.

The KA13 has slightly better technicalities, with improved micro-detailing, soundstage, imaging. Instrument separation is about on par.

Both dongles have 3.5 mm and 4.4 mm ports, but the KA13 pushes out an impressive 550 mW on the balanced port, with a desktop mode function. It definitely has more power on tap than the Martha to drive more demanding gear, though the KA13 burns battery much more rapidly.


CONCLUSIONS



The S9 Pro Plus Martha is a fine sub-$100 dongle, suitable for folks who are looking for something on the warmer side of the equation, but still retaining solid technicalities. Timbre is the star of the show, and the smooth sonics are a great pairing for more sibilant and fatiguing transducers.

It is quite small in profile and weight, with decent build. I quite like that there is no "pop" sound on connecting transducers, though very sensitive IEMs may have a slight hiss on the Martha.

The Martha's power output is quite decent - it is however not class-leading in this department - but it should be able to juice most easy to moderately difficult gear, save for outliers that have low sensitivity/high impedance. Some other nitpicks would be the dongle getting warm during usage, no independent volume controllers, and the lack of a gain setting.

The S9 Pro Plus furnishes a warm-neutral and smooth tuning, yet preserving above average technical performance - think of it as an improved and more refined Truthear Shio, for a similar price tag. Something to consider for budget audiophiles searching for an all-rounder velvety dongle.

DISCLAIMER

I would like to thank Sivga for providing the Nightingale.

It can be gotten here: https://www.sivgaaudio.com/product_d?id=17 (no affiliate links).




SPECIFICATIONS

• Driver configuration: 14.5 mm planar driver
• Impedance: 16 Ω
• Frequency response: 20 Hz - 40 kHz
• Sensitivity: 100 dB
• Cable: 2-pin, 0.78 mm; 4 strand silver-plated copper; 4.4 mm termination
• Tested at $279 USD

ACCESSORIES

Other than the IEM, these are included:
- 4 pairs of wide-bore silicone eartips
- 3 pairs of narrow-bore silicone eartips
- Cable
- Carrying case
- Eartip case

For a $200ish set, the accessories are acceptable; though perhaps the addition of a modular cable and foam tips would have been appreciated.




Speaking about tips, 2 types of silicone ones are included. The wider-bore tips boost treble and soundstage, whereas the narrower-bore ones improve bass quantity with some compression in staging. These tips come in their own little plastic case, which is quite handy.




The cable is a 2-pin 4 strand silver-plated copper one. It only comes in a 4.4 mm termination, so folks who use single-ended sources might need an adapter or to swap out the cable. The cable is of sufficient heft and is very well braided, with zero microphonics. It is sheathed in a glossy soft PVC material, with a chin cinch for added support.

Haptically, it is one of the better cables I've encountered in my IEM journey, and as always, a 2-pin one tends to be more hardy than MMCX connectors with frequent cable-rolling.




Sivga has included a semi-rigid zipper case. It is robust enough to withstand compressive forces, and the innards are lined by a velvety material and webbing.

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


BUILD/COMFORT



The droplet-shaped housings are furnished from 5-axis CNC-machined aluminum magnesium alloy. There is a solid wood faceplate to grace the front, and this is hand polished, painted and air-dried to add some tastefulness.




Weighing in at 15 g apiece, the shells are very light, and ergonomics are top-notch. With no weird protrusions on the inner aspects to poke the ears, I did not encounter any discomfort during usage.

As per most vented IEMs, isolation is below average. I did not encounter any driver flex during my past month with it.


INTERNALS

At the heart of the Nightingale lies a 14.5 mm planar driver, with an internal dual magnet array, comprised of 2 iron boron magnets. The ultra-thin composite diaphragm has an aluminum coil that supposedly improves transparency in the sonics.




DRIVABILITY

I tested the Nightingale with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

The Nightingale is moderately difficult to drive. It takes some juice to wake up the drivers to scale optimally, and amplification would be recommended if available.


SOUND & TECHNICALITIES

Graph of the Sivga Nightingale via IEC711 coupler. 8 kHz is a coupler peak.

Tonally, the Nightingale is a rare midcentric IEM, featuring an "n" shaped profile, where the bass and treble are less prominent than the midrange. This is admittedly a very niche proposition, as it shines very well with vocal and acoustic genres, but may not be that all-rounded for other genres eg for bassheads or trebleheads.

The bass is neutral, and focused at the mid-bass. There is a sub-bass roll-off, with just a tickle of rumble heard in bass heavy tracks. What the Nightingale cedes in quantity, it makes up in quality. There is a nimble bass heard, with fine texturing and no mid-bass bleed. Bassheads will definitely need to look elsewhere, as the lack of a prominent mid-bass thump may make this area sound a bit empty.

Having said that, the Nightingale takes to EQ like a champ, with no distortion noted on boosting this area - feel free to jack up this frequency band if the bass seems inadequate.

As per the midcentric moniker, the midrange is the star of the show. The lower mids are weighty and emotional, allowing vocals and midrange instruments like guitars to be accentuated. There is no spiky upper midrange peak to pierce the ears, and acoustic and vocal lovers will have a field-day, with the silky dulcet tones of vocals heard on a dark background.

The treble is decently extended but still quite smooth, with minimal sibilance. Clarity is decently encapsulated despite the not overly augmented treble that some companies employ to give "fake resolution".

The Nightingale's timbre has a planar sheen, and timbre-freaks might probably frown here on hearing the portrayal of some acoustic instruments. However, timbral issues are also found in most competitor planar IEMs, so this is a transducer problem more than a tuning snag.

In technicalities, the Nightingale has a very wide soundstage, that is almost akin to earbuds - it extends a few cm outside the ears - though depth is average. Imaging is good, however, note edges are dampened to minimize glare, so it isn't the most micro-detailed or separated when compared to rival planars which are more treble boosted.


COMPARISONS

Comparisons were made with other planar IEMs. Pure BAs, hybrids and single DDs were omitted as the different driver types have their own pros and cons.




Hidizs MP145

The MP145 has 3 tuning nozzles and is more versatile as such.

Graph of the MP145 via IEC711 coupler. 8 kHz is a coupler peak.

Across all tuning nozzles, the MP145 is more V-shaped, with more bass and treble. The mids are thinner on the MP145, and timbre is slightly more organic on the MP145. The MP145 has some sibilance and may be a bit more fatiguing in the upper registers.

On A/B testing, the MP145 has a smaller soundstage, but has better imaging and micro-detailing.

The MP145's shells are sumo-sized and those with smaller ears may have fitting issues. Additionally, it has driver flex, unlike the Nightingale. Thus, ergonomics seem superior on the Nightingale.


Letshuoer S12 Pro

Graph of the S12 Pro via IEC711 coupler. 8 kHz is a coupler peak.

The S12 Pro sports a deep V-shaped signature. It has more bass on tap, though the bass isn't as tight. The S12 Pro is more aggressive-sounding, and is quite in your face, whereas the Nightingale is a bit more sedate. The upper mids/treble is more extended and prominent on the S12 Pro, though it comes across as sibilant and fatiguing. The S12 Pro is leaner in the midrange, with vocals sounding not as lush.

Timbre is less natural on the S12 Pro, with a metallic sheen noted. The S12 Pro has better imaging and micro-detailing, though it loses in soundstage.

The S12 Pro comes with a modular cable, though it isn't as comfortable in fit.


Tangzu Zetian Wu

Graph of the Zetian Wu via IEC711 coupler. 8 kHz is a coupler peak.

The Zetian Wu is a way bassier IEM, though the bass bleeds and smudges, and isn't as clean and textured as on the Nightingale.

Timbre is slightly better on the Zetian Wu, though it has a recessed and thinner midrange.

Technicalities-wise, the Zetian Wu has a smaller soundstage and weaker instrument separation. Imaging and micro-detailing is about on par.


CONCLUSIONS



As per its avian namesake, the Nightingale sings excellently in the midrange, and is a specialist midcentric set. Vocal and acoustic genres are euphonic, addictive and sweet. Treble is smooth and non-fatiguing, with a tight and clean bass heard.

Granted, midcentric tunings are quite niche, and may not be the cup of tea for bassheads and trebleheads, or even for some mainstream genres, but where it shines for its specialized genres, the sonics are truly magical.

The Nightingale thankfully takes to EQ well, so for consumers open to doing so, distortion-free bass boost is an option in the pocket to shape the sonics to your preference. Additionally, the Nightingale comes with one of the best stock cables in the industry, and has great ergonomics and an elegant yet solid build. Soundstage width is also a highlight, and this IEM can rival some earbuds in this arena.



Other than not being an all-rounder, like most other planar IEMs, there are whiffs of planar timbre, and drivability is moderately difficult. It is also not as resolving as some planar competitors, though those may be more fatiguing and sibilant as a trade-off.

Midcentric profiles are a love-it-or-hate-it affair, but I applaud Sivga for trying something different from the run-of-the-mill Harman and V-shaped fare; I do think there is a place in an audio enthusiast's stable for such midcentric gear, to be whipped out when a vocal track's siren voices are sought after.

DISCLAIMER

I would like to thank Simgot for providing the EA1000 Fermat.

It can be gotten here: https://www.linsoul.com/products/simgot-ea1000-fermat or https://samaudiosg.com/collections/all-products/products/sg-simgot-ea1000-fermat-flagship-dynamic-driver-iem (no affiliate links).




SPECIFICATIONS

• Driver configuration: 10mm dynamic driver (DD) + passive radiator (PR) driver
• Impedance: 38 Ω
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 127 dB/Vrms
• Cable: 2-pin, 0.78 mm; silver-plated OFC Litz cable
• Tested at $219.99 USD

ACCESSORIES



Other than the IEM, these are included:
- 6 pairs of silicone eartips
- 3 pairs of tuning nozzles
- Nozzle rings
- Cable
- Carrying case

For a $200ish set, the accessories are acceptable, though there is a glaring lack of eartip variety. Gear at this price bracket also may incorporate a modular cable, which is absent here.




6 pairs of silicone tips are included (there are duplicates of S/M/L sizes). These silicone tips are pretty serviceable, though there are no foam tips.




The tuning nozzles add versatility to the tonality, and they operate via a screw-on mechanism. We will talk more about them in the following sections. Nozzle identifier rings are also included as a nice touch, to identify the sides.




The stock cable is a silver-plated OFC Litz cable. This is unfortunately not modular, but is very nice haptically. It is well-braided with a chin cinch, with minimal microphonics. 2-pin cables are always my preference due to horrible experiences with dodgy MMCX connectors.




A silver leatherette case completes the accessory line-up. This case is semi-rigid, and has a magnetic clasp. The innards are soft and lined with webbing.

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


BUILD/COMFORT



The shells are a real looker, featuring a mirror-like metal surface, with a crystal faceplate. Build is very solid, though the shells can potentially be scratch magnets or fingerprint magnets, so do baby them.




Weighing in at about 11 g apiece, the shells are extremely ergonomic and well fitting, with no weird protrusions on the inner aspects to poke the ears. I could wear the EA1000 for hours without discomfort.

Incorporating vents, isolation is below average. Thankfully, I did not encounter any driver flex on my pair.




DRIVABILITY

I tested the EA1000 with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

The Fermat is easily driven even off the weakest of sources.


INTERNALS/TUNING NOZZLES

The EA1000's engine is a unique DD + passive radiator (PR) setup.

A second-generation dual magnetic and dual chamber 10 mm full-range dynamic driver with a 6 mm composite diaphragm is the main workhorse. Simgot advertises that it was manufactured via sputter-deposition technology, and this diaphragm is optimized to generate a high magnetic flux.




The addition of a PR - which can be seen above on the "R" and "L" markings of the shell - is supposed to improve bass texturing and heft. Indeed, on listening, the bass is toned, with solid quality and timbre.

This IEM's selling point is the 3 tuning nozzles, which have different damping and cavity materials.



As such, they vary the sonics along a spectrum of Harmanish tonalities, subtly affecting the upper mids and lower treble:

Graph of the Simgot EA1000 via IEC711 coupler. 8 kHz is a coupler peak.

The black nozzle bestows the brightest tuning, with the thinnest note weight. Trebleheads will love this configuration, though it is not for the treble-sensitive. Technicalities are understandably the best with this setup.

The gold nozzle is a bit sharp at the upper mids, but the treble tails off the most thereafter. Vocalheads may appreciate this nozzle, though it may sound a bit shouty, especially at louder volumes.

The red nozzle has a more sedate upper mids peak, but has greater treble extension than the gold one. Personally, this is my favourite setup, as it banishes most of the shoutiness away, yet maintains great air and sparkle in the treble.

Do explore the various tuning nozzles on offer and see what suits your sonic palette.


SOUND & TECHNICALITIES

The following impressions will be made with the red nozzle installed.

The EA1000 is mid-bass focused, with the bass just north of neutral. The added PR tech does seem to add some heft to this region, with decent sub-bass extension. However, it isn't a basshead IEM by any means. What the EA1000 cedes in bass quantity, it aces in quality. The bass is well-textured, with solid speed and nimbleness. There is no mid-bass bleed.

The lower midrange is a tinge depressed, but not by too much. Without any big bass encroachment, it is relatively transparent. With the red nozzles on, the upper mids sport a 9ish dB ear gain, which allows vocals to be showcased, without veering too much to shouty territory.

The Fermat's lower treble continues on from the upper mids boost, and thereafter gives great extension into the upper registers, with much air and sparkle heard. There's admittedly slight sibilance, and perhaps our treble-sensitive brethren might want to keep to the gold nozzle in place if treble zing is an issue. Trebleheads will have a field day with the EA1000's extended treble, which adds a lot of resolution to the table.

As discussed, other nozzles may be more zealous in the upper mids and treble, and I feel the red nozzles are the best midpoint of furnishing clarity, without erring to the side of fatigue. However, treble and upper mids perception varies on a few factors, such as hearing health, ear anatomy (pinna gain), eartip choices, volume played at (Fletcher Munson curve) and even sources, so YMMV.



In keeping with its single DD roots, timbral accuracy is spot on, and there should be no complaints in this area.

Amongst the $200ish DD containing sets, the Fermat is arguably class-leading in technicalities and resolution. There's superb transients and clarity, with globs of micro-detail on tap. Imaging is very well done, and soundstage is spacious in all 3 dimensions. This aids in layering and instrument separation, and the EA1000 handles complex tracks and competing riffs with aplomb.

Despite the stellar technical chops, the EA1000 does not commit the cardinal sin of sounding sterile or analytical, which is a really tough line to balance! It is very coherent sounding, and nicely melds the 3Ts of timbre, tonality and technicalities into the soundscape.


COMPARISONS

Comparisons were made with other DD containing gear residing around the $200 USD range.


DUNU Falcon Ultra


Graph of the DUNU Falcon Ultra via IEC711 coupler. 8 kHz is a coupler peak.

The Falcon Ultra has 2 tuning nozzles to provide a pleasant warm Harmanish tone versus a more laid-back bassier fare.

On all tuning nozzles, the EA1000 beats the Falcon Ultra in technical chops - imaging, micro-detailing, soundstage and instrument separation are ahead on the Fermat. The EA1000 also has a tighter and faster bass, with greater treble extension and sparkle.

The Falcon Ultra however, has a thicker note weight with a more relaxing treble/upper midrange. The Falcon Ultra is thus more suited for the treble-sensitive listener or for bass-lovers. Both sets are solid in timbre and are easily driven.

The Falcon Ultra comes with a nicer accessory package, with a modular cable to boot. However, it also has a mirror-like finish that may be prone to smudges and scratches.



Tanchim Oxygen

The venerable Oxygen is the $200 band single DD gatekeeper. It follows the Harman curve, though the Oxygen has more sub-bass. The Oxygen is more sedate in the upper mids/lower treble as compared to the Fermat.

Technicalities go to the EA1000, with the Oxygen lagging slightly behind in soundstage, instrument separation and micro-detailing.

The Oxygen is harder to drive, and it does not have tuning nozzles. The Oxygen is also fussy with fit, due to short stubby nozzles, and some users might need mods of aftermarket longer tips to salvage the fit.


Final Audio E5000

The E5000 is a bullet-shaped single DD which is L-shaped in tonality It has a way more massive bass, and a darker treble. The E5000 has a thicker syrupy note weight, with poorer air and treble extension.

The E5000 is a league behind in technicalities, with a more claustrophobic soundstage, and poorer micro-details and imaging.

The E5000 is one of the most difficult IEMs to drive due to a low sensitivity, and most portable sources cannot do the sonics justice - it is not a matter of volume, but if under driven, the E5000 sounds very bloated and untextured in the bass. The Fermat is a breeze to drive in comparison, with no robust amplification requirements.


CONCLUSIONS



The Fermat may very well turn out to be one of the new $200 range benchmarks for a DD set. Granted, it isn't a pure single DD (due to the addition of a PR which adds to bass texturing and tone), but the EA1000 definitely keeps the strong suits of a single DD such as coherency, timbre, and a natural bass.

Where the Fermat is different - and in a positive way - from the usual single DDs, is in its class-leading technicalities. It handily outperforms the usual gatekeepers like the venerable Tanchjim Oxygen in this department. The spacious soundstage coupled with excellent resolution will bring a smile to detail-heads, with a fast and clean bass, and an airy treble. Many technical sets swerve to the extreme of being sterile or overly analytical, but the EA1000 does not suffer from this, thus preserving musicality in the sonics.

The Fermat has beautiful mirror-like shells, though do watch out for scratches or fingerprints. It is easily driven, and the addition of 3 tuning nozzles for consumers to vary the upper frequencies is invaluable. Speaking about treble, the EA1000 is perhaps not for the treble-sensitive on some nozzles, though tip-rolling or source rolling or playing with the various nozzles might help mitigate this. Foam tips would have been a great addition to tame the treble, but we sadly only have one eartip choice in the packaging.

By and large, the Fermat amalgamates the 3 Ts of tonality, timbre and technicalities into an aesthetically pleasing shell, and is a really solid contender, unless if you are basshead or highly treble-sensitive.

DISCLAIMER

This unit was purchased at a discounted price from Aliexpress.
It can be gotten here: https://www.aliexpress.us/item/3256805893537021.html (no affiliate links).
It retails at $129.99 USD




SPECIFICATIONS

DAC: Cirrus Logic CS43198 chip
Weight: 407g
Dimensions: 147 x 133 x 32.3mm
Gain settings: low, medium, high
Max sampling rate:
384kHz-32bit/DSD256 Native 16/24/32bit (USB DAC)
192kHz-24bit (Coaxial)
96kHz-24bit (Optical)
Adaptive impedance: PO: 8 - 150Ω; Balanced: 8 - 350Ω
Input: USB Type-C, optical, coaxial
Output: Single-ended 6.35mm (or 3.5mm with adapter), balanced 4.4mm, RCA, coaxial out
Power supply: DC 12V/2A
Output power (single-ended): L+R≥720mW +720mW (16Ω, THD+N＜1%); L+R≥520mW +520mW (32Ω, THD+N＜1%); L+R≥60mW+60mW (300Ω, THD+N＜1%). Balanced: L+R≥570mW+570mW (16Ω, THD+N＜1%); L+R≥1400mW+1400mW (32Ω, THD+N＜1%); L+R≥250mW+250mW (300Ω, THD+N＜1%)
Output impedance (single-ended):＜1.2Ω; Balanced:＜2.4Ω
Crosstalk (single-ended): ≥71dB; Balanced: ≥106dB
Peak output voltage (single-ended): 12Vp-p; Balanced: 24.5Vp-p
SNR (single-ended): ≥123dB (A-weighted); Balanced: ≥123dB (A-weighted)
THD+N & Noise (single-ended):＜0.00059% (1kHz/-8.1dB@32Ω); Balanced:＜0.0010% (1kHz/-14.5dB@32Ω)



For the measurement-inclined, you can go to this link (https://www.fiio.com/k11_parameters) to check out finer details on the specs, measurements and data of the K11 during field tests.


ACCESSORIES



Other than the K11, these are included:
- 6..35mm to 3.5mm adapter
- 1 x USB-A to USB-C cable
- Power plug (DC 12V 2A)



Perhaps only Apple users amongst us might need to source for an adapter, but otherwise, out-of-the box, the provided accessories should be more than serviceable for Android or Windows users.


DESIGN/FUNCTION

During ordering, one can opt for a silver or black K11. This DAC/Amp comes in a squarish design, and is made of aluminum alloy Build is very solid.



Weighing in at slightly above 400g, and measuring 147 x 133 x 32mm, the K11 is very sleek and light. I like that it can be put flat, stacked on other sources, or can also be stood upright, if there is not enough space at the desk. Thus, this device is pretty space-conserving.

The front of the device contains a 6.35mm (single-ended) and 4.4mm (balanced) port. One can utilize the 3.5mm to 6.35mm jack if you need to pair a 3.5mm terminated transducer with the K11. The front also has a gorgeous LCD screen and volume knob.



The volume knob performs many roles. Other than fine-tuning the volume, it also functions as a:
- power button for turning on/off the K11
- accessing the settings menu
- line-out/PO toggling function

There is a haptic click felt with each turn of the knob, and I liked that this device has very fine levels of volume control with this knob.

On the LCD screen, one can glean information such as sampling rate, volume, gain and output/input mode.


All the edges of the K11 are rounded with no sharp protrusions.



The K11's base sports anti-slip rubberized feet.



On the back of the DAC/Amp, we have the power supply, USB-C, optical, co-axial and RCA ports. The K11 has multiple inputs and outputs, to pair with most appliances upstream and downstream.



The K11's top has an RGB lighting.



In the settings menu, one can play with options such as gain settings, DAC filters (there are 6 available) and lighting. Specific to the last department, one can modify the colour, brightness and flashing status of the RGB lights:


Please play with the various DAC filters to see what suits your needs.

Of note, the K11 utilizes 16 low-noise LDOs, fed by a 12V external power supply, which Fiio says contributes to better audio quality.

Indeed, I did not get any hiss on the K11 on both the balanced and single-ended ports, even on the usual high sensitivity suspects. Some DAC/Amps suffer from a huge "pop" during insertion or removal of gear, and I'm glad to report that the K11 does not have this issue.




SOUND

I'm not an Apple user, but with various Windows laptops/PCs, smartphones and DAPs, the K11 was recognized and paired with ease. For Windows 10 and 11 users, this device is plug-and-play without the need to install drivers.

Sadly, the K11 does not have any pre-amp or Bluetooth functionality.

This baby can provide these power specs via 3 gain settings:
Single-ended can hit up to 520mW @ 32ohm or 60mW @ 300ohm.
Balanced can go up to 1400mW @ 32ohm, or 250mW @ 300ohm.

Indeed, the balanced 1400mW juice on tap should be able to power most gear out there.



My usual acid tests for source testing include these gear:
1) Final Audio E5000 (low sensitivity at 93dB/mW)
2) Sennheiser HD650 (high impedance at 300ohm)
3) Yinman 600 ohm (600 ohm impedance and 87db/mW sensitivity)

When underpowered, it is not a volume issue, but the above transducers sound undynamic, untextured and one-noted in the bass. Happily, the K11 handled all these with aplomb with additional headroom to spare. No worries about driving tough customers here!

Big power sometimes comes with comprises, but I'm glad to report that there is no hiss heard here with fussy IEMs.

The K11 furnishes an uncoloured neutral tuning. It is very "clean" sounding, and lets the connected transducer do the talking. However, folks who want a more lush tone to notes, or a warmish analogue signature might need to look elsewhere. Timbral accuracy is quite natural.

Bass is neutral but extends deep. The midrange is very transparent on a dark background. Treble is relatively smooth and isn't as glaring or fatiguing as some other amps that overly boost this region for "fake clarity".

For the price, it has solid technicalities. Soundstage is above average in all 3 dimensions, with good micro-detailing. Imaging and instrument separation are quite well done, and on poorly recorded tracks, one can hear the warts and all.

One negative point would be the output impedance of 2.4ohm (@ 32ohm) for the balanced port. It is a bit on the high side, and based on the rules of eights, this might not be the best option for low impedance fussy IEMs that have a variable impedance curve, as the frequency response might be skewed. Having said that, one can avoid this by just keeping low impedance gear to the single-ended port, which has acceptable values of 1.2ohm (@ 32ohm).

This DAC/Amp does not get warm even on higher gain/outputs, with demanding gear, which is something much appreciated.


COMPARISONS




Schiit Asgard 3

Tonally, the Asgard 3 is warmer, bassier and more analoguish sounding, with a thicker note weight. The Asgard 3 is less resolving with poorer micro-detailing and soundstage, though it has better instrument separation and layering.

Even though the Asgard 3 only has a single-ended output, it has more power on tap, providing a whopping 600mW at 300ohms. The Asgard 3 also has a lower output impedance of 0.2ohms in both low and high gain, perhaps making it more compatible with fussy low impedance gear.

The Asgard 3 however, gets very hot during usage, and is much larger and heavier in profile. Of note, it is also more than double the price of the K11.


Topping L30

The L30 is a very sterile and analytical sounding piece of kit, and eschews musicality for the critical scalpel of dissecting music. The L30 has a thinner note weight and is sharper and more fatiguing in the upper mids/treble. One can argue that the L30 uses some overly boosted upper frequencies to generate "fake details".

Timbre wise, the L30 is a bit more metallic. The L30 is only single-ended but also has 3 gain settings, and has a similar power output as the K11 with 280mW into 300Ω.

The L30 gets much warmer during usage, and the earlier batches were actually recalled due to electrostatic discharge and grounding issues that destroyed a few headphones (https://imgur.com/v5Ja7f3)!


CONCLUSIONS

After upgrading the transducer, the next step in the audio chain is arguably to get a quality source. This is an important - yet underrated - aspect, allowing consumers to scale a connected transducer to let it shine.

Priced at a relatively affordable $129.99 USD, the K11 is attractively priced, and would be a sound investment (no pun intended) for the budget-conscious audiophile who is looking for a source to future proof the hobby. In fact, it can give some pricier amps a run for their money!

The K11 is a very uncoloured instrument, bestowing a neutralish sound with good technical chops. It has big power on tap with 3 gain settings. This DAC/Amp is solidly built, with a Lilliputian profile that doesn't consume precious desktop space. It has various input and output options, with 6 DAC filters, and is hiss-free, and very importantly, doesn't get hot during usage.



Not everything is perfect though. The K11's highish output impedance on the balanced port makes it a sub-optimal pairing for low impedance gear, and there is no pre-amp function. Additionally, there may be rival amps with more raw power, but the K11 should nevertheless have no issue powering most gear out there.

The K11 aces most departments for a lowish $100 price, and should definitely be considered in the conversation if you are looking for a reasonably priced DAC/Amp.

DISCLAIMER

I purchased the BQEYZ Wind at a discounted price from Aliexpress.

It can be gotten here: https://www.aliexpress.com/item/1005006042191996.html (no affiliate links).




SPECIFICATIONS

Driver configuration: 10 mm LCP-composite dual-cavity dynamic driver + 10 mm bone conduction driver
Impedance: 38 Ω
Frequency response: 5 Hz - 40 kHz
Sensitivity: 113
Cable: 2-pin, 0.78 mm; single crystal copper-plated silver cable; choice of 2.5 mm, 3.5 mm or 4.4 mm terminals
Tested at $239 USD


ACCESSORIES



Other than the IEM, these are included:
- 1 pair of foam tips
- 3 pairs of "balanced" silicone eartips (S/M/L)
- 3 pairs of "reference" silicone eartips (S/M/L)
- 3 pairs of "atmosphere" silicone eartips (S/M/L)
- Cable
- Cleaning brush
- Carrying case

The accessories are really generous for the price, no complaints here perhaps other than the lack of a modular cable.




A variety of eartips are included. The foam tips come in their own little case, and they provide the best isolation and tame treble (though with a slight compression of soundstage).

3 types of silicone tips are present. The "reference" tips have the widest bore and boost the upper frequencies the most, with an increased soundstage. The "atmosphere" tips have the narrowest bore and provide the greatest bass. Lastly, we have the "balanced" tips, which are a midpoint of the above 2 silicone tips.




A 2-pin single crystal copper-plated silver cable is included. It is very well braided and of sufficient heft. There's a chin cinch for added stability, albeit there's some smattering of microphonics. During ordering, consumers can opt for a 2.5 mm, 3.5 mm or 4.4 mm termination, depending on the source that you use.




To complete the packaging, we have a cleaning brush to remove debris, and a semi-rigid leatherette zipper case. The innards of the case are lined with a velvety material and webbing to protect the contents, whereas externally, it is hardy enough to survive a drop or compression.

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


BUILD/COMFORT



The Wind's housings are fashioned from 5-axis CNC-machined aluminum alloy. The earpieces are then sandblasted, undergoing anodized oxidation to give a smooth finish. One can choose between a silver or a blue-hued shell. Build is solid and robust. They come in a teardrop-shaped design with some slits along the shell, to mimic a "wind" motif.

Ergonomics are impeccable - the earpieces are extremely light, with no protrusions on the inner aspect to poke the ears. I did not encounter any discomfort despite using them for marathon listening sessions.



2-pin connectors are always welcome in my book, as I've encountered MMCX failure more often in my IEM journey, especially with frequent cable swaps.




The bone conduction driver is housed on the inner part of the shell (see circles above), and this should ideally contact the concha of the ears to transmit soundwaves and add heft to the lower frequencies. As we will read below, this bone conduction driver is not a gimmick unlike some other purported bone conduction tech in other IEMs where there is no contact with the skull or ears.

The Wind utilizes a semi open-backed design, with multiple vents gracing each earpiece. This is a double-edged sword, as it furnishes a very expansive soundstage, but at the expense of isolation. Thus, the Wind is not the best option for noisy environments - or ironically, in windy places as per its namesake - as the outside noise will get in. One will not be getting good sound as such, and users might even be tempted to jack up the volume to compensate for this, which is detrimental to hearing health in the long-run.

I did not encounter any driver flex on my pair.


DRIVABILITY

I tested the Wind with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is modestly easy to drive from weaker sources, though you might need amplification for the Wind to truly flourish - juice provides better bass tightness, dynamics and soundstage.


SOUND & TECHNICALITIES


Graph of the BQEYZ Wind via IEC711 coupler. 8 kHz is a coupler peak.

Tonally, the Wind can be described as warm neutral. Although the graph above appears to hint at a neutral bright sound, bear in mind that conventional couplers may not adequately pick up the bone conduction vibrations of the lower frequencies.

This IEM is sub-bass focused. Bass is just north of neutral, but not at legit basshead levels. The sub-bass descends well with a visceral rumble, contributed by the bone conduction tech. On some tracks where the bass hits low, it is almost subwoofer like! The bass is on the nimble side, with no mid-bass bleed, but texturing is not class-leading and may smear slightly.

The Wind will be a great option for midrange-lovers. The lower mids are very transparent and clear, with no big bad bass encroachment. Instruments and vocals are superbly layered and easily pinpointed on the canvas of a dark background. Upper mids are forwards without veering to much to shouty territory, allowing vocals to be showcased without being too fatiguing.

The Wind has moderate treble extension, but isn't a trebleheaded set. While it isn't dark, the amount of sparkle or air might be lacking for trebleheads. Sibilance is kept to a minimum, without much splashiness in cymbals or high hats.



Timbral accuracy is excellent. Woodwinds have an airy tail to notes, brasses have metallic overtones, and strings have their typical bowed signatures heard. Indeed, timbre freaks will have a field day, and this is one of the more natural sounding IEMs I've tried.

The Wind handles technicalities like a breeze. The aforementioned semi-open design contributes to an expansive soundstage in all 3 dimensions. The excellent layering and instrument separation also contributes to a spacious soundscape, with zero claustrophobia. Imaging is acceptable for the price, and micro-details are more than decent, considering it isn't a very treble-boosted set.


COMPARISONS

Comparisons were made with gear residing around the $200 USD range.




BQEYZ Winter

The Winter is the predecessor in BQEYZ's stable, and also utilizes a DD + BC setup. However, the Winter's BC driver supposedly handles the upper frequencies, in contrast to the Wind's configuration.

The Winter is lighter in the bass, with greater treble extension. However, the Winter can come across as more fatiguing, with sibilance present. The Winter has a more metallic timbre, but it has slightly better micro-detailing and imaging, though the Wind has a larger soundstage.


Binary X Gizaudio - Chopin

The Chopin is a U-shaped hybrid. The Chopin is sub-bass focused, but has a huge mid-bass scoop out, which results in an anemic lower mids/mid-bass. Music sounds sterile with a thinner note weight as such, resulting in a more "boring" sound compared to the emotional Wind.

The Chopin has BA timbre, and sounds less natural in this department. The Chopin has a more extended treble, though with a bit more sibilance.

In technicalities, the Chopin has a faster and cleaner bass, with better imaging and micro-details. However, it has poorer soundstage compared to the Wind.

Of note, the Chopin has a low impedance of 12 ohms, and it may not synergize well with sources with high output impedance, based on the rules of eights. Anything higher than 1.5 ohms in the source output impedance might skew the frequency response. The Wind is less source agnostic, but requires more power to drive.

The Chopin has a more awkward fit and isn't as ergonomic.


AFUL Performer 5

The Performer 5 is a U-shaped pair. It doesn't fare well in bass texturing too, but has even worse mid-bass bleed with a slower bass. The midrange isn't as transparent, with an artificial BA timbre noted on the Performer 5.

Technicalities are a step behind on the Performer 5. It has inferior soundstage, imaging and instrument separation.


CONCLUSIONS

In the Wind, BQEYZ has created a literal breath of fresh air in the highly-competitive CHIFI scene. The Wind does not need to resort to the hackneyed overused party tricks like Harman curves or waifus to get its sound across. Listeners will be greeted by a very organic sounding set, with superb tonal balance.

The warm neutral signature, with a sub-woofer like bass (courtesy of the bone conduction tech), is pretty unique, coupled with a transparent midrange to die for.

Granted, it isn't the most sparkly or treble-boosted in tuning, and perhaps extreme trebleheads might need to look elsewhere. However, most others (including treble sensitive folk) will appreciate the treble dosing, balancing a fine line of resolution without fatigue.

Additionally, accessories, build and ergonomics are exemplary, and technical chops are also solid. The open-back design confers a great soundstage, and layering is a highlight on a dark background. This open-back concept does sadly contribute to penalties in isolation, and arguably the Wind is not the best IEM to bring to a noisy environment.

Other nitpicks are a bass lacking in texture, and the somewhat power-hungry requirements. While it can be powered off weak sources, one is probably not getting the optimal sonics that way, and amplification is highly recommended.

To conclude, the Wind is one of the better purchases I've made this year, I really appreciate the special melding of an organic timbre, a neutralish signature with the positive quirks of a bone conduction driver, and the dependable technicalities. It is a wind of change for the better, and is something noteworthy amongst the banal weekly Harmanish releases that don't give any value-add.

DISCLAIMER

I would like to thank HIFIGO for furnishing this unit.
The Chopin can be obtained here: https://hifigo.com/products/gizaudio-binary-chopin or https://www.amazon.com/dp/B0CL6LNF82/binary+gizaudio+chopin/ (no affiliate links).




SPECIFICATIONS

• Driver configuration: 8 mm ceramic diaphragm dynamic driver + 3 x customized balanced armature drivers
• Impedance: 12 Ω
• Frequency response: 5 Hz - 20 kHz
• Sensitivity: 122 dB/Vrms
• Cable: 2-pin, 0.78 mm; OFC sIlver-plated Litz cable; 3.5 mm or 4.4 mm termination available
• Tested at $199.99 USD

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of silicone eartips
- Cable
- Cleaning brush
- Hard case
- 2 x soft carrying pouches

The Chopin comes in a unique grey rectangular package, that opens from the bottom.




Sadly, for something retailing close to $200 USD, the inclusion of only one type of eartips is disappointing. Most gear at this price-point include a variety of silicone tips, with some even putting in foam tips. There's a good reason for this, as eartips can make or break an IEM in terms of comfort and sonics. Hence, if this sole set of eartips does not synergize well with the customer's ears, the consumer might find the sound or fit sub-optimal, and may even return the IEM.



Nevertheless, the eartips are quite serviceable from a sonic and comfort point of view.

Some $200ish fare also include modular cables, so the choice of only a 3.5 mm or 4.4 mm terminated cable in the Chopin's accessory line-up is another nitpick. Nevertheless, the stock cable is a 2-pin OFC sIlver-plated Litz cable. It lies on the thinner side, but is quite microphonic-free and supple.




Thankfully, Binary Acoustics redeems itself somewhat, with the inclusion of some other goodies. The cleaning brush is useful for removing ear wax and debris, whereas the hard case is very functional - it is hard to withstand compression, with a spacious foam-lined interior. 2 additional velvety carrying pouches operate via a drawstring mechanism, though they are tiny and may not be able to contain much volume or sustain a drop



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


BUILD/COMFORT

Fashioned via 3D-printed dermatological-friendly resin, with a stainless steel faceplate, the Chopin incorporates an uncommon teardrop-shaped design.




Though the innards are smooth with no protrusions to poke the ear, the nozzles are on the longer side, and coupled with the teardrop shaped design, some with smaller ears might have fitting issues.

Despite being heavily vented, isolation is surprisingly above average. I did not find any driver flex on my pair.


INTERNALS

The Chopin is a 4 driver hybrid set-up:

• An 8 mm ceramic diaphragm DD handles the bass.
• 1 x customized BA driver settles the midrange.
• 2 x customized BA drivers takes care of the treble frequencies.

These are arrayed through an independent three-frequency RC filter band.




DRIVABILITY

I tested the Chopin with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is easy to drive, though amplification might assist in scalability.

One thing to note: the Chopin's lowish impedance of 12 ohms may not synergize well with sources with high output impedance, based on the audiophile rules of eights. Anything higher than 1.5 ohms in the source output impedance might skew the frequency response.


SOUND & TECHNICALITIES


Graph of the Chopin via IEC711 coupler.

Tonally, the Chopin sports a U-shaped signature.

This IEM is predominantly sub-bass focused, with a visceral rumble heard on bass heavy tracks. However, there is a mid-bass scoop-out - ala the Moondrop Variations - and this is a love-it or hate-it kind of thing. No doubt this bestows excellent bass quality - with fast and clean basslines heard, coupled with nice texturing and no bleed. However, the Chopin arguably does not fare well with genres such as EDM or hip-hop that call for a huge mid-bass thump. Thus, this area might be a bone of contention, depending on your bass preferences and the musical genres that you listen to.

As a consequence of the circumvented mid-bass and lack of bleed, the lower midrange is extremely clean and transparent, with no intrusion at all into this area. Instruments and vocals are easily pinpointed on a dark background. However, the lower mids are a bit thin and sterile sounding, due to the dearth of mid-bass. Upper mids are forwards with minimal shoutiness, with just a 7dB ear gain.

The treble is safe, with minimal sibilance. Treble-sensitive peeps will be quite at home with the tuning. Even though the Chopin does not have the most extended treble, there is still decent capturing of micro-details - this is a far cry from steroid boosted treble-focused CHIFI that give "fake clarity" - albeit trebleheads might complain about the lack of air.

There's a slight smattering of BA timbre heard in the upper frequencies, though this isn't unexpected in a BA containing hybrid. Having said that, it isn't the worst offender in this department, as we will see below in the "COMPARISONS" section.

Technicalities are great for something retailing at sub $200 USD - imaging is quite accurate with instrument separation and layering a highlight. Coupler with an above average soundstage, music never sounded congested, and resolution is admissible considering it isn't very treble boosted.


COMPARISONS

Comparisons were made with other hybrids around $200 USD. Planars, tribrids, single DDs and pure BA types were left out of the equation as the different transducers have their pros and cons.




Queen Of Audio Aviation

The Aviation is darker in tuning, with less treble and more bass quantity. However, the Aviation's bass isn't as tight, with notable mid-bass bleed.

The Aviation has a thicker note weight and a more natural timbre. However, the Aviation is a league behind in technicalities, with worse soundstage, instrument separation and micro-detailing.


Penon Fan 2

The Fan 2 is tuned warm neutral. It has a more linear bass, with thicker and lusher mids than the Chopin.

The Fan 2 has a bigger soundstage, though it has inferior micro-detailing and imaging.

Many consumers complain about fitting issues with the Fan 2's elongated nozzles, and that isn't the case with the more ergonomic Chopin.


AFUL Performer 5

The Performer 5 is also U-shaped. However, it has a very artificial BA timbre, which may be a deal-breaker for some.

Technically, the Performer 5 is also behind, with a more claustrophobic soundstage and worse instrument separation. Additionally, the Performer 5 has a less tight bass, which sounds one-noted (lacks texture).


CONCLUSIONS

In the shark-infested waters of the ultra-competitive midFI hybrid market, the Chopin does most departments to a satisfactory level, and thankfully manages to float rather than sink.

It is easily driven, with above average isolation, which is not common in a highly vented pair. Sound-wise, the Chopin brings good technical chops to the table, with layering and instrument separation a highlight, plus more than decent resolution. The bass is tight and clean, with a transparent midrange and sibilant-free treble.

Where some consumers might find polarizing, would be the marmitey mid-bass scoop out. This definitely aids in zero mid-bass bleed, with nimble and rapid basslines heard, though folks wanting a more hefty mid-bass might find this region to be anaemic. Nevertheless, this is quite genre dependent, and is subjective - there are folks that prefer sub-bass > mid-bass and vice versa, so YMMV.

One thing to note: the Chopin may be a bit fastidious with source pairing, what with the low impedance of 12 ohms - when driven off sources with high output impedance, the frequency response might be skewed. The lack of eartip options is also disappointing, though the packaging includes a variety of cases and carrying pouches to make up for this. Fit may be another bone of contention due to the unique teardrop shaped housings.

In the big scheme of things, the Chopin is a decent hybrid to consider at sub $200, the caveat being if one is not allergic to a sparse mid-bass. The Chopin fares better technically than some recent releases like the QOA Aviation, and handily beats other benchmark hybrids like the AFUL Performer 5. Think of it as a baby Variations!

DISCLAIMER

I would like to thank Kefine for furnishing this unit.
The Klanar can be obtained on Aliexpress (https://www.aliexpress.us/w/wholesale-kefine-klanar.html) or Amazon (https://www.amazon.com/dp/B0CKZ71VP3/kefine+klanar/) or Linsoul (https://www.linsoul.com/products/kefine-klanar)
[no affiliate links]




SPECIFICATIONS

• Driver configuration: 14.5 mm planar driver with PET diaphragm
• Impedance: 16 Ω
• Frequency response: 20 Hz - 40 kHz
• Sensitivity: 105 dB
• Cable: 2-pin, 0.78 mm; OFC Litz silver-plated copper; option for 3.5 mm or 4.4 mm termination
• Tested at $119 USD

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of wide-bore silicone tips
- 4 pairs of narrow-bore silicone tips
- Cable
- Carrying case

For gear residing just north of $100 USD, the accessories are more than decent, perhaps other than the lack of foam tips. A modular cable would have been the icing on the cake, but I guess adding more wishes in the accessories might jack the price up substantially.




2 variants of silicone tips are included. The wide-bore ones increase treble and soundstage, whereas the narrow-bore ones boost bass at the expense of a slight compression in soundstage.




The stock cable is an OFC Litz silver-plated copper one. It is quite tangle-free, with a chin cinch and minimal microphonics. During ordering, one can opt for a 4.4 mm or 3.5 mm termination, depending on your preferred source outputs.




Last but note least, Kefine has included a generic semi-rigid carrying case, with soft innards and inner webbing.

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


BUILD/COMFORT

The aluminum alloy housings feature a matte black anodized finish, via 5-axis CNC machining. The faceplate is also jet black, with Kefine's logo placed in the centre.


In these photos, I have left the protective stickers on the shells, as the faceplates may be scratched if one is not careful. It is a nice touch that the company has paid attention to such small details.


Weighing 12.6 g apiece, the earpieces are very light. Ergonomics are top-notch, with a smooth inner aspect with no weird protrusions to poke the ears. This IEM can be worn for long periods without much discomfort.




With 2 vents on each earpiece, isolation is below average. The Klanar can be used outdoors, but perhaps not in very noisy environments, to protect hearing health. I did not find any driver flex on my pair.




2-pin connectors are always welcome in my book, compared to budget MMCX, which may fail with repeated cable swaps.




INTERNALS

The Klanar utilizes a 14.5 mm planar driver with a PET composite diaphragm and an N55 magnet.


DRIVABILITY

I tested the Klanar with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

The Klanar is easily driven from weaker sources, though amplification might assist in scalability.


SOUND & TECHNICALITIES


Graph of the Kefine Klanar via IEC711 coupler. 8 kHz area is a coupler artefact peak.


Tonally, the Klanar sports an unashamed V-shaped profile. With a big bass, it lies on the slightly warmer side, and the tuning is "musical" and "fun", which should suit consumer preferences in general.

Bass is focused predominantly in the sub-bass, with decent extension and rumble. As described, this IEM is bassy, though not at outright basshead quantities. Quality wise, texturing is slightly lacking, though bass is nimble with just a sprinkling of mid-bass bleed.

As per the V-shaped signature, the Klanar is recessed in the lower midrange. This region may be thin-sounding - vocal and midrange lovers might need to look elsewhere as such. With a 9 dB ear gain that is balanced out by the big bass, the upper mids are forwards without veering much to shouty territory.

Treble has moderate extension, though this isn't a very sparkly or airy IEM. There's just slight sibilance, and the Klanar probably lies on the safer side of the equation for the treble frequencies.

Timbre is quite well-done for a planar IEM. I daresay it fares better in this department than some planar benchmarks like the Shuoer S12 or 7Hz Timeless.

Like most planar containing transducers, the Klanar has commendable technical chops. For a budget planar IEM, transients, imaging and instrument separation are quite solid. Soundstage is above average in width, though depth and height are average.


COMPARISONS

Comparisons were made with other sub $150 planar IEMs. Hybrids, tribrids, single DDs and pure BA types were left out of the equation as the different transducers have their pros and cons.




Tangzu Zetian Wu (Original)

The Zetian Wu is darker in the upper frequencies and more boomy in the bass, with more marked mid-bass bleed. The Zetian Wu is weaker in technicalities, with less micro-detailing and instrument separation, and a more compressed soundstage.

However, the Zetian Wu has a thicker note weight and is slightly better in timbre.

The original Zetian Wu is no longer in production, but it was retailing at around $150 USD at launch, so in terms of price-to-performance ratio, the Klanar shades it. There are some QC reports on forums of the Zetian Wu's nozzle chipping, which is a bit worrying. Another thing to note is the Zetian Wu requiring more power to drive.


Shuoer S12 Pro

The S12 Pro has a brighter V-shaped tuning. It is more fatiguing in the treble, with more sibilance, compared to the warmer and more sedate Klanar.

The S12 Pro has a more artificial timbre, albeit it boasts of better micro-detailing and imaging. Soundstage is superior on the Klanar though.

The S12 Pro is slightly harder to drive.


CONCLUSIONS



Considering this is Kefine's first IEM release - and retailing at low $100ish - the Klanar is quite a competitive planar pair.

Ergonomics and accessories are up-to-the-mark, and it is easily driven. The consumer friendly V-shaped profile brings lots of "musicality" and "fun" to the table. Timbre is also commendable for a planar containing set, and technicalities are nothing to sniff at for the coin.

As per most V-shaped fare, this might alienate midrange and vocal lovers, who might find this region thin. The Klanar's bass could also do with better texturing, but that is not a deal-breaking flaw in the big scheme of things.

For folks looking to enter the planar foray, the Klanar does most areas to a satisfactory degree, and is an option to consider, perhaps other than if you are allergic to a V-shaped recessed midrange.

DISCLAIMER

I would like to thank HIFIGO for furnishing this unit. The Aviation can be gotten here (no affiliate links): https://hifigo.com/products/qoa-aviaiton





SPECIFICATIONS

• Driver configuration: 8 mm custom dynamic driver + 3 x Knowles balanced armature drivers (dual 32873 and single 33518)
• Impedance: 39 Ω
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 118 dB
• Cable: 2-pin, 0.78 mm; 5N Litz OCC copper cable; modular cable with 3.5 mm and 4.4 mm termination modules
• Tested at $199 USD

ACCESSORIES



Other than the IEM, these are included:
- 3 pairs of "balanced" silicone tips (S/M/L)
- 3 pairs of "vocal" silicone tips (S/M/L)
- Cable
- 3.5 mm and 4.4 mm modules for cable
- Carrying case

Other than the omission of foam tips, the accessories are pretty generous. There's even a modular cable included, which we will talk about below.




The eartips come inlaid in their own case, which is quite cool! 2 variants are included - the "vocal" wide-bore ones, which provide better soundstage and treble air, and the "balanced" narrower-bore ones, which are bassier with less air.




Queen of Audio has provided a 5N Litz OCC copper cable, with 3.5 mm and 4.4 mm modular terminals. This definitely increases source pairing options, depending on whether your source harnesses single-ended or balanced outputs. The cable is sheathed with PVC, and is extremely well braided with a chin cinch. There's some smattering of microphonics.




Last but not least, we have a semi-rigid elegant leatherette carrying case, which operates with a button fastener. This case is quite substantial in volume, allowing the Aviation plus multiple accessories to be stored, with room to spare. The innards contain webbing and a soft material to cushion the contents.

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


BUILD/COMFORT

The Aviation's shells are fashioned from 3D-printed resin, and are a real looker. Each earpiece is individually hand-painted, and one can opt for a "galaxy" version (black/grey hued) or a "mirage" one, which has an amalgamation of yellow/gold/black/blue colours.

Comfort is top-notch - the shells are light and ergonomically designed - and I faced no issues using them for marathon listening sessions. There's a concha protrusion for added grip.

Interestingly, during packaging, Queen of Audio has wrapped the entire shell in protective stickers, and I left one side of the stickers on (bottom left photo) to show the thoughtfulness of the manufacturer in preventing scratches on these puppies.



Being a vented IEM, isolation is just slightly above average. Nevertheless, the Aviation should be usable out-doors, but probably not in an airfield as per its namesake!

I did not find any driver flex on my pair.


INTERNALS

The Aviation is a 1 DD + 3 Knowles BA hybrid - an 8 mm full-ranged custom dynamic driver handles the low-end and overlaps with the other frequencies. Dual Knowles 32873 BAs take care of the midrange, and one Knowles 33518 BA settles the treble. These are divided into crossovers, with a triband tube acoustic structure.


DRIVABILITY

I tested the Aviation with the following sources:
- Apple dongle
- Cayin RU7
- Colorfly CDA M1 DAC/AMP dongle
- Creative Sound Blaster X5
- E1DA DAC/AMP dongle
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

The Aviation is easily driven and amplification is not truly essential.


SOUND & TECHNICALITIES


Graph of the Queen of Audio Aviation via IEC711 coupler. 8 kHz area is a coupler artefact peak.

Tonally, the Aviation can be described as having a gentle U-shaped tuning.

This IEM is sub-bass focused, with just a tickle of rumble heard on bass heavy tracks. It is not for bassheads as such. The bass is quite textured, but is on the slower side. Unfortunately, basslines can smear with complex or rapid bass tracks, with some mid-bass bleed noted.

The lower midrange is warmed by the thick bass. It is a double-edged sword, as the lush midrange is syrupy with lots of heft to note weight, though this region loses some transparency as such, with a veiled tone heard. I would describe the midrange as "euphonic". With a 6 - 7 dB ear gain, vocals are far from shouty or fatiguing, and this is quite a fresh air from the usual over-zealous pinna gain steroid-infused CHIFI (should we call those pinna pain instead?)

The lower treble is has a slight boost, and is generally smooth. However, there's a peak around the 7 kHz region which adds to some cymbal and high-hats emphasis, though there is a tinge of sibilance heard. The upper treble then veers to darkness with not much air heard.

Timbre is excellent for a hybrid, and acoustic instruments sound life-like. No complaints on this front.

In technical chops, the Aviation is sadly below average at this price point. While soundstage is above average in all 3 dimensions, the fuzzy imaging bestows a nebulous soundscape where instruments cannot be pinpointed easily.
The aforementioned darkish upper treble does lead to some veiling of micro-detailing, and instrument separation can be compressed.

In essence, the Aviation goes for a "musical" signature, rather than something analytical for critical listening.


COMPARISONS

Comparisons were made with other $200ish USD hybrids. Planars, tribrids, single DDs and pure BA types were left out of the equation as the different transducers have their pros and cons.




Penon Fan 2


Graph of the Aviation versus Penon Fan 2 via IEC711 coupler. 8 kHz area is a coupler artefact peak.

The Fan 2 is a warm neutral hybrid. The Fan 2 has a neutralish bass, though it is more textured and cleaner. The Fan 2 also has more treble air and extension.

Both IEMs have good timbre for hybrids, though the Aviation shades it in this area. The Aviation also has a thicker note weight and sounds more "full".

Technically, the Fan 2 is a league ahead, boasting superior imaging, micro-detailing and instrument separation. Soundstage is a bit better on the Aviation, though as mentioned, the poor imaging contributes to difficulty in locating instruments in the headspace.

Many consumers face fitting issues with the Fan 2's super long nozzles, so ergonomics are definitely better on the Aviation. Additionally, the Fan 2's stock cable is non-modular and way worse than the Aviation's haptically pleasing one.


Aful Performer 5

Graph of the Aviation versus Performer 5 via IEC711 coupler. 8 kHz area is a coupler artefact peak.

Both sets are U-shaped, albeit the Performer 5 has more treble, though it is thinner in note weight. Both IEMs are not paragons of clean basslines, with the Performer 5 having a one-noted untextured bass that smears.

The Performer 5 has a bad metallic timbre, sounding very artificial in this department.

Technically, the Performer 5 has a smaller soundstage, though it has better imaging, instrument separation and micro-detailing.


CONCLUSIONS



The Aviation blends a balanced U-shaped soundscape with thick note weight and a syrupy midrange, offering dulcet tones with non-fatiguing vocals. Timbral accuracy is also excellent, which cannot be said for some similarly priced competitor hybrids with pungent BA timbre.

In addition, the Aviation's aesthetics, build and comfort are second to none, with easy drivability to top it off.

Alas, the Aviation doesn't take flight when it comes to technicalities. It is quite meh in this area, and this is an IEM more for "musicality" rather than critical listening. There is an argument to be made that not everything needs to score high marks in the 3 Ts of timbre, tonality and technicalities - and there is definitely a niche for relaxing and laid-back IEMs - but I would counter-argue that gear at this price-point ($199 USD) should at least score above average in all departments.

The flabby bass also does not help when it comes to complex or rapid bass tracks, and some genres like metal will not fare well with the Aviation. It thus loses some marks cause of the middling technical chops.

Having said that, the Aviation is a sight (and sound) for sore ears, especially for folks who are wary of an overly boosted pinna gain or shouty vocals. The pleasant tonality and dense soundscape it provides is definitely unique compared to the run-of-the-mill Harmanish fare we see (or rather hear) every week.

The Aviation can soar into the sky in acing timbre and tonality, and is an IEM to pick out for a smooth and chill session. However, look elsewhere if technical chops are the first priority, or if one desires a fast and clean bass.

DISCLAIMER

I would like to thank Sam Audio for furnishing this unit.

The Tanchjim One can be gotten here (no affliate links): https://samaudiosg.com/products/🎶sg-tanchjim-one-10mm-dynamic-driver-in-ear-headphone-iem
https://www.carousell.sg/p/🎶sg-tanchjim-one-10mm-dynamic-driver-in-ear-headphone-iem-1246841343/




SPECIFICATIONS

• Driver configuration: 10 mm PEEK (polyetheretherketone) & PU (polyurethane) suspension titanium dome dynamic driver
• Impedance: 16 Ω
• Frequency response: 7 Hz - 45kHz
• Sensitivity: 126 dB/Vrms
• Cable: 0.78 mm 2-pin; 3.5 mm termination; Litz OFC silver-plated + Litz OFC composite coaxial structure
• Tested at: standard non-mic version $24.99 USD; mic version $25.99; DSP version $27.99

Do note that there are 3 versions of the Tanchjim One available. There is a DSP version, a standard version with mic, and a standard one without mic. The version we are reviewing today will be the standard non-mic version with no DSP.


ACCESSORIES



Other than the IEM, these are included:
- 4 pairs of wide-bore silicone tips
- 3 pairs of narrow-bore silicone tips
- Carrying pouch

For something retailing at $20ish bucks, the accessories are more than decent, no complaints here.



No foam tips are included, but Tanchjim has provided 2 types of silicone tips. The wide-bore ones boost air, treble and soundstage, whereas the narrow-bore ones increase bass at the expense of soundstage.




In this day and age, there are definitely pricier IEMs that do not even come with detachable cables. The standard 3.5 mm non-mic cable here is a Litz OFC silver-plated + Litz OFC composite coaxial cable. It lies on the thinner side and is somewhat tangly, though there are just slight microphonics. There's a chin cinch for added grip, and the left distal terminal has a dot to demarcate it as such.

Folks ordering the DSP version of the Tanchjim One will get an extra DSP USB-C cable, which does change the sound slightly (kindly read the impressions of our other esteemed reviewers for info on the DSP variant).




Lastly, we have a velvet drawstring pouch. This pouch is extremely soft, and will prevent scracthes on the IEM, though it might not withstand a crushing force.

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


BUILD/COMFORT



The One is a bullet-shaped IEM with a wine-bottle shaped fuselage. It is fashioned from medical-grade polycarbonate, with an aluminum alloy cavity internally. The rear of the One is opaque, while the top is transparent, allowing users to view the internals in all their glory.

This IEM can be worn cable-down or over-ears - the latter form of wearing would necessitate swapping earpiece sides but keeping the cable orientation intact. Thus, this increases fitting options tremendously.




The One is very ergonomically designed and light. I had no issues using it for hour long listening sessions.

Isolation is average. Sadly, i noted driver flex on my pair, though this is partially dependent on ear anatomy and type of tips used.


INTERNALS

The One houses a 10 mm PEEK (polyetheretherketone) & PU (polyurethane) suspension titanium dome dynamic driver.



Tanchjim markets that the internal acoustic cavity is grounded smoothly, to minimize sound scattering - this supposedly improves acoustic transmission.


DRIVABILITY

I tested the Tanchjim One with the following sources:
- Apple dongle
- Cayin RU7
- Colorfly CDA M1 DAC/AMP dongle
- Creative Sound Blaster X5
- E1DA DAC/AMP dongle
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is relatively easily driven, though amplification might allow slight scalability.


SOUND & TECHNICALITIES


Graph of the Tanchjim One (non-DSP version) via IEC711 coupler. 8 kHz area is a coupler artefact peak.

The One is a warm Harmanish tuned single DD. This pleasant tonality is very consumer friendly, and should please the palates of most users.

The One is mid-bass focused, with bass north of neutral but not as true basshead levels. There is a slight sub-bass roll-off, with just a tickle of rumble heard in the lowest registers. In terms of bass quality, it lies on the mediocre side. Speed is a tinge slow, with below average texturing and some mid-bass bleed noted.

The lower midrange is warmed by the thick mid-bass bleed, adding a lot of note weight and a lushness to this region. Admittedly, we lose some transparency in the midrange, but the enveloping syrupy lower mids are quite addictive. With an 8 dB ear gain plus big bass, the upper mids are forwards without being piercing.

The One is fatigue-free in the treble. The upper treble rolls off early, thus providing a very smooth upper end. Sibilance is kept to a minimal, though we encounter some lack of air and sparkle, with a drop in resolution.

Timbre is very organic in keeping with its single DD heritage. Vocals and acoustic instruments are extremely natural, and this is one of the highlights on the Tanchjim One.

In terms of technicalities, the One is bang average when compared against other ultra budget single DDs. Soundstage is average in all 3 dimensions, with a lack of instrument separation. Music smears on complex tracks with competing riffs, and micro-detailing is veiled. Imaging is decently done for something in this price range though, and the One redeems itself slightly in this department.


COMPARISONS

Comparisons were made with other ultra budget single DDs. Hybrids and pure BA types were left out of the equation as the different transducers have their pros and cons.




Salnotes Zero

The Salnotes Zero is a neutral bright single DD. It has less bass quantity, but the bass is tighter and faster. The Zero has more treble extension, though it is much more sibilant and fatiguing.

The Salnotes Zero is thinner in note weight, sounding more analytical and sterile, and it also has a more metallic timbre.

Technicalities are easily won by the Salnotes Zero - it has superior soundstage, micro-detailing, imaging and instrument separation.

The Salnotes Zero may be ill-fitting for some, due to sharp perpendicular edges in the shell, though it also has a detachable cable.


Tanchjim Zero

Thought it shares a same name as the aforementioned Salnotes Zero, the Tanchjim Zero is totally different IEM. It is the predecessor of the One. This Zero is more neutral, with less bass quantity, and more air and upper frequencies.

Note weight is thinner on the Tanchjim Zero, causing it to sound more sterile. The Zero is slightly improved in technicalities and soundstage, though the upper midrange can be shouty for some.

The Tanchjim Zero's cable is sadly not detachable.


CONCLUSIONS



Costing about the price of a restaurant meal, the Tanchjim One is an affordable single DD with superb tonality and timbre.

Accessories are great for the coin, and it is easily driven. The ergonomics are top-notch, what with the over-ear or cable down form of wearing. The warm and pleasant soundscape, with a thick lush tone, is a sight and sound for sore ears, with minimal sibilance or shoutiness heard.

Unfortunately, there is some driver flex, and the technical chops are quite middling. Trebleheads might also need to look elsewhere due to the lack of air in the tuning.

Having said that, this IEM has solid price-to-performance ratio, and may be the "ONE" for folks new to the IEM game, or even as a gift, or for someone looking for a cheap daily beater set.

DISCLAIMER

I bought the KA13 at a discounted price from Fiio. It can be gotten here: https://www.aliexpress.us/item/3256805865925636.html (no affiliate links).





SPECIFICATIONS/COMPATIBILITY

- DAC chip: dual CS43131
- Op-amp: dual SGM8262
- Dimensions: 56.3 x 22 x 10.5 mm
- Weight: 18.5 g
- Supported audio formats: up to 384kHz/32bit, DSD256
- USB connector: Type-C USB 2.0
- Ports: 3.5 mm (single-ended), 4.4 mm (balanced), 3.5 mm coaxial out
- Output power (single-ended): L+R ≥170 mW +170 mW (32 Ω/THD+N＜1%)
- Output power (balanced): L+R ≥ 550 mW + 550 mW (32 Ω/THD+N＜1%)
- SNR (single-ended): ≥123 dB (32 Ω/A-weighted)
- SNR (balanced): ≥ 122 dB (32 Ω/A-weighted)
- Noise floor: PO＜1.7μV (A-weighted); BAL＜3.1 μV (A-weighted)
- Output impedance (single-ended): ＜1.7 Ω (32 Ω load)
- Output impedance (balanced): ＜1.8 Ω (32 Ω load)
- THD+N (single-ended): ＜0.0005% (32 Ω)
- THD+N (balanced): ＜0.0005% (32 Ω)
- Tested at $75.99 USD


The KA13 supports various file types and sampling rates:
PCM: 384kHz/32bit
DSD DoP: 64/128
DSD Native: 64/124/256
Coaxial: 384kHz/32bit

It is also compatible with the Fiio Control app (on Android devices), where one can play around with settings such as digital filters, change lighting options and SPDIF outputs. On Windows 10 and above, the KA13 is plug-and-play, with no need for installation of additional drivers.


ACCESSORIES

Other than the KA13 dongle, these are included:
- 1 x USB-A to USB-C cable
- 1 x USB-C to USB-C cable
- 1 x lightning to USB-C cable



The accessories are pretty generous. Many dongles do not include lightning adapters, so our Apple users out there will be chuffed to note that Fiio has included one here. Basically other than legacy phones that use micro-USB ports, most other Android and Apple phones and laptops should be covered in terms of compatibility.

For folks who want to get a leather case for the KA13, this is sold separately by Fiio at $4.99 USD here: https://www.aliexpress.us/item/3256805892786925.html


DESIGN/FUNCTION

Fashioned from CNC metal, the KA13 comes in a sleek rectangular body. Consumers can opt between a silver or black hued variant during ordering.



The design is quite futuristic looking, with a large "X" carved onto the chassis.

This DAC/Amp is sturdy and robust, no complaints from a build point of view. Measuring 56.3 x 22 x 10.5 mm
and weighing in at 18.5 g, it is small and extremely portable.

There is a anti-scratch glass panel on the top of the dongle, where one can see an LED light, which changes colours depending on the file format/bit rate:
- Blue: 48 kHz and below
- Yellow: Above 48 kHz
- Green: DSD

On one end of the fuselage, we have the 3.5 mm (single-ended) and 4.4 mm (balanced) ports. The 3.5 mm port also functions as a 3.5 mm coaxial out.




On the opposite end, we have the USB-C port for powering this baby.




On the side, we have the volume controller, which also functions as a skip track button if held longer. Once a firmware update is applied, the KA13 boasts of an independent volume controller, something that even higher-end dongles like the Questyle M15 do not have. The volume steps are quite fine, unlike some other dongles that have too wide steps.



Also on this side panel, is the KA13's secret sauce - the desktop mode ("D. mode") button - which we will talk about in the following section.


SOUND/PERFORMANCE

I tested the KA13 with a few Android phones and on Windows laptops and PCs. Apologies, as I am not an Apple user, I can't vouch for their performance with Apple devices.

This dongle is quite neutralish; it doesn't overly colour the frequency response and lets the connected transducer do the colouring. There is good sub-bass and upper treble extension. Timbre is quite natural without being overly sterile, though note weight is a tinge on the thinner side; one can play with the filters on the Fiio app to perhaps adjust this area to your liking.

The KA13 is quite technical for a sub-$100 dongle - acceptable micro-detailing, accurate imaging and superb instrument separation greets the listener. Soundstage is about average in depth but is above average in width, and nothing sounds congested or compressed, even on complex tracks with competing riffs.

This DAC/Amp has 3.5 mm (single-ended) and 3.5 mm coaxial out, with a 4.4 mm balanced port if more power is desired. Indeed, on the desktop mode, this dongle can output a whopping 550 mW!! That's even more than some DAPs can provide, and it handily beats most other dongle competitors in this area! Understandably, the massive power may be an overkill for regular IEMs, so no biggie toggling off the desktop mode unless you have low sensitivity +/- high impedance transducers to drive.

My usual acid tests for sources include 3 of my hardest to drive gear:
1) Final Audio E5000 (low sensitivity at 93dB/mW)
2) Sennheiser HD650 (high impedance at 300ohm)
3) Yinman 600 ohm (600 ohm impedance and 87db/mW sensitivity)

I'm glad to report that on desktop mode, the KA13 drives these 3 behemoths well, without needing to crank up the voume. When underpowered, these transducers will sound bloated and one-noted in the bass, with a lack of dynamics. The KA13 powers these tough customers quite well, almost equivalent to some desktop amps. Most portable sources cannot drive the Yinman 600 ohm properly, so kudos to Fiio for creating so much power inside a little device. A literal Mighty Mouse!

This dongle doesn't hiss even with fussy high sensitivity IEMs, but it has an output impedance of 1.7 ohms on single-ended and 1.8 ohm on the balanced port. Hence, the KA13 may not be be the best pairing with fastidious low impedance IEMs such as the infamous Andromeda (based on the rule of eights), as the frequency response might be skewed with IEMs that have an impedance of < 13ish ohms.


POWER CONSUMPTION

We can't go against physics, and with big power on offer, there is unfortunately going to be some form of battery drain. These are the advertised specs for power consumption, which is a bit more than regular dongles:
- 140 mA (standby)
- 150 mA (PO/40 mV)
- 150 mA (BAL/40 mV)

Bear in mind once again, that the 550 mW output of the KA13 is one of the best in the market for a budget dongle, and this nifty device can give more expensive and larger sources a run for their money in terms of sheer power output.

It behooves the user to probably keep to the regular mode on-the-go or with a phone, or if one is just using run-of-the-mill IEMs; users can reserve the desktop mode for PCs/laptops where there is a power supply on hand, and you need to drive demanding transducers. You should also not leave the dongle on standby mode as there is still power draw even if no music is played through it.

During usage, especially on desktop mode, the KA13 does get slightly warm, but not scalding (unlike some other power hungry dongles).


COMPARISONS

Comparisons were made with some other dongles residing in the $50 - 100 USD range.


Truthear Shio

The Shio's engine is a dual Cirrus Logic CS43198 chip. This dongle is warmer in tuning, with a more pronounced mid-bass, and some treble roll-off. It has a thicker note weight too.

The Shio is a league behind in technicalities, with inferior soundstage, imaging, edge definition, micro-details and instrument separation. It has less power on tap too.


E1DA 9038D

The E1DA dongle houses an ESS Sabre ES9038Q2M chip. It is dead neutral and more sterile in note weight. The E1DA is a bit harsher and more sibilant in the treble.

The E1DA has quite a lot on power on tap for a single-ended source (200 mW @ 40ohm), though it pales in comparison to the desktop mode of the KA13. The E1DA also gets noticeably much hotter than the KA13 during usage.

The E1DA unfortunately does not have a volume controller, and comes only with a 3.5 mm port. There is a firmware mod to modify the sound, in addition to giving it a tube-like sound variant.

Both dongles are similar in technicalities, though the E1DA is a tinge smaller in soundstage width.


Colorfly CDA M1

The CDA M1 utilizes a customized ESS DAC chip, the Colorfly α. It is also a neutralish dongle, with 3.5 mm and 4.4 mm outputs. Likewise, it has independent volume controls that are quite fine-tuned.

The M1 does not have as much power (hitting 200 mW @ 32Ω on balanced), but it has slightly better instrument separation and micro-detailing. Soundstage is a hair better on the KA13.



CONCLUSIONS

The KA13 is not just a vapid weekly dongle release for regular IEMs and easy to drive transducers. On desktop mode, it is transformed to a Mighty Mouse that can trump some pricier and larger sources in terms of absolute power.

Indeed, at the point of writing, the KA13 is a benchmark for the sheer amount of power it brings to the table, and in such a compact Lilliputian form! I am pleased to have finally found a portable source that does justice to demanding gear like the Final E5000, Sennheiser HD650, and the notorious Yinman 600 ohm.

The KA13 has solid build and is very portable, with generous accessories and a fine-tuned independent volume controller. Technical chops are nothing to be sniffed at, and it is quite neutralish, so as to let the connected transducer do the imbuement. I do not note any hiss with high sensitivity suspects, though the highish output impedance on both ports is perhaps not the best synergy with some finicky IEMs.

The huge power on tap will definitely contribute to some battery drain on phones, but this can be mitigated somewhat by toggling off the desktop mode when using the KA13 with regular IEMs, and only utilizing the desktop mode once there is a charging source nearby.

The KA13 is one of the outstanding budget dongles I have had the chance to listen to in my audio journey, and it wholeheartedly gets my recommendation, the exception perhaps being audiophiles using some outlier low impedance transducers like the Andromeda.