Reviews by baskingshark

DISCLAIMER

I would like to thank Simgot for providing this review unit.

The Simgot EM10 can be gotten here: https://www.linsoul.com/products/simgot-em10 (no affiliate links).





SPECIFICATIONS

• Driver configuration: 1 x 8 mm high-polymer diaphragm dynamic driver + 8 x balanced armature drivers + 1 x piezoelectric ceramic driver
• Frequency response: 20 Hz - 20 kHz
• Impedance: 41.6 Ω
• Sensitivity: 120 dB/Vrms
• Cable: 2-pin, 0.78 mm; oxygen-free silver-plated copper cable; 3.5 mm and 4.4 mm modular terminals available
• Tested at: $439 USD

ACCESSORIES

Other than the IEM, these are included:

- 3 pairs of narrow-bore silicone eartips (S/M/L)
- 3 pairs of wide-bore silicone eartips (S/M/L)
- Cable
- 3.5 mm and 4.4 mm modular terminal plugs
- Carrying case

For a MidFI set, the accessories are a touch disappointing. Usually gear at this price point incorporate a wider selection of tips (eg foam tips), or come with some cleaning brushes or cloth, or even adapters and clips. Nevertheless, whatever is included is quite serviceable for an average user.




We do not have any foam tips, but there are 2 types of silicone tips provided. These differ slightly in bore size, with the narrow-bore ones boosting bass and impinging on soundstage a tinge. The wide-bore ones increase air and treble, and widen staging.




The 2-pin oxygen-free silver-plated copper stock cable is well-braided in a Litz configuration. This is supple and tangle-free, with minimal microphonics. There's a chin cinch for added grip. It has options for 3.5 mm (single-ended) and 4.4 mm (balanced) modular plugs, depending on your source needs.




Lastly, we have a semi-rigid carrying case that operates via a magnetic clasp. This is tough to withstand compressive forces, with internal webbing to store accessories.

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 fashioned from 3D-printed resin, comprised of ear data collected from a multitude of ear anatomies. One side has a silver faceplate, whereas the other sports a black matte finish. Certainly unique in a sea of generic-looking IEMs.



Ergonomics and build are solid. Though the shells are on the larger side to house 10 drivers per earpiece, comfort is not an issue, with a concha protrusion and zero poky internal edges; this IEM can be used for longer listening sessions as such.



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


INTERNALS

The EM10 utilizes a myriad of disparate transducer types. These are paired in a 4-way RC crossover design with independent multi-channel damping in the following configuration:
- 1 x 8 mm high-polymer diaphragm dynamic driver handles the bass.
- 8 x balanced armatures settle the midrange and lower treble - we do not have any information on the brand of the BA unfortunately.
- 1 x piezoelectric ceramic transducer with a pure copper vibrating substrate, multi-layer composite piezoelectric ceramic coating takes care of the upper treble.

Interestingly, unlike traditional piezoelectric containing gear, which dumps the piezo driver at the front of the acoustic cavity - this may result in a piezo "zing" and metallic timbre - Simgot has placed the piezo at the rear cavity, and suspended it via a 'lotus-style' structure to the rear housing. This theoretically mitigates the timbral issues commonly faced by this transducer type. Indeed, as we will read below, timbre is actually decent on this IEM, with minimal piezoelectric effervescence.

Simgot states in their marketing that the final EM10 product only came about after 35 major tuning adjustments!




DRIVABILITY

I tested the EM10 with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM has a 40ish ohm impedance, and is moderately difficult to drive. It would scale optimally with amplification, rather than from a weaker phone, in the aspects of soundstage, bass tightness and dynamics.


SOUND & TECHNICALITIES

Graph of the Simgot EM10 via IEC711 coupler. 8 kHz is a coupler artefact peak.

Tonally, the EM10 can be described as L-shaped. It has a huge sub-bass, to add some warmth to the equation, and is a bit atypical from the usual Simgot house sound.

With a good eartip seal, sub-bass extends deeply with a visceral rumble that will please bassheads. Thankfully, the mid-bass isn't too boomy, and we hear good texturing with nimble speed and minimal mid-bass bleed. Purists who want a little less bass might need to explore eartip synergy, or perhaps even play with EQ, as the sub-bass may be a tinge intrusive in certain music genres like classical or jazz.

There is some recession in the lower midrange (especially when compared against the backdrop of a massive sub-bass), though this lower mids region is thick in note weight, and sounds lush.

In contrast to the overzealous upper midrange of Simgot's classic house sound, we only hit an 8 dB ear gain; hence vocals are pushed forwards and are just at the edge. At louder volumes, there are instances of shoutiness, but at moderate to low volumes, this region is finely balanced. Those of the anti-pinna gain persuasion might still wanna be cautious, but by-and-large, we do not face much spicy vocals which were a complaint of previous Simgot gear.

The EM10 has moderate treble extension and isn't exactly dark, due to the incorporation of piezo drivers. There is just slight sibilance, and unlike piezo-infused rivals, we do not hear much splashiness of high hats and cymbals - ie the piezo zing seems to have been eliminated with the rear positioning of this driver in the acoustic cavity.

For an IEM containing a ton of BAs and even a piezo driver, timbre is surprisingly decent. There's a hair of hollowness to some acoustic instruments in the higher registers, but it takes some concentration and A/B comparisons to pick this out; there are surely other tribrid and quadbrid rivals which flop more badly in the department of timbral accuracy.

The EM10 is a musical yet technical set. Imaging is quite pinpoint with an expansive soundstage when this IEM is amplified well. Music can be portrayed and located beyond the ears, and everything sounds very "grand". There's adequate micro-detailing courtesy of the piezo driver, yet this IEM doesn't veer to being overly sterile or analytical due to the big bass and thick note weight rounding off the lower-end. Instrument separation and layering is also commendable.


COMPARISONS

The EM10 will be compared against other MidFI quadbrids/tribrids with heterogenous driver configurations. Traditional hybrids, single DDs, multi-BAs, and pure planars, which have their own pros and cons, are left out of the comparisons.


7Hz Aurora


Graphs of the EM10 versus 7Hz Aurora via IEC711 coupler. 8 kHz is a coupler artefact peak.

The Aurora is a much brighter and analytical IEM, packing 1 x 12 mm composite diaphragm dynamic driver + 2 x custom balanced armature drivers + 1 x 6 mm micro-planar driver. It has a U-shaped profile, with less bass and more lower treble than the EM10.

As such, the Aurora sounds thinner in note weight, with less bass but more sibilance (and fatigue) in the treble. The Aurora has a more marked metallic timbre.

The Aurora loses to the EM10 in soundstage, but has better imaging and micro-detailing.


Kiwi Ears Quintet


Graphs of the EM10 versus Kiwi Ears Quintet via IEC711 coupler. 8 kHz is a coupler artefact peak.

The Quintet is a less bassy (and brighter) quadbrid, comprised of 1 x 10 mm diamond-like carbon (DLC) DD, 2 x Knowles BA drivers, 1 x 5 mm MPT (micro planar transducer) driver, and 1 x piezoelectric driver.

The Quintet has a more sterile soundscape, with a thinner note weight and less natural timbre. The piezo zing is quite apparent at the treble regions on the Quintet, resulting in a jarring, sibilant and fatiguing higher-end, especially for our treble-sensitive friends.

The Quintet has a smaller soundstage, and slightly weaker imaging. The Quintet has slightly better clarity but this may be a function of a boosted top-end. The Quintet is easier to drive.


Simgot SuperMix4


Graphs of the EM10 versus SuperMix4 via IEC711 coupler. 8 kHz is a coupler artefact peak.

We round off the comparisons with Simgot's own baby sibling, the SuperMix4. This IEM contains 1 x 10 mm polymer diaphragm dynamic driver + 1 x balanced armature driver + 1 x micro-planar driver + 1 x piezoelectric driver and has less sub-bass and lower treble than the EM10.

The SuperMix4 has a less organic timbre, and has weaker technicalities - soundstage, imaging and instrument separation are notably more claustrophobic and compressed, when compared to the EM10.

The SuperMix4 also has a very low impedance, which makes it fussy when paired with higher output impedance sources. The EM10 in contrast, is more source agnostic, but needs more headroom to drive due to a higher impedance.

In a nutshell, think of the EM10 as a true sequel and upgrade to the SuperMix4, though once again we are talking about diminishing returns once one dives deeper into the rabbithole.


CONCLUSIONS



The Simgot EM10 features a cross-pollination of musicality meeting technicalities. It has a warm L-shaped bassy signature, with a thicker note weight - and less shouty upper mids - than the usual Simgot suspects. The tuning will please bassheads, with a visceral rumble and textured bass brought to the table. The midrange is lush, with a well-balanced treble that sprinkles resolution without overstaying its welcome in harshness or sibilance.

The EM10 has a "grand" soundscape, with soundstage, layering and imaging a highlight. For something containing a mishmash of BAs, DD and piezo drivers, the EM10's timbre is curiously natural, something that cannot be said for competitors with such diverse driver setups.

It does require a bit of amplification to scale in sonics, due to the inherent highish impedance. The accessory line-up is a bit disappointing for the coin, and the huge sub-bass may not be the cup of tea for purists who want a flatter signature.

In the big scheme of things, the EM10 is a true upgrade over the crowd-favourite SuperMix4 from Simgot's very own stable, albeit there are diminishing returns going up the ladder to the EM10. This is quite an enjoyable IEM amalgamating technicalities and musicality, and is a worthwhile MidFI set to consider, unless you are bass averse.

DISCLAIMER

I bought the Fiio x Jade Audio JA11 from Aliexpress during the last sale: https://www.aliexpress.com/item/1005007168009481.html (no affiliate links).




SPECIFICATIONS/COMPATIBILITY



Tested at $14.99 USD (it was available for a discounted price of $9.89 USD during my purchase).


The JA11 is a plug-and-play dongle. There is no need for installation of additional drivers on Windows 10 and above. I am not an Apple user and cannot vouch for its compatibility with such devices, but this dongle was easily recognized by various Windows and Android devices I paired it with.

In stock firmware, there were reports of channel imbalance with certain Android phones, but this was speedily resolved with a firmware issued by Fiio the next day. This firmware can be found here: https://www.fiio.com/newsinfo/930654.html and I installed it without fuss (please remember not to touch or move dongles during firmware updates as this may brick any dongle).

The JA11 is compatible with the complimentary Fiio Control App - this is only available for Android devices as of the time of writing - which brings the JA11 to the next level. The app unlocks a 5-band PEQ with some fixed EQ selections. Within the custom PEQ tab, we have advanced options for low or high gain, peak/low-shelf/high-shelf settings and Q from 0.25 to 8.00. One can also save and share EQ settings around, which is certainly useful.




The App also allows users to toggle between UAC 1.0 and 2.0. The 1.0 mode is a useful setting for gaming devices such as the Switch and PS5. We also can fine-tune volume steps (up to the most fine cut-off of 60), in addition to turning on/off the mic and visualizing the bitrate of the current music playback.




The JA11 supports mic and in-line control usage, and would be a handy tool for online meetings, calls or conferences.

All things considered, for a $15 USD dongle, these goodies are certainly impressive, as we see pricier dongles without these features.


ACCESSORIES



The JA11 is an ultra-budget dongle at sub $20 USD - and no surprises here - it does not come with any accessories. We only have a small green bag that the dongle comes in, with some paper warranty and guide forms.

Users hence have to source for your own USB-A to USB-C adapters if you want to connect it to a PC/laptop, or Lightning adapters for our Apple friends.


DESIGN/FUNCTION



The JA11 is fashioned from matte aluminum-magnesium alloy, and the build is really solid for such a low-cost item. During ordering, one can opt for a shiny silver or a jet-black finish.

Weighing a mere 5 g, and sporting a Lilliputian size akin to an Apple dongle, the JA11 is ultra-light and extremely portable.




The JA11 has a non-detachable cable, but this cable is very well-braided, and is made from oxygen-free pallidium plated copper. The cable is flexible yet tough, covered by a dual-layered silicone and yarn sheath, and I think durability shouldn't be much of an issue compared to the noodle-thin cable on the Apple dongle for example.

This dongle has no volume control buttons, so one has to perform the volume/skip controls on the upstream source. As stated above, via the Fiio Control App, one can fine-tune the volume steps to 60 (or less), and at the finest 60, the volume steps are well-spaced, with no big jump between steps.



The JA11 only comes in a 3.5 mm termination (single-ended), so there is no balanced output. One end of the dongle has the 3.5 mm port, while the other end has the USB-C port.


INTERNALS

We have no information on the DAC chip used in the JA11. However, it supports music files up to 384 kHz/32 bit and DSD 128.


SOUND/PERFORMANCE

I tested the JA11 with only Android phones and Windows laptops and PCs. Once again, as I am not an Apple ecosystem user, I can't vouch for its performance with Apple devices.

On phones, I used the HiBy Music Player, with USB bit perfect OTG activated. I cannot vouch for usage with other USB exclusive music apps.


Tonally, in stock form, the JA11 is neutral bright and relatively uncoloured. It lets the connected transducer do the flavouring and would be a superb option for the die-hard purist. End-to-end extension is good with no roll-off at either extremes.

The JA11's selling point - and biggest strength - is its PEQ function via the Fiio Control App. Beyond the stock neutralish signature, one can modify this dongle to any tonal balance you wish for with PEQ, and hence it is extremely versatile.

The JA11 boasts of good technicalities for a sub-$20 USD dongle. We hear an above average soundstage with excellent micro-detailing. Imaging and instrument separation are very commendable for the coin.

Fiio advertises that this dongle pumps out 30 mW at 32 ohm, with a THD+N<1%. Power-wise, it can drive most IEMs out there with adequate headroom, but the output is not sufficient for harder-to-drive behemoths, such as those with low sensitivity and/or high impedance.

My acid tests for source evaluation 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)

The E5000 was driven to sufficient volume, but bass texturing and dynamics were left a bit wanting. Likewise, for the Senn HD650, it was somewhat compressed in soundstage and dynamics, though we had sufficient headroom without running into distortion.

The final boss - the Yinman 600 ohm with an ultra-low sensitivity and ultra-high impedance - is not driven well by the vast majority of portable sources or even expensive DAPs. It is no surprise the JA11 struggles to free the Yinmans from bass bloat and a claustrophobic soundstage, but it is no shame nevertheless, as dongles that cost multiples of the JA11 also fail in this endeavour.

Once again, doing these drivability tests may be too critical on my end, as this dongle only costs $15 (or even cheaper when on sales), so expecting it to drive tough customers like the above gear is really nitpicky of me. But for sure, the JA11 fares very well when paired with the majority of IEMs (other than the above outliers like the E5000).

I did not find any hiss with fastidious high sensitivity IEMs. No EMI was detected with my Samsung S22 phone. With a rated output impedance of 0.5 ohm, the JA11 is an excellent pairing for low impedance IEMs, as it will not skew the frequency response.

During usage, the JA11 runs as cool as a cucumber, and does not get warm, let alone hot. There is no nasty loud "pop" on removing transducers too.

Power output aside, these other non-sonic implementations described above inside the chassis of a sub-$20 dongle are really remarkable, as there are way pricier dongle rivals that have deal-breaking issues such as too high output impedance, hiss or EMI, or even running hot as a baked potato. Worse still, is a dongle greeting users with a shocking and unexpected loud "pop" on attaching or removing gear (cough cough looking at you, Penon Tail).




COMPARISONS

The JA11 will be compared against some ultra-budget non-detachable cable dongles, with only 3.5 mm (single-ended) output.


Apple Dongle

The Apple dongle is marginally cheaper at sub-$10 USD, but has a more filmsy noodle-thin non-detachable cable, and the overall build is less solid. Indeed I had one Apple dongle that frayed at the cable after a few months of usage.

The Apple dongle is dead neutral, but it has no PEQ options to vary the tonality, so versatility is still king with the JA11.

In power output, the Apple Dongle (non EU volume capped version) has about similar juice, and both can't drive very demanding low sensitivity and/or high impedance gear properly (not a matter of volume but for bass tightness, soundstage and dynamics).

The Apple dongle has a similar soundstage. However, it has worse imaging and instrument separation compared to the JA11.

For the tech geeks amongst us, the Apple dongle is capped to a 48 kHz/24 bit maximum sample rate, whereas the JA11 scales up to 384 kHz/32 bit and DSD 128.


Fiio KA11

The KA11 is the JA11's older and more expensive sibling from the Fiio brand. Tonally, the KA11 is warmer, and sounds bassier with a thicker note weight. However, the KA11 does not have a PEQ option in the pocket, so versatility loses to the younger brother JA11.

The KA11 pushes out 200 mW at 32 Ω, which dwarves that of the 30 mW of the JA11, so the older brother KA11 can drive way more demanding transducers. However, the KA11 has worse battery drain and runs much hotter than the JA11.

The KA11 surprisingly loses out to the cheaper JA11 in technicalities, with a hair smaller soundstage, weaker imaging and less micro-detailing.

The KA11 can handle music files up to 384 kHz/32 bit and DSD 256, so it has slightly higher playback in the aspect of DSD files.


CONCLUSIONS



The JA11 is a very affordable dongle with price-to-performance ratio shooting through the roof. Retailing at $14.99 USD, it can also be gotten on sales for around 9 bucks, which is cheaper than an average restaurant meal!

The JA11 is very light and compact, yet robust in build. It has a stock neutral bright tuning with good technical chops that belies its sub-$20 pricing. There are many well-implemented features to talk about, such as no loud "pop" on removal of gear, no hiss/EMI, and a low output impedance which promises a suitable pairing for fussy IEMs. Additionally, it does not get warm during usage.

With a mic and inline controls, this allows the JA11 to be used for more than music, in areas such as calls and online meetings. There's even a UAC 1.0 mode for gamers! Indeed, this cheap dongle is a very nifty everyday carry device for a multitude of case needs.

The JA11's best selling point, is its PEQ function via the Fiio Control App. This unlocks great versatility through toggling different tonalities, so you can tune this source bassier or brighter. However, this PEQ function is only available for Android devices currently.

Some negatives are that the JA11 comes with zero accessories, and has no volume controls. Thankfully, the volume steps are fine-tuned when changed via an upstream source (one has the option to lengthen or shorten the volume steps via the Fiio app). It has enough power to drive most IEMs, but can't deal with more challenging high impedance/low sensitivity goliaths. The JA11 only comes in a 3.5 mm (single-ended) port, which is non-detachable, but this cable is well-braided and tough, unlike the noodle-thin one on the Apple dongle.

Speaking about the measurebators' gold standard in the Apple dongle, the JA11 bests this device in build and its PEQ versatility, in addition to having slightly better technicalities than the Apple dongle. The JA11 can also play stuff at a higher bitrate. Even when compared to its older and pricier sibling - the Fiio KA11 - the JA11 has less power, but doesn't run as warm (or drain as much battery); the younger brother also has better technicalities and versatility due to the PEQ on offer.

First adopters ran into some teething issues at launch: channel imbalance was found with some smartphones, but Fiio speedily released a new firmware update the next day that fixes this completely. Thereafter, I was quite happy with this purchase (do download the latest firmware https://www.fiio.com/newsinfo/930654.html if needed!)

For the $15 USD pricing, the JA11 is a dongle with great value proposition, especially if the target audience are users driving IEMs. The JA11 also covers calls and meetings well with the mic option. If you are a PEQ user, this dongle may even be a game-changer. I bought the JA11 at the last Aliexpress sale, but will be looking to buy a few more as gifts, and spares to replace my fraying Apple dongle.

DISCLAIMER

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

The Juzear Butterfly 61T can be gotten here: https://www.aliexpress.com/item/1005007145327058.html or https://hifigo.com/products/juzear-butterfly-61t (no affiliate links).




SPECIFICATIONS

• Driver configuration: 1 x 10 mm composite carbon-based coated PU dynamic driver + 6 balanced armature drivers (2 x Knowles ED BAs for midrange + 4 x customized 31736 units for treble and upper treble)
• Frequency response: 20 Hz - 20 kHz
• Impedance: 46 Ω
• Sensitivity: 115 dB/mW
• Cable: 2-pin, 0.78 mm; silver-plated OFC cable; option for 2.5 mm, 3.5 mm or 4.4 mm termination
• Tested at: $219.99 USD

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of "soft spring" silicone ear tips (S/M/L)
- 3 pairs of narrow-bore silicone ear tips (S/M/L)
- 2 pairs of foam tips
- Cable
- Case
- Cleaning cloth

For a $200 set, the accessories are quite comprehensive, other than perhaps the lack of a modular cable. Nevertheless, when placing an order, one can opt for a 2.5 mm, 3.5 mm or 4.4 mm terminated cable, depending on your source needs.




Speaking about cables, the stock one is a 2-pin silver-plated OFC cable, which is very well-braided and hefty to the touch. It is supple with minimal tangling, coupled with just slight microphonics. There's a chin cinch to secure the IEM during usage. Definitely one of the better stock cables I've come across.




We have 3 types of tips available. The foam tips provide the best isolation though with some compression of soundstage and treble. The black narrow-bore tips boost bass but have slight compromises in staging. Juzear has also included a newly developed "soft spring" silicone ear tip too; these are a bit wider in bore size than the above silicone variant, and open staging and treble air.

With such an array of ear tips accounted for, do fiddle around and see what suits your needs in terms of comfort, fit, isolation and sonics.




Lastly, we have a cleaning cloth and a small compact zipper carrying case. The latter is semi-rigid to withstand compressive forces, with inner webbing to store accessories and the IEM.

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


BUILD/COMFORT



The 61T's housing is fashioned from 3D-printed resin, and each shell is hand-polished individually. There is a beautiful CNC-carved abalone butterfly like wing motif in each shell, which aptly fits in with the "BUTTERFLY" namesake. Indeed, the 61T has one of the most alluring faceplates I've encountered in my IEM journey, and is a legit real looker.



The shells lie on the larger side, to accommodate 7 drivers per earpiece, but despite that, ergonomics are surprisingly decent. Each housing weighs a mere 6.6 g, with no poky inner edges, and a concha protrusion for better fit.



Despite being a vented IEM, Juzear advertises a 26 dB passive isolation, and on my field tests, it hits nearly there, with the 61T being a great option for noisy environments. I'm glad to report that there is also no driver flex.


INTERNALS

The Butterfly is a 7 driver hybrid. These drivers are arranged in the following setup:

• 1 x 10 mm composite carbon-based coated PU dynamic driver handles the bass
• 2 x Knowles ED BAs settles the midrange
• 4 x customized 31736 units takes care of the treble and upper treble

These drivers are housed within a 3D-printed acoustic cavity with DLP Technology, juiced by neodymium magnets.




DRIVABILITY

I tested the 61T Butterfly with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is moderately easy to drive. With a slightly higher impedance of 46 ohms, the 61T would benefit from amplification.


SOUND & TECHNICALITIES


Graph of the Juzear Butterfly 61T via IEC711 coupler. 8 kHz is a coupler artefact peak.

Tonally, the Butterfly sports a warm U-shaped signature. It should be pretty all-rounded for most music genres.

The 61T is a sub-bass focused IEM. Descent of bass frequencies hits 20 kHz, with a reverberant visceral rumble heard when ear tips seal well. The Butterfly has a hard hitting mid-bass on show, with stellar texturing. There's some mid-bass bleed however, as expected of such copious bass amounts. Bass perception is partially dependent on ear tip choice and obtaining a good ear tip seal, so do play around with the ear tips to get your ideal bass amount - the "soft spring" tips give the least bass/rumble, compared to the foam/narrow-bore tips.

In keeping with the U-shaped profile, the lower midrange is a hair recessed. This region is warmed by the mid-bass bleed, which adds heft but contributes to some veiling. We hear much lushness to note weight, but understandably, the midrange isn't the most transparent. With the upper mids just hitting 7 dB ear gain, vocals are forwards without veering to shouty territory, which is a really tough line to balance (but it is much appreciated that they nailed it).

The Butterfly just has moderate treble extension, and it isn't the most airy set. Sibilance is present on rare occasions, and we have a decent sprinkling of clarity and resolution despite the bassier signature.

In technicalities, amongst the $200ish hybrid competition, the 61T has good soundstage (in width, height and depth) and imaging is pretty accurate, especially when amplified well. Instrument separation is above average with a good smattering of micro-details despite not being overly jacked up in the treble.

The 61T has a weakness in timbral accuracy, with BA timbre heard in the upper frequencies helmed by the BAs. Note weight sounds somewhat hollow for acoustic instruments like strings and brasses. This is quite genre dependent however, and some are more sensitive to timbre than others, so YMMV.


COMPARISONS

The Butterfly will be compared against other $200ish hybrids. Single DDs, multi-BAs, and planars are omitted, as they have their own pros and cons due to the different transducer types.




ZiiGaat Doscinco

The Doscinco is a darker IEM, with less treble and a thicker note weight. It is also bassier, though the bass isn't as tight and bleeds, with inferior texturing compared to the Butterfly. However, the Doscinco has less sibilance.

The Doscinco has poorer micro-detailing, soundstage and imaging. The Doscinco also suffers from driver flex, which may be a deal-breaker for some.


DUNU x Gizaudio Da Vinci

The Da Vinci is similar tonally to the Butterfly, but the Da Vinci has weaker imaging and soundstage.

The Da Vinci is a bit more natural in timbre. It is also better accessorized, even coming with a modular cable, though it loses to the Butterfly in passive isolation.


CONCLUSIONS



The Butterfly is beautiful on the inside and outside. It has one of the prettiest shells in the industry, living up to its Butterfly moniker perfectly. The 61T has a generous spread of accessories, and good ergonomics, despite the larger shell size. Passive isolation is another plus, hitting 20+ dB.

Soundstage and imaging are a highlight on the Butterfly, especially when it is powered well (46 ohm impedance). We hear a warm U-shaped profile, which is pretty all-rounded for most music genres. Bass hits hard with great texturing, though there is a hint of mid-bass bleed. This confers a lush and thick lower midrange, albeit there is some veil added to the signature. Thankfully, the upper mids are not overzealous, with just 7 dB ear gain, which translates to forward vocals without being a shout-fest.

I have to deduct some marks due to the BA timbre in the treble frequencies, especially when acoustic instruments come out to play. Timbral issues aside, the Butterfly is quite a versatile hybrid, even qualifying as a jack-of-all-trades - balancing technicalities, fun and musicality well. This is definitely one of the more memorable $200 bracket hybrids as of the time of writing.

DISCLAIMER

I would like to thank Linsoul for providing this review unit.

The Twistura D-Major can be gotten here: https://www.linsoul.com/products/twistura-d-major (no affiliate links).




SPECIFICATIONS

• Driver configuration: 10 mm beryllium-plated PU composite diaphragm dynamic driver
• Frequency response: 15 Hz - 37 kHz
• Impedance: 22 Ω
• Sensitivity: 108 dB
• Cable: 2-pin, 0.78 mm; OFC copper silver-plated cable; 3.5 mm termination. Also can be used with included USB-C DSP cable
• Tested at: $49 USD (non-mic version); $50 USD (mic version)

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)
- Analogue cable
- DSP USB-C cable
- Tuning nozzles (3 pairs)
- Carrying pouch

For a $50 USD set, the accessories are quite stellar. I've definitely seen pricier IEMs with a more inferior accessory line-up.




While we do not have any foam tips, there are 2 variants of silicone tips. The narrow-bore ones boost bass with some soundstage compression, whereas the wide-bore ones increase air and treble, and open up the staging.




The stock cable is a Litz-braided OFC copper silver-plated cable. It only comes in a 3.5 mm termination, and is rather thin and tangly. Surprisingly, microphonics are negligible, with a chin cinch to secure the IEM during usage. When placing an order, one can opt for a mic version of this cable for a dollar more.




We have 3 pairs of tuning nozzles, and a DSP USB-C cable. These items influence and change the sonics, and we will read more about them below.

Lastly, we have a leatherette carrying pouch. While it isn't rigid to withstand compressive forces, this pouch can at least prevent scratches on the mirror-like body of the IEM.

The rest of this review was done with the stock DSP/analogue 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 D-Major is fashioned from electroplated zinc-alloy. Indeed, the build is very solid, and easily belies its sub-$50 USD price tag. The faceplate and inner part of the shell contains black resin. While the mirror-like finish is elegant, it may be a potential scratch or fingerprint magnet though, so do baby these puppies.



Comfort is good, despite the weird-looking design. There are no poky parts that stab the ear, and the D-Major can be worn for longer sessions without discomfort.

Being a heavily vented IEM, isolation is below average. However, this helps with airflow, and I didn't detect any driver flex on my pair.


DRIVABILITY

I tested the D-Major with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is moderately easy to drive with both the DSP USB-C cable and stock analogue cable, and heavy amplification requirements are not needed.


INTERNALS/TUNING NOZZLES/DSP CABLE

The D-Major's engine is a 10 mm beryllium-plated PU composite diaphragm dynamic driver. It is advertised to hit 1 Tesla in flux, and this dynamic driver is housed within a dual-chamber with 2 magnets.

The past few months have promoted the tuning nozzle craze, and the D-Major unsurprisingly packs 3 pairs of tuning nozzles, which translate to the following tonalities:

Graph of the Twistura D-Major via IEC711 coupler. 8 kHz is a coupler artefact peak.

All 3 tuning nozzles confer neutral bright tunings which lie on the leaner side.

The blue nozzles furnish the thinnest and brightest sonics, but most users might find them shouty in the upper mids, due to an overzealous 15 dB ear gain! This causes vocals to sound artificially nasal but we have the best clarity and resolution on this setup. The blue nozzles push a lot of micro-details and technical junkies and trebleheads will enjoy this configuration for sure.

At the other extreme, the red nozzles are the most sedate in the upper midrange. But having said that, they still hit around 11 dB ear gain, and fall at the edge of shouty territory (this is more apparent at louder volumes as per the Fletcher Munson curve). Nevertheless, the red nozzles are more palatable to our treble-sensitive and anti-pinna gain gang, and the note weight is a bit thicker and bassier too, though we lose some technical prowess with these red nozzles.

The black nozzles are a midpoint between the above 2 nozzles in sonics and technicalities, but will likely still be shouty for the pinna gain detractors, with 13 dB ear rise noted on these nozzles.




Thankfully, for those who are afraid of excessive upper mids, the included DSP USB-C cable tames the upper mids and lower treble. It also thickens note weight across all tuning nozzles. Hence, with the DSP in play, the D-Major isn't as aggressive, and is more laid-back and relaxed, with rounded vocals and less sharp edges to notes. The DSP cable is a suitable option for folks that want something lusher, but we do lose some micro-detailing and resolution compared to the analogue cable.

However, DSP cables are a love-it or hate-it thing. Some purists might feel hamstrung to have to use a DSP dongle to get their ideal tuning, and these DSP dongles do limit source matching, cable-rolling and also cap bitrate playback.


SOUND & TECHNICALITIES

The following impressions are done with the red nozzle in use. This confers a neutral bright tuning, with note weight on the leaner side. However, it is still the thickest in note weight (and least shouty) of the 3 nozzles on offer.

With these red nozzles, the D-Major has bass just slightly north of neutral, with a sub-bass focus. Sub-bass extension and depth isn't the deepest however, and we only have a tickle of rumble. This IEM will hence not be for bassheads. Bass quality is happily quite solid, with above average texturing and nimble speed, with minimal mid-bass bleed.

The midrange is relatively neutral and transparent, with no big bad bass to encroach here. As alluded to above, the red nozzles push the least ear gain at the upper mids - at about 11 dB - but even so, vocals are still forwards and at the edge, especially at louder volumes (Fletcher Munson curve). At low to moderate playback, this region is mostly tolerable.

The D-Major has moderate treble extension with the red nozzles (more so with the black and blue nozzles). Sibilance may be present on occasions, but there is good clarity and resolution on tap.

Timbre is quite natural with the red nozzles, in keeping with its single DD roots. Timbre may be nasal and metallic with the blue nozzles though.

On the red nozzle configuration, the D-Major has good technical chops, espousing relatively accurate imaging and superior micro-detailing, with above average soundstage. On the black and blue nozzles, technicalities improve, as described above, but we run into harshness in the upper midrange, so those nozzles are double-edged swords.


COMPARISONS

The Twistura D-Major will be compared against other budget single DD types. All-BAs, hybrids, and planars are omitted, as they have their own pros and cons due to the different transducer types.

The following impressions are done with the red nozzles installed.

KEFINE Delci

The Delci is a U-shaped set with thicker note weight and greater sub-bass frequencies. It also has a way tamer upper midrange than the D-Major, so we do not run into shoutiness with the Delci.

The Delci has a wider soundstage, but loses in imaging and micro-detailing. The Delci has no tunability.


Simgot EA500LM

The EA500LM likewise has 3 tuning nozzles to confer slight variations in tuning, amongst a selection of bright Harmanish tones. There is no DSP cable however, so versatility goes to the D-Major.

The EA500LM has an upper mids hump as per the Simgot house sound, but this is still less pronounced than the D-Major's, with more sub-bass available with the EA500LM.

The EA500LM has a more metallic timbre, but has a bigger soundstage. Imaging is better on the D-Major, with micro-detailing about on par.


CONCLUSIONS



The Twistura D-Major is a sub-$50 single DD with good price-to-performance ratio. Its calling card is its versatility, with 3 tuning nozzles that provide a spectrum of lean neutral bright tunings. With the excellent technicalities showcased, this IEM would be a match made in heaven for trebleheads or technical junkies that yearn for something analytical.

Admittedly, some of the tuning nozzles may be overly zealous in the upper midrange - this translates to shouty vocals - and note weight is on the willowy side. Our pinna-gain or treble-sensitive friends will probably need to consider alternatives. Thankfully, the red nozzles tame the ear gain the most, and this area just lies at the fence with these nozzles installed.

Alternatively, there is a DSP cable that thickens note weight and attenuates the upper midrange, though purists might scoff at being stuck with a particular DSP cable, due to them limiting aftermarket cable pairing, source choice or even capping bitrate playback.

Bassheads will also need to look elsewhere, as this IEM isn't the most robust in sub-bass extension and heft, but the D-Major cedes bass quantity for quality. With the red nozzles in play, timbral accuracy is legitimate, and this set is also easily driven, with solid build, comfortable ergonomics and a generous array of accessories provided.

In a nutshell, the D-Major is a budget transducer for trebleheads that prefer a more svelte tone, with a good sprinkling of technicalities and versatility. For the sub-$50 USD asking price, it isn't a bad set (except for bassheads and the treble-sensitive), and is quite competitive in the current shark infested budget CHIFI landscape.

DISCLAIMER

I would like to thank Penon for providing this review unit.

The Penon Turbo can be gotten here: https://penonaudio.com/penon-turbo.html (no affiliate links).




SPECIFICATIONS

• Driver configuration: 6 x balanced armature drivers (4 x Sonion BA and 2 x Knowles BA)
• Frequency response: 10 Hz - 20 kHz
• Impedance: 16 Ω
• Sensitivity: 103 dB
• Cable: 2-pin, 0.78 mm; OCC and silver-plated mixed cable; option for 2.5 mm, 3.5 mm or 4.4 mm termination
• Tested at: $549 USD

ACCESSORIES

Other than the IEM, we have:
- 3 pairs of wide-bore silicone eartips (S/M/L)
- 3 pairs of narrow-bore silicone eartips (S/M/L)
- 3 pairs of balanced silicone eartips (S/M/L)
- Carrying case
- Leatherette pouch
- Cable
- Cable fastener
- Shirt clip
- Cleaning brush
- Card pin
- Ear wax removal tool

We have an extremely generous provision of accessories - as befitting of a MidFI pair - perhaps only lacking foam tips and a modular cable. However, when placing an order, we have options for 2.5 mm, 3.5 mm and 4.4 mm termination, depending on your source preference.




Speaking about cables, the stock cable is a 2-pin OCC and silver-plated mixed cable, and this is quite well-braided, though on the slightly stiffer side. Microphonics are minimal and there's a chin cinch for added grip. This cable strangely does not have a earhook, so identifying the polarity to insert the cable may be challenging, but no biggie using any free polarity Youtube video or something similar to verify this.




We have 3 variants of silicone tips available. The narrow-bore black ones boost bass though with some compression in soundstage, whereas the green wide-bore ones open up staging with an increase in treble. The red balanced ones are a midpoint sonically.




We have a blue zipper semi-rigid case to store the IEM; this has a soft inner lining and webbing for the contents. There is also a small leatherette pouch to store accessories.




It is a nice touch that Penon has furnished a treasure trove of miscellaneous tools, such as a cable fastener, shirt clip, cleaning brush and wax removal tool. Lastly, we have the all-important card pin tool, which is needed to flick the tuning switches on the Turbo - don't lose it!

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


BUILD/COMFORT



The Turbo features a fetching green resin pearl shell, which is certainly unique. The inner aspects are transparent, allowing audiophiles to visualize the internal drivers in all their glory.



Each earpiece is very light and compact, with no poky parts. It can be used for long listening sessions without discomfort whatsoever.



There is no driver flex. The Turbo is advertised to hit 26 dB passive isolation, and in my field tests, the isolation is certainly good but perhaps slightly less than this 26 dB value. No doubt, isolation also is dependent on eartip choice, but this IEM can be easily used in a noisy environment, or even for audio work like stage gigs.


DRIVABILITY

I tested the Turbo with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW 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, with amplification not truly necessary.


INTERNALS/SWITCHES

The Penon Turbo is a 6 BA set utilizing premium drivers, arranged in a 3-way cross-over via 3 acoustic tubes:
- 2 x vented Sonion BAs handle the bass
- 2 x Knowles BAs settles the midrange
- The treble is played by 2 x Sonion BAs



The selling point of this IEM are the 4 tuning switches on each housing. 1 switch essentially functions as a bass boost button, with the other 3 changing the rest of the frequency response. As seen from the graphs below, the Turbo can be tuned from U-shaped to V-shaped, to even a basshead L-shaped tonally, so versatility is a feather in its cap.


Graph of the Penon Turbo via IEC711 coupler.

The first number 1/0 refers to the bass boost switch toggled on or off, respectively. The other 3 digits to the right of it refer to the switch settings 1/2/3 on the Turbo. All switches off is an invalid tuning according to Penon's website. Thus, we have a total of 14 tuning options available.

For bassheads, definitely leave the bass boost switch engaged, it adds a tactile bass that punches hard, though we do have a bit of bleed and loss of texturing. For the purists, just remove the bass boost and play around with the rest of the available options, the versatility on offer is an ace up the Turbo's sleeve.


SOUND & TECHNICALITIES

The following impressions are done with the bass switch toggled off, with the 0-110 configuration in use. This confers a mild V-shaped profile and is my preferred tuning option.

Even without the bass boost on, considering the Turbo is a pure BA set, the vented subwoofers help to let it move air and decay a bit more than a traditional BA bass. It still isn't as natural as a pure DD set, but better than some contemporary all-BA IEMs. This is a sub-bass focused IEM, with decent extension to 20 Hz. Mid-bass texturing is decent, with nimble speed and just a slight bleed.

The lower midrange is a bit depressed as per the V-shaped tuning, but this is warmed by the mild mid-bass bleed. Thus we hear a lower mids region that isn't too thin or anemic, with some musicality joining the fray. With 8 dB ear gain, vocals are forwards without overtly pushing shouty territory.

The treble doesn't have the greatest extension, and this IEM isn't very boosted in the upper treble frequencies. Sibilance is mild and the treble is generally smooth and non-fatiguing. Treble-heads might want a bit more bite, but the Turbo will be a safe bet for the treble-sensitive amongst us.

In technicalities, the Turbo fares very well, espousing an expansive soundstage with accurate imaging. Micro-details are captured well, especially on the less bassy settings, with good instrument separation.

For a pure-BA setup, there is a inevitably a small whiff of BA timbre, with a slight hollowness to acoustic instrumentation. Thankfully, it is not the worst offender amongst all-BA tunings, as we will read below.


COMPARISONS

The Turbo will be compared against other MidFI all-BA sets. Single DDs, hybrids, and planars are omitted, as they have their own pros and cons due to the different transducer types.

The following impressions are done with the bass switch toggled off, with the 0-110 configuration.




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). This IEM sports a warm U-shaped tuning, and is thicker in note weight, with a darker treble and less sub-bass than the Turbo.

The Nezha is veiled and muddy in sound, and is more claustrophobic in soundstage and instrument separation. It also has weaker micro-detailing and imaging. The Nezha is an entire league behind in technical chops as such. Perhaps one redeeming aspect is that timbre is a bit more organic on the Nezha.

The Nezha has no tuning options, so its versatility is limited.


EPZ 530

The EPZ 530 is a bright V-shaped set. It has less bass than the Turbo, and the 530's bass is not vented, so it sounds more truncated with less decay and movement of air. The 530 has better bass texturing though. The 530 is more extended in the treble - but is more sibilant and fatiguing in these higher frequencies - albeit trebleheads will appreciate more air here in the soundscape.

The 530 has a more metallic timbre, but has a bit more micro-detailing. However, the 530 loses in soundstage and imaging.

The EPZ 530 has no tunability, so the Turbo is superior in versatility. I see both as sidegrades, with just different flavours in tuning.


CONCLUSIONS



For audiophiles looking for a versatile all-BA IEM, the Penon Turbo is a good option to consider. It has 14 tuning options on tap, with a generous bass boost switch for our basshead brethren. The treble is smooth with minimal sibilance, and technicalities like imaging and soundstage are a highlight.

This IEM is easily driven, with good passive isolation and a generous accessory spread added to solid ergonomics. In fact, due to these properties and solid technical chops, the Turbo is an excellent option for audio work or stage monitoring.



Some small nitpicks are that it has mild BA timbre, and trebleheads might want a bit more oomph in the higher end, but by-and-large, the proffered versatility and all-roundedness make this a formidable all-BA set.

DISCLAIMER

I would like to thank Letshuoer for providing this unit.

The Letshuoer DT03 can be gotten here: https://letshuoer.net/products/letshuoer-dt03-headphone-amplifier-portable-high-resolution-dac-amp (no affiliate links).





SPECIFICATIONS/COMPATIBILITY



Tested at: $89 USD

This a plug-and-play dongle, and additional driver installation is not needed for Windows 10 and above. It was easily recognized by various Windows and Android devices I paired it with. As I am not an Apple ecosystem user, I can't vouch for its compatibility with these products.


ACCESSORIES

Other than the dongle, the packaging comes with:
- Leatherette case
- USB-C to USB-C cable (short)
- USB-C to USB-C cable (long)
- USB-C to USB-A adapter



The DT03 is one of the better accessorized dongles. Perhaps other than the lack of a Lightning cable for our Apple users, everything else is covered, including a functional leatherette case to protect it.

The 12.5 cm and 80 cm USB-C to USB-C cable are a great provision, giving users an option for a shorter (less snaggy) cable on-the-go, or something longer should they require it. These cables are nicely braided and supple, and sheathed with a nylon PVC-like material.


DESIGN/FUNCTION

The DT03 is fashioned from CNC-milled anodized aluminum and PC resin, covered in a sleek matte black motif. The externals are curved without any poky edges, and it is relatively light and compact, easily sliding into a pocket or small bag.



The DT03 has no screen, app compatibility, filter options or PEQ available. However, it has an RGB LED sampling light indicator etched on the top of the device, which changes hues depending on the bit rate:

• PCM ≤ 96 kHz: green
• PCM = 176.4 kHz or 192 kHz: blue
• PCM ≥ 352.8 kHz: red
• DSD decoding: yellow

On one end, we have the USB-C port, for powering the dongle and data transfer.




The opposite end houses the 3.5 mm (single-ended) and 4.4 mm (balanced) ports, with the latter reinforced with gold-plating. Letshuoer markets that the amp portion of this device utilizes an injection-molded plastic bracket, which theoretically should reduce wear-and-tear with daily plugging and unplugging of gear.




The lateral aspect of the chassis has volume buttons and a gain switch. Sadly, the volume controls are not independent, and are not too finely spaced.


INTERNALS

This DAC/AMP is powered by dual ES9219C Saber DAC chips. It allows playback of PCM up to 32bit/384kHz, and DSD up to DSD256.

Letshuoer has also installed a dedicated high-precision clock crystal oscillator module, which is advertised to decrease jitter.


SOUND/PERFORMANCE

I tested the DT03 with only Android phones and Windows laptops and PCs. Once again, I'm not an Apple user, so I can't confirm its performance with Apple products.

On phones, I used the HiBy Music Player, with USB bit perfect OTG activated on a Samsung S22.


Tonally, the DT03 sports a neutral-bright signature with solid end-to-end extension. It is not too coloured, so purists should appreciate the soundscape.

In technicalities, the DT03 has an above average soundstage, with accurate imaging. Micro-details are captured well with music sounding quite spacious coupled with excellent layering. Analytical heads will like this dongle's technical prowess, but importantly it doesn't veer to being overly sterile.

Power-wise, this dongle is advertised to pump out 78 mW (@32 Ω) for the single-ended port, and 195 mW (@32 Ω) for the balanced one. It can serviceably drive most gear out there on the balanced port, other than outliers. However, when compared to other sub-$100 USD dongles in the market, the DT03 is certainly not the most powerful one, with the Fiio KA13 claiming this crown (as of the time of writing).

As usual, I put all dongles through a series of crucibles to test their power output:
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 4.4 mm + high gain, the E5000 was driven decently in terms of headroom and dynamics. Bass was a touch flabby and lacking texture however. The Sennheiser HD650 has nice dynamics with the DT03, though soundstage was somewhat compressed.

The final boss - the Yinman 600 ohm - which has a absurdly low sensitivity coupled with high impedance, is not driven properly by the majority of portable devices, be it cheap or expensive. It is no surprise - but no shame nevertheless - that the DT03 falls short here, with a one-noted bass and compressed dynamics heard with this pairing.

This dongle gets warm but not hot even when used with power-hungry goliaths. There is no hiss heard with sensitive IEMs. There was no "POP" noted on disconnecting transducers, which is a sign of a well-implemented design.

We have no information on the output impedance specs of this DAC/AMP, but I surmise that it should be relatively low, as fussy low impedance IEMs that were paired with it sounded similar tonal-wise.


COMPARISONS

Comparisons will be made against other sub-$100 USD dongles.




Penon Tail

The Penon Tail's engine are dual CS43131 chips. This dongle also does not have EQ, app compatibility, DAC filters or a screen. Likewise, it has non-independent volume control with wide spaces between each step. Users might find this a deal-breaker - the Tail has no "POP" suppression installed - and removing transducers causes a nasty "POP" to be generated, which is probably not good for the ears or the IEM.

The Tail is quite neutral tonally, but is slightly less powerful - generating 151.25 mW (at 32 ohms) on 4.4 mm - compared to the 195 mW available with the DT03.

The Tail is weaker technically, with poorer imaging, layering and micro-detailing.


Fiio KA13

The KA13 is another neutral bright dongle, but it packs dual CS43131 DAC chips. It is brighter and thinner in note weight, with a bit more sibilance than the DT03.

The KA13 on 4.4 mm desktop mode can hit 550 mW output (THD+N balanced＜0.0005% (32 Ω)), beating the 195 mW available on the DT03. Hence, the KA13 can definitely juice more demanding gear, though the KA13 gets way hotter during usage, with worse battery drainage.

In technicalities, the KA13 has a smaller stage and poorer imaging, but has a hair better micro-detailing.

For the UI conscious and those that are interested, the KA13 has more goodies to play with - it has a Fiio control app for settings configuration, in addition to having a well-implemented independent volume control with finely tuned steps.


CONCLUSIONS



The DT03 is a dongle with a neutral-bright lilt, and is quite a technical powerhouse for a sub-$100 dongle. Thankfully, for a technically-inclined device, it doesn't commit the cardinal sin of being overly sterile.

It comes with a generous spread of accessories - including multiple cables and a leatherette case - and is compact and portable, with gain settings. I appreciate that there is a well-implemented anti-hiss and anti-"POP" system, so one doesn't get a nasty shock on removing transducers. Also, it doesn't get hot during usage, even when connected to harder-to-drive transducers.

The DT03 isn't the most powerful dongle at this price range - it can't handle very power-hungry outliers - but for the majority of IEMs, this DAC/AMP will do an adequate job. Sadly, the volume controls are not independent (and quite widely spaced), and there are no PEQ, app, screen or DAC filters to play with.

In the ultra-competitive and shark-infested sub-$100 dongle pool, the DT03 has laudable traits in its neutral sonics with excellent technicalities; these properties allow differentiation from the tough competition. If one is looking for an everyday-carry (EDC) dongle for easily-powered IEMs, do consider the DT03 in the conversation.

DISCLAIMER

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

The DUNU x Gizaudio Da Vinci can be gotten here: https://hifigo.com/products/dunu-x-gizaudio-davinci (no affiliate links).




SPECIFICATIONS

• Driver configuration: 2 x 8 mm biocellulose dynamic driver + 10 mm biocellulose dynamic driver + 4 x custom balanced armature drivers
• Frequency response: 5 Hz - 40 kHz
• Impedance: 35 Ω
• Sensitivity: 109 dB/mW
• Cable: 2-pin, 0.78 mm; LEO single crystal-copper with silver-plating; Q-lock Mini 3.5 mm and 4.4 mm modules available
• Tested at: $299.99 USD

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of "balanced" grey silicone ear tips
- 3 pairs of Candy silicone ear tips
- 4 pairs of S&S (Stage and Studio) silicone ear tips
- DUNU LEO cable
- Q-Lock Mini 4.4 mm and 3.5 mm modules
- 6.35 mm to 3.5 mm adapter
- Cleaning brush

The accessories are princely, and perhaps other than the omission of foam tips - which is a very small nitpick - everything that an audiophile would require is catered for.




The Candy eartips - as per their colourful namesake - come in a star-spangled motif, and these tips furnish the deepest bass rumble of the lot. Isolation is also the best, though soundstage is compressed.



The S&S (Stage and Studio) tips come in a gel-like material that is grippy and firm. These tips have a long cylindrical shape, and are mid-centric focused, in boosting vocals (though with some decrease in bass). These tips are quite popular on forums, with audiophiles buying them individually at 12 bucks (eg https://hifigo.com/products/dunu-s-s). Lastly, we have the "balanced" grey silicone eartips, which are quite "balanced" in sonic properties, as their name suggests.




The stock cable - the DUNU LEO - is a Litz cable furnished from single crystal-copper with silver-plating. This is well braided and thick, hefty to the touch and tangle-free, with minimal microphonics. There's a chin cinch for grip, and this is one of the better stock cables I've encountered in my audio journey.

This cable incorporates DUNU's patented Q-Lock Mini modular system, which allows consumers to fit 4.4 mm and 3.5 mm modules on it, with a screw-on mechanism. Thus, this IEM can be used with various single-ended and balanced sources, and the screw-on part protects the module from inadvertently detaching, which is a not uncommon complaint faced by audiophiles, causing their gear to drop to the floor!




The provided carrying case is semi-rigid and tough externally, with inner webbing. We also have a 6.35 mm to 3.5 mm adapter and a cleaning brush to complete the accessory line-up.

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


BUILD/COMFORT



The housings are fashioned from dermatological-friendly resin, with a 3D printed acoustic chamber from Higetech. The faceplates feature solid-stabilized grain wood panels, and each earpiece is unique!



While the shells are on the larger side, each earpiece weighs a mere 6.6 g, and ergonomics are very decent despite the larger size. With no awkward protrusions to poke the ears on the inner aspects, the Da Vinci can be used for longer listening sessions without discomfort.

Isolation is above average despite being vented, and I did not encounter any driver flex, which is a sign of a well-implemented acoustic design.




INTERNALS

The Da Vinci is a 6 driver hybrid. These drivers are arrayed in a 5-way crossover setup, via 5 separate acoustic tubes, in the following configuration:

• 1 x 10 mm biocellulose DD takes care of the sub-bass.
• 1x 8 mm biocellulose DD handles the mid-bass.
• A composite dual BA settles the midrange.
• 1x custom BA plays the treble.
• 1x custom ultra-high frequency BA controls the upper treble.

DRIVABILITY

I tested the Da Vinci with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW 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, with no hard requirements for amplification.


SOUND & TECHNICALITIES


Graph of the DUNU x Gizaudio Da Vinci via IEC711 coupler. 8 kHz is a coupler peak.

Tonally, the Da Vinci espouses a warm U-shaped tuning, which is pretty pleasant to the ears. Note weight is on the thicker side and perhaps only trebleheads will find the tuning to be not their cup of tea.

This set is sub-bass focused, with a big descending reverberating rumble. The choice of eartips does play a role in the bass amounts though, so do explore around with tiprolling to see what suits your preferences. Bass texturing is good and speedy, with not an ounce of mid-bass bleed on the S&S tips, though there is a bit of a mid-bass scoop out.

As per the U-shaped profile, the lower midrange is slightly concave, though with no mid-bass encroachment, this region is relatively transparent. With an 8 dB ear gain, the upper mids are forwards without veering too much to shouty territory at moderate volumes.

The Da Vinci is smooth in the treble. It will be a kindred spirit for treble-sensitive folk, though on the flip side, trebleheads might yearn for more sparkle and resolution. The tuning choice guarantees that we do not run into sibilance or splashiness, so this IEM can be used for longer listening sessions for sure.

Timbre-wise, there just a slight whiff of BA timbre in the upper registers. It certainly isn't the most egregious compared to other BA containing hybrids.

In technicalities, the Da Vinci has quite good imaging, though soundstage and micro-detailing are average amongst similarly priced hybrids. Nevertheless, music did not sound congested even during complex tracks, with commendable instrument separation.


COMPARISONS

The Da Vinci will be compared against other midFI hybrids. Single DDs, multi-BAs, and planars are omitted, as they have their own pros and cons due to the different transducer types.




Elysian Pilgrim

The Pilgrim has less mid-bass but more treble. As such, it sounds thinner than the Da Vinci in note weight, and is brighter. Admittedly, we do face treble-fatigue and some sibilance on the Pilgrim, especially if you are treble-sensitive.

In technicalities, the Pilgrim is ahead, with better soundstage, micro-detailing and resolution. Timbre is more natural on the Da Vinci however.

Do note, due to the Pilgrim's low 9 Ω sensitivity, it may be fussy to pair with sources > 1.125 Ω output impedance (based on the rules of eights), as higher OI sources may skew the sound signature. The Pilgrim also comes with a Pentaconn connector, which limits aftermarket cable pairing.


ZiiGaat Doscinco

The Doscinco is a darker and bassier IEM, with more bass quantity and lesser treble extension. The Doscinco loses in technicalities, with a smaller soundstage, poorer micro-detailing and imaging.

Additionally, the Doscinco has driver flex, which may be a potential deal breaker, and it has way less accessories.


CONCLUSIONS



The DUNU Da Vinci is a warm and pleasant hybrid that is well-suited for longer listening sessions, with minimal sibilance and fatigue. No doubt trebleheads might want a bit more pizzazz and sparkle - and we may have some penalties in resolution, micro-detailing and soundstage - but the Da Vinci otherwise comes across as very embracing and relaxing, with a thick and rich note weight greeting listeners.

The sub-bass is quite reverberating with good extension, and mid-bass texturing and speed are well done (do note: bass amounts can be modified with the different eartip permutations). Ergonomics, drivability and accessories are all very solid, and this musical hybrid can be recommended in the midFI market for fans of laid-back and warmish signature.

DISCLAIMER

I would like to thank Linsoul for providing this review unit.

The Intuaura Splendor II can be gotten here: https://www.linsoul.com/products/intuaura-splendorii (no affiliate links).




SPECIFICATIONS

• Driver configuration: 10 mm composite alloy diaphragm dynamic driver
• Frequency response: 20 Hz - 20 kHz
• Impedance: 18 Ω
• Sensitivity: 125 dB/Vmrs
• Cable: 2-pin, 0.78 mm; copper cable; 3.5 mm or 4.4mm termination available. Also can be used with included USB-C Phantasm DAC/AMP cable
• Tested at: $259 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)
- Eartip plastic tray
- Analogue cable
- DSP USB-C Phantasm cable
- Pouch
- Carrying case
- Spare nozzle filters
- Cleaning cloth

For a midFI set, the accessory spread is luxurious. Perhaps other than the omission of a modular cable or foam tips, Intuaura has the audiophile covered in most aspects.




2 variant of silicone tips are included - the wide-bore ones boost treble and increase soundstage, whereas the narrow-bore tips enhance bass, but with some compromise of soundstage. Additionally, the eartips come in their own cool plastic insert tray!




The stock analogue copper cable comes in a 3.5 mm (single-ended) or 4.4 mm (balanced) configuration. This cable is well-braided, though it has slight tangling. Microphonics are acceptable and there is a chin cinch for added grip.

Intuaura has also provided a small soft pouch and a semi-rigid carrying case. The latter is quite crush proof, with soft internals and webbing to cushion and carry the contents respectively.





We also have a cleaning cloth with a waifu, and spare nozzle filters, which are highly useful in the case of damage, debris or condensation.




Lastly, we have the all-important USB-C DSP dongle cable, which is actually one of the intended tunings when used with the Splendor II, to shape the tonality. Intuaura has termed their inhouse DSP technology as "Phantasm", and we will read more about it below.

The rest of this review was done with the stock DSP/analogue 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 Splendor II is fashioned from resin, with hand-painted faceplates featuring gold, blue and black sparkles. It is quite a looker. The shells are light with no poky parts on the inner aspects, and ergonomics are top-notch.

Isolation is below average in view of its vented acoustics. Thankfully, I did not find any driver flex on my pair.




INTERNALS

The Splendor II's engine is a 10 mm composite alloy diaphragm dynamic driver, incorporating CNC high-permeability N52 magnets.


DRIVABILITY

I tested the Splendor II with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is extremely easy to drive with both the DSP USB-C cable and stock analogue cable, and no amplification is needed.

However, this is a double-edged sword, as the IEM hisses with sources with a poor noise floor control on both cables.


SOUND & TECHNICALITIES


Graph of the Intuaura Splendor II with stock analogue cable, via IEC711 coupler. The 8 kHz region is a coupler artefact peak.

With the stock analogue cable, the Splendor II sports a bright and aggressive V-shaped tonality, and it sounds like something old-school of yesteryear's CHIFI tuning; in today's era of Harmanish measurebator approved graphs, we hardly encounter such sonics actually!

This IEM is focused in the mid-bass, with a big and fun thump on bassy tracks heard. The bass amounts are just a level or 2 shy of true basshead levels, and the sub-bass has a nice rumble and extension. Bass has good texturing and nimble speed, though the copious bass inevitably results in some mid-bass bleed.

The lower midrange is recessed as per the V-shaped tonality and does sound a wee bit thin. The upper mids are a bone of contention too, hitting almost 12 dB in ear gain. This results in a shouty soundscape - especially for female vocals - and sadly, the midrange is tonally flawed with the stock analogue cable.

The treble continues on from the upper mids peak, and there is another rise around the 5 kHz region, which furnishes good clarity. Upper treble extension tails off thereafter. Sibilance is minimal and we have good resolution on tap. Cymbals and high-hats are not too splashy and are actually well controlled.

Timbre is relatively natural. When it comes to technicalities, the Splendor II has great micro-detailing and accurate imaging, though soundstage is bang average. Transients are snappy.

Thankfully, for detractors of the overzealous upper midrange, we have another tuning option with the Phantasm DSP DAC/AMP dongle. With this DSP dongle in play, the Splendor II sounds U-shaped, with a taming of the bass and upper mids. These regions are hence not so in-your-face, and the Splendor II sounds more chill and laid-back. Female vocals are sedate and not piercing now. However, we lose the big bassy fun, and micro-detailing and resolution takes a back seat compared with when the analogue cable was used.

It has to be said, some consumers may feel hamstrung to have to use a DSP dongle to get their ideal tuning, and these DSP dongles do limit source matching, cable-rolling and might cap bitrate playback. EQ is a potential option for those sensitive to this IEM's pinna gain glare, though once again, purists may not want to utilize EQ, resulting in the above tonal flaws with the stock analogue cable being deal-breakers.


COMPARISONS

The Splendor II will be compared against other $200ish USD single DDs. Hybrids, planars and pure BAs are left out of the comparisons, as the different transducer types have their own pros and cons.

The analogue cable will be used for these comparisons.


DUNU Falcon Ultra

The Falcon Ultra has 2 tuning nozzles to also bestow 2 tuning options - one is laid-back and relaxed tonally, while the other nozzle gives a more standard Harmanish tone.

On the Harman nozzle, the Falcon Ultra has an upper mids boost, but this is way more controlled than the Splendor II's 12 dB pinna gain with the analogue cable. It is hence not as fatiguing or shouty as the Splendor II.

The Falcon Ultra's soundstage is a hair wider, though imaging is slightly better on the Splendor II.


Simgot EA1000

The EA1000 is actually not a pure single DD - it has an added passive radiator to give some bass heft - but it mostly functions as one, and is also one of the bona fide DD gatekeepers at $200ish. Thus, it would be remiss to not do a comparison against this benchmark, as some readers will surely ask for this comparison.

The EA1000 has 3 tuning nozzles to confer bright Harmanish tones. The EA1000 however, is not as boosted in the upper mids with all 3 nozzles, though it has less bass quantity. The EA1000 may be a tinge shouty to some consumers, but the Splendor II is actually worse in this arena, and the EA1000 has a tighter and more controlled bass.

The EA1000 has a slightly more expansive soundstage and better micro-detailing, though it loses to the Splendor II in imaging.




CONCLUSIONS

The Intuaura Splendor II is a beautiful but imperfect beast. While it has ingredients that should in theory promise success - namely, excellent resolution and imaging, natural timbre, princely accessories, solid ergonomics and easy drivability - tonal flaws are a blemish in its book. In stock tuning with the analogue cable, the Splendor II suffers from a feverish 12 dB ear gain, which contributes to shoutiness with female vocals, in addition to some mid-bass bleed and an overly depressed lower midrange.

Thankfully, the included DSP USB-C dongle alleviates the bass bleed and peakish upper mids, but we lose some resolution. I would have wished for something of a mid-point between the stock analogue cable and Phantasm DSP cable in terms of tonality and technicalities, but alas, we are stuck with either extreme. The 2 cables also have hiss noted on some sources, though the Splendor II is one of the easiest IEMs to drive.

In the big scheme of things, with big-boy benchmarks at the $200ish single DD pool - stellar luminaries like the Simgot EA1000 and DUNU Falcon Ultra are beckoning! - the Splendor II, while not an outright fail, falls behind in certain departments and comes across as quite forgettable.

DISCLAIMER

I would like to thank Simgot for providing this review unit.

The SuperMix 4 can be gotten here: https://www.linsoul.com/products/simgot-supermix-4 (no affiliate links).




SPECIFICATIONS

• Driver configuration: 1 x 10 mm polymer diaphragm dynamic driver + 1 x balanced armature driver + 1 x micro-planar driver + 1 x piezoelectric driver
• Frequency response: 20 Hz - 20 kHz
• Impedance: 7.2 Ω
• Sensitivity: 120 dB/Vrms
• Cable: 2-pin, 0.78 mm; oxygen-free copper silver-plated cable; 3.5 mm termination
• Tested at: $149.99 USD

ACCESSORIES

Other than the IEM, these are included:

- 3 pairs of silicone eartips (S/M/L)
- Cable
- Carrying case

The accessories are disappointing for something retailing north of a 100 bucks. Usually, gear at this pricing would incorporate a variation of eartips, in addition to perhaps a modular cable.




The sole set of silicone eartips are ergonomic and are serviceable sound-wise, though as stated, a wider selection of silicone tips or even foam tips would have been much appreciated.




The stock cable is an oxygen-free copper silver-plated cable, coming in a 2-pin termination. There is only a single-ended 3.5 mm option available, and it is nothing to write home about in terms of haptics. This cable is Litz braided and hefty, though it is somewhat tangly with a smattering of microphonics. There is a chin cinch for securing the IEM during usage.




Last but not least, we have a semi-rigid zipper carrying case. The innards have webbing and a soft material to cushion the contents, and the externals are tough enough to survive some compression.

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 fashioned from black 3D printed resin, with CNC-machined matte metal faceplates.

Weight and size is moderate, and comfort is surprisingly decent even when using the SuperMix4 for longer listening sessions. The inner aspects are smooth, with a concha protrusion for stability.



Isolation is above average, and it can be used in outdoor environments without much issues. I did not find any driver flex on my set.


INTERNALS

The SuperMix4 sports an eclectic array of drivers. We have 4 disparate driver types paired in a 4-way RC crossover design:
- 1 x 10 mm polymer diaphragm dynamic driver handles the bass.
- 1 x self-developed balanced armature settles the midrange - we do not have any information on the brand of the BA unfortunately.
- 1 x micro-planar driver takes care of the treble.
- 1 x piezoelectric driver with a multi-layer ceramic + copper coating pushes the upper treble.


DRIVABILITY

I tested the SuperMix4 with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

In terms of headroom requirements, the SuperMix4 is moderately drivable, and should be okay to be driven off weaker sources.

However, due to its ultra-low 7.2 Ω impedance, this IEM may be a potentially tricky pairing for sources with high output impedance, due to the rule of 8ths. Ideally, it should be used with sources with < 0.9 Ω output impedance, otherwise the frequency response might be skewed, and it may sound bassier (this may or may not be desired).


SOUND & TECHNICALITIES

Graph of the Simgot SuperMix4 via IEC711 coupler. 8 kHz is a coupler artefact peak.

Tonally, the SuperMix4 can be described as having a U-shaped signature when paired with a low output impedance source. This frequency response is pretty all-rounder for most music genres.

The SuperMix4 is sub-bass focused, with good extension and rumble. It isn't a basshead IEM, though the sub-bass is quite copious. The mid-bass has average texturing, though it is speedy with no mid-bass bleed.

The lower midrange has a small scoop-out as per the U-shaped signature, though it isn't as deeply depressed as a typical V-shaped IEM. This region is clear and transparent, with no mid-bass encroachment. The upper mids hit about 8 dB ear gain, which is at the edge: at low to moderate volumes, this region is forwards without shout - but at louder volumes (as per the Fletcher Munson curve), it may possibly be harsh for female vocals.

After the upper mids peak, the SuperMix4's treble tails off early, and this translates to minimal sibilance and a smooth treble. This will be a safe recommendation for the treble-sensitive, though understandably, trebleheads might want a bit more pizzaz here.

The SuperMix4 has commendable technicalities. It has an expansive soundstage in all 3 dimensions, with music projecting beyond the ears and forehead. Imaging is pinpoint, with superb layering and instrument separation. Indeed, the SuperMix4 handles complex tracks with aplomb. For something not overly steroid-boosted in the treble, the SuperMix4 still retains a good grasp of micro-details, but perhaps there are rivals which have better resolution.

I appreciate that despite packing a Frankenstein-mix of diverse driver types, the SuperMix4 has decent timbre for acoustic instruments and vocals. The myriad types of drivers match each other in speed and coherency, unlike some less well-implemented quad-brids, which suffer from phasing issues between the bass and treble for example, or have marked timbral differences.


COMPARISONS



The SuperMix4 will be compared against another MidFI quad-brid with a similar heterogenous driver configuration in the Kiwi Ears Quintet. The latter does have an additional BA, but otherwise is a suitable comparison, compared to traditional hybrids, single DDs, multi-BAs, and pure planars, which have their own pros and cons cause of the different transducers.


Kiwi Ears Quintet

The Quintet is more expensive at > $200 USD, and it utilizes a 10 mm diamond-like carbon (DLC) DD, 2 Knowles BA drivers, a 5 mm MPT (micro planar transducer) driver, and one piezoelectric driver.

The Quintet has a thinner note weight, with less bass but more treble. The Quintet also has less natural metallic timbre, and is notably more aggressive and harsher in the treble region, with sibilance in spades.

In technicalities, the Quintet has better micro-detailing, with imaging on par. However, the SuperMix4 beats it in soundstage and layering.


CONCLUSIONS



The SuperMix4 is a unique quad-brid, accommodating a varied - and exotic - array of driver types. This mishmash of transducers could easily flop in terms of timbre or coherency, but I'm pleased to report that Simgot has put them all in without much penalties in balancing.

Espousing a consumer-friendly U-shaped signature with a smooth treble, transparent midrange and speedy bass, the SuperMix4 is pretty all-rounded for most music genres. This set also has superb imaging and soundstage, and one can easily pinpoint instruments on a dark background. And this is without veering to an overly sterile soundscape or overzealous treble, with the robust sub-bass adding some musicality back to the equation.

Perhaps some minor flaws would be the upper midrange being at the border of shoutiness - this is apparent at louder volumes (as per the Fletcher Munson curve); using the SuperMix4 at lower to moderate volumes mitigates this - and the mid-bass could do with better texturing.

The SuperMix4 is ergonomic enough despite the moderate sized shells, with above average isolation. Sadly, the accessory line-up is lacking for the price, and its ultra-low 7.2 Ω impedance may potentially be a problem with higher output impedance sources, as per the rule of 8ths.

In the big scheme of things, the SuperMix4 does most departments well for a $100ish set, balancing musicality and technicalities, and it is something different from the run-of-the-mill sidegrades we see on a weekly basis.

DISCLAIMER

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

The Tanchjim 4U can be gotten here: https://hifigo.com/products/tanchjim-4u (no affiliate links).




SPECIFICATIONS

• Driver configuration: DMT-4 PU suspended LCP dome composite diaphragm dynamic driver
• Frequency response: 8 Hz - 48 kHz
• Impedance: 32 Ω
• Sensitivity: 122 dB/Vmrs
• Cable: 2-pin, 0.78 mm; copper-plated silver braid cable; 3.5 mm termination
• Tested at: $69.99 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
- Pouch
- Tool for turning rotary dial

The accessory line-up is more than decent for a sub-$100 USD IEM, perhaps other than the omission of foam tips.




2 variant of silicone tips are included: the wide-bore ones boost treble and soundstage, whereas the narrow-bore tips increase bass with some compromise in staging.




We have a 2-pin copper-plated silver braid cable, which is sheathed with silver-plated platinum. While it lies on the thinner side, it is tangle-free with minimal microphonics and a chin cinch. Definitely one of the more serviceable stock cables for an IEM below $100.




We have a velvet-like pouch to store the IEM, in addition to the all-important screwdriver-like tool to manipulate the tuning dial of the 4U. Do not lose it!

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 housings are fashioned from zinc alloy, with a frosted deposition. The faceplate has a pretty mirror-like finish that adds elegance, though this may be a potential scratch or fingerprint magnet (so do baby them carefully!).

With a bean-shaped small profile and light weight that is akin to the Shure type IEMs, the earpieces are ergonomic, and shouldn't pose a comfort issue. There are no awkward protrusions on the inner aspects to poke the ears.



Isolation is above average, and there is good venting with no instances of driver flex.


TUNING NOZZLES/INTERNALS

The 4U's engine is a dual-chamber DMT-4 PU suspended LCP dome composite diaphragm dynamic driver.

Tanchjim has also added a double composite DWR-coated mesh, that is condensation and dust resistant, which should mitigate condensation and moisture causing sonic imbalances.






Unlike the run-of-the-mill tuning switch or nozzle craze, the 4U - as per its namesake - has four tuning options via an adjustable rotary bass dial, something similar to that found in the Sennheiser IE80S. This involves using the screwdriver-like tool to turn the dial - it turns easily enough and is not that small, but this will require good eyesight and steady hands.




So we have a legit 4 tunings, from a cold neutral one AKA "monitoring" dial, to a warm-neutral presentation in the "atmosphere" dial, which has more sub-bass. The other tunings lie within these 2 extremes:

Graph of the Tanchjim 4U via IEC711 coupler. 8 kHz is a coupler peak.


After playing around with the dial, I preferred the "atmosphere" dial the most. Personally, I found the "monitoring" and "natural" dials a bit too bass-lite for my tastes, but the basslines are the most nimble on these, and fans of something leaner or thinner can definitely opt for these less bassy dials.


DRIVABILITY

I tested the Tanchjim 4U with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is moderately easy to drive. While one can get adequate headroom from a weak smartphone, it will scale with amplification in terms of dynamics and soundstage, and this is recommended.


SOUND & TECHNICALITIES

The following impressions were done with the "atmosphere" dial locked in - ie the bassiest tonality. This confers a warm neutral tonality as described above.

Even on this bassiest dial, the 4U isn't a basshead set at all, with a 7 - 8 dB bass shelf noted on this configuration. We hear decent sub-bass extension, but not the most robust rumble. Bass is nimble and quick, with no mid-bass bleed. Texturing is above average.

The 4U has a transparent lower midrange, with a 7 dB ear gain translating to forward vocals without shout.

Treble has decent extension without sibilance. It isn't the most airy or sparkly IEM, but balances a fine-line in furnishing resolution without overstaying its welcome, avoiding harshness.

As expected of a single DD, the 4U has legit timbral accuracy. I've no complaints on this front, with acoustic instrument playback sounding natural.

For technicalities, the 4U has good imaging, though soundstage is quite average. It isn't a tour de force in micro-detailing and resolution, and I would probably rank the 4U as average but not classleading in this department.


COMPARISONS

The 4U will be compared against other sub-$100 USD single DDs. Hybrids, planars and pure BAs are left out of the comparisons, as the different transducer types have their own pros and cons.

The "atmosphere" dial AKA bassiest configuration will be utilized for these comparisons.




Simgot EA500LM

The EA500LM has 3 tuning nozzles, and all 3 confer a bright Harmanish tone typical of the Simgot house sound. The EA500LM is brighter in the upper mids and treble as such, with more sibilance and shout noted (AKA a more aggressive tuning).

The EA500LM has a more metallic timbre, but beats the 4U in soundstage, imaging and micro-detailing. The EA500LM is easier to drive.


Oriveti OD100

The OD100 is a neutral bright IEM - it is way shoutier in the upper mids, more sibilant in the treble, with less bass. Indeed, the OD100 sounds more fatiguing and harsh than the 4U on all dial settings.

Timbre is worse on the OD100, and it has inferior soundstage, albeit the OD100 has a bit better micro-detailing and imaging.

The OD100 can be worn cable down or over-ears, so fit is a bit more versatile, but it is has no tunability.


Moondrop Aria 2

The Aria 2 follows the virtual diffuse sound field (VDSF) - which is Moondrop's in-house variant of the Harman curve. The Aria 2 has less bass, and is shoutier in the upper midrange.

Technically, the Aria 2 is slightly weaker, with a smaller soundstage and poorer imaging. The Aria 2 is easier to drive, though it has heavier and less ergonomic shells.


CONCLUSIONS



The Tanchjim 4U is a versatile single DD that operates thru a unique rotary bass dial, to bestow 4 tuning options from a cold neutral signature to a more laid back warm-neutral profile. Thus, it is quite versatile tonally, and isn't a gimmick unlike some "tunable" IEMs that have minimal changes in the frequency response (ie they are crowbarred in for the sake of marketing).

The 4U comes in a small ergonomic and lightweight bean-shaped design, with a generous accessory spread. Bass is tight and fast, with a clean midrange and a smooth treble response. Timbre is very organic and natural.

Some negatives would be the 4U having moderate driving requirements, and it is average in technical chops. The mirror-like shells, while beautiful, may be marred by fingerprints and scratches.

Otherwise, this should be an all-rounder introductory set with good versatility, something for folks who are looking to upgrade from the ultra-budget single DD pool.

DISCLAIMER

I would like to thank Hifigo for providing this unit.

The ROSESELSA RS9039 can be gotten here: https://hifigo.com/products/roseselsa-rs9039 or https://www.amazon.com/dp/B0D3PWW3C3/roseselsa+rs9039/ (no affiliate links).




SPECIFICATIONS/COMPATIBILITY



Tested at: $75.99 USD

The RS9039 is a plug-and-play dongle. No additional driver installation is needed for Windows 10 and above, and this dongle was easily recognized by various Windows and Android devices I paired it with. As I am not an Apple ecosystem user, I can't vouch for its compatibility with this subset of products.


ACCESSORIES



Other than the dongle, the packaging comes with:
- Carrying case
- USB-C to USB-C cable

While there is a lack of a USB-A adapter and Lightning cable, at least Roseselsa has provided a huge carrying case. This is large enough to store the dongle plus accessories, and the externals are hard, with soft cushioned internals.



The USB-C to USB-C cable is on the shorter side, though it is well braided with reinforcement at the cable insertion areas.


DESIGN/FUNCTION



The RS9039 is fashioned from CNC-machined aluminum alloy. It is literally built like a tank, with a matte silvery finish. All the edges are smoothened, with no poking parts, so do not worry about being stabbed during usage!

Measuring 48 x 22 x 12 mm, and weighing a mere 14.5 g, this dongle is very light and compact, and can easily fit in a pants pocket.

The RS9039 is a no frills dongle, with no app compatibility and no PEQ options. Neither does it have any filters or screen, and - this may be a deal-breaker for some - it glaringly does not have any volume controller or gain options. Hence, users are stuck to adjusting the volume at the upstream source (eg DAP, phone, computer etc).



On one end, we have the USB-C port for power and data, and the opposite end contains the 3.5 mm (single-ended) and 4.4 mm (balanced) ports, with both reinforced by gold-plating.



INTERNALS

This DAC/AMP is powered by an ES9039Q2M saber chip. It allows playback of PCM up to 32bit/384kHz, and DSD up to DSD256.

The back of the dongle incorporates the design schema, for the technical junkies that are interested in the inner workings.




SOUND/PERFORMANCE

I tested the RS9039 with only Android phones and Windows laptops and PCs. Once again, I'm not an Apple user, so I can't confirm its performance with Apple products.

On phones, I used the HiBy Music Player, with USB bit perfect OTG activated on a Samsung S22.


Tonally, the RS9039 sports a warm neutral signature. Timbre sounds natural with a relatively clear midrange. End-to-end extension is good.

When discussing technicalities, the RS9039 has an expansive stage, with excellent imaging and layering. Micro-detailing is captured well, with solid instrument separation. Essentially, nothing sounds claustrophobic or compressed, and the keyword to describe the soundscape would be "grand".

Power-wise, this dongle is marketed to output 240 mW (@32 Ω) for the single-ended port, and 300 mW (@32 Ω) for the balanced one. While the RS9039 would be considered to have big juice on tap, it isn't the most powerful dongle in this sub-$100 USD bracket - that goes to the Fiio KA13 - but it should power most gear out there, other than outlier beasts. Sadly, there are no gain settings available.

As usual, I put all dongles through a series of acid tests in driving ability:
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 4.4 mm, the E5000 was surprisingly driven well, with good bass texturing and speed, though soundstage was a tinge smaller than more powerful sources. The HD650 was amped solidly, soundstage and dynamics were not too far away from desktop type sources.

The final boss - the Yinman 600 ohm - which has a ridiculously low sensitivity coupled with high impedance, is not driven properly by the majority of portable devices. Headroom was reached adequately here, with surprisingly serviceable dynamics and soundstage, though bass was somewhat flabby. This is a commendable effort, as some pricier sources cannot drive the Yinmans to the same extent in terms of quality (not reaching the volume, but driving well).

This dongle gets warm but not hot even when paired with hard-to-drive behemoths. There is no hiss heard with sensitive IEMs. However, there was a minor "pop" heard on disconnecting IEMs. Some dongles have a worse "pop" suppression system, and this was just a small inconvenience noted here on the RS9039.

We have no information on the output impedance specs of this DAC/AMP, but I surmise that it should be relatively low, as fastidious low impedance IEMs that were paired with it sounded similar tonal-wise.


COMPARISONS

Comparisons will be made against other sub-$100 USD dongles.



Penon Tail

The Penon Tail uses dual CS43131 chips; it is also a barebones dongle in not having EQ, app, DAC filters, or a screen. However, the Tail does have a volume control, but this is not independent with wide steps between each level. Additionally, the Tail has no "pop" suppression installed, and the Tail fares much worse, with a way larger "pop" noted on removing IEMs.

The Tail is more neutral but with a thinner note weight and a more artificial timbre. The Tail's power specs are roughly half - 151.25 mW (at 32 ohms) on 4.4 mm - compared to the 300 mW on offer with the RS9039. As such, the Tail cannot drive too demanding gear.

The Tail falls behind in technical pefrormance, espousing weaker soundstage and imaging.


Fiio KA13

The KA13 is a neutral bright dongle with dual CS43131 DAC engines. It is brighter, with potentially more sibilance in the higher-end. The KA13 is also more metallic, and doesn't sound as full in tone.

The KA13 on 4.4 mm desktop mode can hit 550 mW output (THD+N balanced＜0.0005% (32 Ω)), trumping the 300 mW available on the RS9039. Hence, the KA13 can potentially juice more demanding outliers, though we can't game physics as the KA13 gets hotter during use, with more battery drainage.

In technicalities, the KA13 is inferior in soundstage and imaging.

However, the KA13 has more UI goodies to play with - it has a Fiio control app for settings configuration, in addition to having a well-implemented independent volume control with finely tuned steps.



CONCLUSIONS

The Roseselsa RS9039 is a unique of flower within the dongle greenhouse ecosystem. It is a source designed splendidly when it comes to music appreciation - there is huge power available to drive most gear - coupled with excellent technicalities, housed within a warm neutral signature. Soundstage and imaging are a highlight, and it sounds "grand". On A/B comparisons against other dongle rivals, these other contenders sound compressed in contrast.

However, some consumers might find the RS9039's UI to be sorely lacking, with no app, PEQ, filters, nor screen. It does not even have a volume controller or gain options, which is a admittedly a potential deal-breaker! It seems that Roseselsa has concentrated most of their efforts into the tuning and music playback, but the rest of the bells-and-whistles of a modern day dongle are somewhat undercooked, so to speak.

Thankfully, the RS9039 is built like a tank, with a compact and portable frame, and it comes with a big carrying case. The RS9039 does not heat up drastically during usage too. Though there is a bit of a "pop" noted on disconnecting transducers, there are other dongles that do much worse in this arena.

All things considered, this DAC/AMP is one for the true audiophile connoisseur: someone that focuses purely on the music and wants superb sonic reproduction, without caring about external aspects like volume controls or filters or PEQ. In all likelihood, if you are reading this, you probably fall in the former camp of wanting the best-sounding dongle at sub-$100 USD, and this might hit the spot. For lay-consumers that want something more friendly in terms of value-added functions, there are other dongles to consider, though with perhaps compromises in technicalities or tonality.

DISCLAIMER

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

The AFUL Explorer can be gotten here: https://hifigo.com/products/aful-explorer (no affiliate links).




SPECIFICATIONS

• Driver configuration: 1 x 8 mm bio-cellulose diaphragm dynamic driver + 2 x self-developed balanced armature drivers
• Frequency response: 10 Hz - 30 kHz
• Impedance: 26 Ω
• Sensitivity: 108 dB/mW
• Cable: 2-pin, 0.78 mm; copper silver-plated cable; 3.5 mm or 4.4 mm termination available
• Tested at: $119.99 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
- Carrying case

For a $100ish USD set, the accessories are decent enough. A modular cable or even a selection of foam tips or other silicone type variants would have been appreciated, but this array of inclusions is definitely serviceable for this price-bracket.




We have 2 variants of silicone tips, the white wide-bore ones boost a bit of treble and soundstaging, whereas the blue narrow-bore ones increase bass with some slight staging compression.




We have a stock 2-pin copper silver-plated cable, which AFUL markets to be individually hand-braided. Indeed, this is one of the better stock cables I've encountered in my audio journey - it is supple with zero microphonics or tangling. There's a chin cinch for added grip, and one can opt between a 3.5 mm (single-ended) or 4.4 mm (balanced) cable when placing an order.




Last but not least, there is a round clam-shell zipper case, which is semi-rigid. The internals are lined with webbing and a velvety material for cushioning the contents.

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 Explorer's housing features a blue and black cosmic motif. The shells are fashioned from 3D-printed resin, and the earpieces are lightweight and ergonomic, incorporating a small bean-shaped profile. There's a conch protrusion for stabilization during usage, and I did not encounter any discomfort despite using it for longer listening sessions.



Despite being vented, isolation is above average, and I did not encounter any driver flex on my pair.


INTERNALS

The Explorer is a 3 driver hybrid, comprised of a 1 x 8 mm bio-cellulose diaphragm dynamic driver, plus 2 x self-developed balanced armature drivers.

Like other AFUL products - you can read about the MagicOne for example - this IEM incorporates some innovative tech.

Firstly, we have a special 3D-printed acoustic tube with a deliberately-designed resonator, which elongates the rest of the tubing and enhances bass. This is no gimmick, and as we will read below, this micro-resonator system provides quite a copious amount of sub-bass on this set, more so than what a conventional acoustic tubing can provide.



AFUL has also installed a high-damping air pressure system, which relieves ear canal pressure, in addition to boosting bass presence. Also, we have a multi-layered electronic crossover plus RLC network frequency division crossover utilized in this IEM.


DRIVABILITY

I tested the Explorer with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is easily driven, and amplification is not truly required.


SOUND & TECHNICALITIES


Graph of the AFUL Explorer via IEC711 coupler. 8 kHz is a coupler artefact peak.

Tonally, the Explorer can be described as neutral with a sub-bass boost. This is quite distinctive, compared to the dime-a-dozen Harmanish releases we see every week.

The Explorer is a sub-bass focused set, with the aforementioned bass tubing conferring deep sub-bass extension, with sufficient rumble. This is not a basshead IEM by any means though, but the mid-bass is punchy and speedy, with no mid-bass bleed. Texturing is very solid.

The Explorer's lower midrange is clear and transparent, with no mid-bass encroachment. With a mere 4 dB ear gain, the upper midrange is sedate and pulled back, so we do not encounter shouty vocals - the anti-pinna gain gang would be very pleased here!

The treble is smooth and non-fatiguing, with no sibilance noted. Even though it is not steroid-boosted in the treble - which is a common party trick that CHIFI tuners use to garner "fake" resolution - the Explorer is not lacking in resolution. Note edges are somewhat blunted to remove fatigue. Verily, this is one of those rare IEMs that can be pushed up higher in the volume without getting ice-picks in the ear - as per the Fletcher Munson curve.

In technicalities, as detailed above, the Explorer has a fine grasp of micro-detailing and resolution despite not packing a high-strung treble. Imaging is accurate and instrument separation is excellent, even on tracks with competing complex instrumentation. One area that could be improved, would be the soundstage - while width is above average - height and depth are bang average.

The AFUL Explorer has a tinge of BA timbre in the upper frequencies when acoustic instruments come out to play, but this is not the worst offender here.


COMPARISONS

The AFUL Explorer will be compared against other $100ish USD hybrids. Single DDs, multi-BAs, and planars are left out as the different driver types have their pros and cons.




Simgot EM6L

The EM6L is a harmanish hybrid, with less sub-bass but more upper mids than the Explorer. Indeed, this IEM's upper midrange may be somewhat sharp for those who are sensitive to pinna-gain.

The EM6L has a wider soundstage, but has weaker imaging, micro-detailing and instrument separation. The EM6L has a more metallic timbre.


Penon Fan 2 (on the regular 50% off coupon it is a $100 ish set)

The Fan 2 is a warm neutral set, with less bass presence than the Explorer. However, the Fan 2 has a thicker note weight in the lower mids, with better timbral accuracy.

In terms of technicalities, other than soundstage, the Fan 2 loses in other departments such as imaging, instrument separation and micro-detailing. Bass is also not as textured on the Fan 2.

Of note, the Fan 2 has super long nozzles, which may potentially pose a fitting issue for some consumers. The Explorer, in contrast, is very well fitting.


CONCLUSIONS



In a sea of Harmanish releases, the AFUL Explorer espouses a unique neutral with sub-bass boost tonality, which is quite balanced for a myriad of music genres.

Bass is the highlight - with a cleverly designed micro-resonator furnishing great sub-bass extension. Fast and clean literally describes the bass quality on offer - we hear punchiness and solid texturing with zero bleed - though it has to be said, the Explorer is not a basshead IEM in terms of sheer quantity.

This IEM's midrange is clean, with no piercing upper midrange; pinna-gain detractors will definitely approve of this! Treble is smooth yet retaining good resolution, which is admittedly a very difficult balance to obtain. The Explorer is one of those rare IEMs that allows users to jack up the volume without the eardrums getting pierced by a massive peak in the upper frequencies, so this will be a good option for those that like to blast their music.

In non-tangible assets, the Explorer is decently accessorized, with comfortable fit, above average isolation and easy drivability, making it a suitable everyday carry (EDC). Some nitpicks would be a soundstage on the intimate side and a small whiff of BA timbre for acoustic instrumentation.

By and large, at the low $100 bracket, the AFUL Explorer stands out for the multiple benefits - tuning, technicalities, externals etc - it brings to the table, with few cons. And all this is with a non-Harman inclined frequency response, so it isn't something we see - or rather, hear - every day. For folks who are keen to upgrade from the budget segment, the Explorer would certainly be a great recommendation.

DISCLAIMER

I would like to thank Hidizs for providing this unit.

The S8 Pro Robin can be gotten here: https://www.hidizs.net/products/hidizs-s8-pro-robin-hifi-balanced-dongle-dac (no affiliate links).




SPECIFICATIONS/COMPATIBILITY

• DAC Chip: Dual CS43131 Cirrus Logic
• Weight: 17 g
• Dimensions: 58 × 23 × 11 mm
• Output ports: 3.5 mm single-ended and 4.4 mm balanced
• Typical output power: 3.5 mm single-ended: 80 mW (@32 Ω); 4.4 mm balanced: 160 mW (@32 Ω)
• Playback: PCM up to 32 bit/384 kHz; DSD 256
• THD+N: 0.0005% for 3.5 mm; 0.0006% for 4.4 mm port
• Frequency response: 20 Hz - 45 kHz
• S/N: 125 dB for 3.5 mm port; 128 dB for 4.4 mm port
• Tested at: $69 USD (special launch price of $65 USD for first 100 units)

The Robin is a plug-and-play dongle. I did not need any additional driver installation for Windows 10 and above, and this dongle was easily picked-up by various Android and Windows devices I paired it with. Unfortunately, I do not use Apple devices and hence cannot vouch for their compatibility.


ACCESSORIES

Other than the dongle, the packaging comes with:
- Lightning to USB-C adapter
- USB-C to USB-C cable
- USB-C to USB-A adapter
- Plastic case
- Hi res stickers



The accessories are definitely up-to-the-mark for a sub-$100 USD dongle packaging. We even have a Lightning adapter for our Apple ecosystem friends, which is something often neglected. The provided USB-C to USB-C cable is on the shorter side but is flexible enough, with strain reliefs at each terminal.

We have a nice plastic case to store everything, and there's even a bunch of HI RES audio stickers! Well, if you are interested to read more about these controversial stickers, feel free to check out this post on their origins: https://www.head-fi.org/threads/the-discovery-thread.586909/page-5424#post-17611464


DESIGN/FUNCTION



The Robin is fashioned from CNC-molded aluminum alloy, and is lined by a matte jet-black hue. There are glass panels on both the top and bottom of the chassis, and it's quite elegant, sleek and mature-looking for sure. Build is very solid, and weighing just 17 g and measuring 58 × 23 × 11 mm, it is very compact and can easily fit into a pocket or pouch.



This DAC/AMP has no display screen. Neither does it have an app or PEQ, but thankfully it comes with 6 DAC filters.




On one end of the fuselage, we have the USB-C port, which functions as a data and power port.




On the opposite end, we have the 3.5 mm (single-ended) and 4.4 mm (balanced) port, with the latter reinforced with gold-plating.



On the side of the dongle we have 3 buttons. The outer 2 function as volume controls, with fine volume steps with each press. Sadly, the Robin does not have an independent volume controller. The middle round button is a pause/play button. This is a nice touch - no pun intended - as some other dongles do not incorporate a pause button, necessitating users to fiddle with the upstream source to do so.

Pressing the 2 volume buttons simultaneously toggles thru 6 different DAC filters:


The DAC filters are quite subtle but they do change the sonics slightly, so do explore around to see what suits your needs.



The Robin has an LED light at the bottom of the glass panel, which changes colour to reflect the current sampling rate:

• Yellow: DSD 64/128
• Purple: DSD 256
• 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

INTERNALS

This DAC/AMP is powered by dual CS43131 chips. It allows playback of PCM up to 32bit/384kHz, and DSD up to DSD256.



CIRRUS' Popguard® technology is incorporated here, which is a handy tool to prevent a "POP" discharge during disconnecting of transducers.


SOUND/PERFORMANCE

I tested the Robin with only Android phones and Windows laptops and PCs. Once again, I'm not an Apple user, so I can't confirm its performance with Apple products.

On phones, I used the HiBy Music Player, with USB bit perfect OTG activated on a Samsung S22.



Tonally, with the stock DAC filter, this dongle can be described as warm neutral. Essentially the lower mids region is a bit thicker than neutral, adding heft and note weight, though it does add minor colouration to the mix. Treble seems a touch restrained, allowing the upper mids to be blunted a tinge, with mostly sibilant-free sonics. Overall, this imparts a mostly smooth soundscape with natural timbre.

In technicalities, soundstage is broad in width and height, with solid imaging. It has average micro-detailing, and instrument separation is done well for a sub-$100 dongle.

Power-wise, the Robin juices out 80 mW (@32 Ω) for the single-ended port, and 160 mW (@32 Ω) for the balanced one. These are quite standard specs when compared to modern day dongles - it isn't the most powerful dongle in existence - but it will do a serviceable job in powering most IEMs, other than outlier gear. Sadly, there are no gain switches available.

As usual, I test all sources with 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 4.4 mm, the E5000 was adequately powered in terms of headroom, but the bass was flabby and one-noted. The HD650 sounded quite dynamic with decent soundstage, though it wasn't the tightest in the bass. Headroom was once again not an issue here, more of the bass control.

The final boss - the Yinman 600 ohm - which has an absurdly low sensitivity coupled with high impedance, is not driven properly by most dongles, or even DAPs. Unsurprisingly, the Robin struggles in terms of bass texturing and dynamics, though headroom was covered sufficiently.

I appreciate that this dongle runs cool during usage, even when driving power-hungry goliaths. There is no hiss heard with sensitive IEMs, and the well-implemented anti-POP design eliminates "popping" when removing transducers.

We have no information on the output impedance specs of this dongle, but it should be relatively low, as
fussy low impedance IEMs that I played with the Robin sounded not too skewed in frequency response.


COMPARISONS

Comparisons will be made against other sub-$100 USD dongles that utilize Cirrus DAC chips.


Penon Tail

The Penon Tail also uses dual CS43131 chips, but it is a more barebones dongle: in addition to not having app compatibility or EQ, the Tail also does not have DAC filters, LED lights, screen, and an independent volume controller. The volume steps are also more widely spaced on the Tail, and it has an annoying "pop" on removal of transducers.

The Tail is neutralish but with a thinner note weight and a more metallic timbre. Both dongles have similar power specs - on balanced, the Tail can pump out 151.25 mW (at 32 ohms), which is very close to the 160 mW on offer with the Robin.

In terms of technicalities, the Tail is weaker in soundstage and micro-detailing, with imaging on par.


Fiio KA13

The KA13 is a neutral bright dongle that also houses dual CS43131 chips. It is a brighter source, with more fatigue and sibilance in the higher frequencies. The KA13 is also more sterile in note weight, and doesn't sound as full.

The KA13 on 4.4 mm desktop mode can hit 550 mW output (THD+N balanced＜0.0005% (32 Ω)), beating the power output of the Robin handily. It can thus power more demanding stuff, albeit the KA13 gets much hotter during usage, with worse battery drainage.

In technicalities, the KA13 has a slightly wider soundstage but worse imaging. Micro-detailing is similar.

For those looking at UI aspects, the KA13 has a Fiio control app for additional settings to configure, in addition to having a well-implemented independent volume control with finely tuned steps.


CONCLUSIONS



In the ultra-competitive sub-$100 USD dongle nuclear race, the Hidizs S8 Pro Robin fares decently. It brings a warm neutral soundscape to the table, with good imaging and soundstage.

The Robin runs cool during usage, with a small lightweight profile, and it has 6 DAC filter options to play with. Volume steps are finely tuned, though sadly there are no independent controls. Accessories are also generously provided for, with even Apple users covered with the provision of a Lightning adapter. There is no hiss with fastidious high sensitivity IEMs, and there is a well-implemented anti-POP design, so users don't get a nasty "POP" in the ears on removing gear.

Otherwise some nitpicks would be this dongle lacking an app or EQ functions, and it is also not the most powerful one in its price bracket, though the Robin should comfortably drive the majority of IEMs out there, other than outliers.

All-in-all, this is a reasonable dongle at the sub-$100 USD range to consider; one that eschews the usual overly bright steroid-infused sonics that veer towards sterility, and is something that is both musical with ample technicalities to boot.

DISCLAIMER

I would like to thank Linsoul for providing this review unit.

The ZiiGaat Doscinco can be gotten here: https://www.linsoul.com/products/ziigaat-doscinco (no affiliate links).




SPECIFICATIONS

• Driver configuration: 2 x 10 mm polymer diaphragm dynamic drivers + 1 x Sonion 26A05 BA + 1 x Sonion 2354 BA + 1 x Knowles 33518 BA
• Frequency response: not stated
• Impedance: 16 Ω
• Sensitivity: 104 dB
• Cable: 2-pin, 0.78 mm; no information on cable materials
• Tested at: $269 USD

ACCESSORIES

Other than the IEM, these are included:

- 3 pairs of silicone eartips (S/M/L)
- 1 pair of foam eartips
- Cable
- Carrying case

For a midFI set, the accessories are seriously lacking. Rivals at this price point usually provide a wider array of tips or modular cables. Indeed, there are even some cheaper gear that put the accessory provision of the Doscinco to shame.




Nevertheless, the eartips are serviceable from a fit and sonic perspective. The foam ones tame treble and improve isolation, whereas the silicone tips are more balanced sound-wise.




We have no information on the cable make-up, but this is a 2-pin one which is well-braided with minimal tangling. There's a chin cinch for grip and there are surprisingly no microphonics. During ordering, one can opt for a 3.5 mm (single-ended) or a 4.4 mm (balanced) cable, depending on your source preferences.




Lastly, we have a square semi-rigid case, which operates via a zipper. It is tough enough to suppress compressive forces, with inner webbing to cushion the contents.

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 Doscinco is fashioned from resin, and has an elegant jeweled faceplate. Build is solid, with good isolation; this IEM is a suitable option for outdoor usage or noisy environments.

Sadly, with the silicone tips in place, I encountered driver flex on one side of the housings, but this is partially dependent on eartip choice and ear anatomy (the foam tips can attenuate this driver flex).



The Doscinco fits well, and is light. There are no sharp protrusions on the internal aspects, and this translates to great comfort for long listening sessions.


INTERNALS

The Doscinco is a 5-driver setup, comprised of the following configuration:

• 2 x 10 mm polymer diaphragm dynamic drivers (arranged in an isobaric arrangement) handles the bass frequencies
• 1 x Sonion 26A05 BA + 1 x Sonion 2354 BA take care of the midrange and lower treble
• 1 x Knowles 33518 BA settles the upper treble

These are aligned in a 3-way cross-over.




DRIVABILITY

I tested the Doscinco with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is easily driven, and amplification is not truly required.


SOUND & TECHNICALITIES


Graph of the ZiiGaat Doscinco via IEC711 coupler.

Tonally, the Doscinco is a bassy L-shaped beast, with the frequency band skewed to the lower ranges.

The 2 isobaric DDs furnish a big 10 dB bass shelf, with a sub-bass focus. We hear basshead levels of sound, with excellent sub-bass extension. In fact, on bass-heavy tracks, there's a tactile and visceral rumble that descends to the chest! The mid-bass has decent texturing and speed, though there is inevitably a degree of mid-bass bleed, which isn't unexpected with such copious bass on tap.

The lower midrange is warmed by the gargantuan bass, giving lots of heft to this region. There's some veiling of transparency as a consequence, but this region is lush and thick. With a 7 dB ear gain, the upper mids are forwards but not peaky.

The Doscinco has a darkish treble with an early roll-off. This will be a perfect set for treble-sensitive consumers, with no sibilance or fatigue noted. Understandably, trebleheads will need to consider alternatives.

There's some BA timbre in the higher registers handled by the BAs, with slight hollowness to acoustic instrumentation. Brasses and woodwinds don't really have the typical metallic overtones or airy tail to notes. Thankfully, vocals are decent enough in playback.

In technicalities, while not that micro-detailed - this is a function of the darkish treble after all - the Doscinco preserves a good soundstage (in all 3 dimensions), with solid instrument separation. Imaging is quite accurate.


COMPARISONS

The Doscinco will be compared against other midFI hybrids. Single DDs, multi-BAs, and planars are left out as the different driver types have their pros and cons.


Penon Fan 2

The Fan 2 is a warm neutral hybrid. It has less bass than the Doscinco, but a thicker midrange. Treble is also rolled-off.

The Fan 2 has an inferior soundstage and imaging, though micro-detailing is about on par.

The Fan 2 is a bit more natural in timbre, but has potential fitting issues due to overly long nozzles; this may be a deal-breaker for some.


Letshuoer Cadenza 4

The Cadenza 4 is a neutral set with way lesser bass than the Doscinco. The Cadenza is more sterile sounding as a result, with a thinner note weight. In fact, on back-to-back comparisons, there is a starkly anemic bass heard here, compared to the powerful reverberating one of the Doscinco. The Cadenza's bass is speedier and more nimble though.

The Cadenza 4 has better soundstage and micro-detailing, but may be a bit hotter and sibilant in the treble.

The Cadenza is harder to drive but comes with a better accessory line-up.




CONCLUSIONS

In a sea of weekly Harmanish releases, the ZiiGaat Doscinco espouses a less commonly heard basshead L-shaped tuning. Indeed, the sub-bass descends to the depths of the chest, with a mammoth visceral rumble. It retains decent technical performance - in particular soundstaging and imaging - for a basshead set, so it isn't a total one trick pony per se.

The Doscinco is also safely tuned for those that fear a sibilant treble, and coupled with the comfortable ergonomics, it can be used for marathon listening sessions without fatigue (sound-wise and fit-wise).

Additionally, this IEM isolates well, so it can be used in noisy environments without substantial penalties in sound. Speaking about other non-sonic aspects, the Doscinco's accessory spread is rather disappointing, and there is some driver flex, though this can be mitigated with eartip choice (eg foams should relieve the flex).

The Doscinco isn't the most resolving IEM in the treble area - what with the darkish tuning - so trebleheads need not apply. Also, there is some BA timbre residing in this frequency band, but by-and-large, lovers of a gargantuan bass that doesn't totally ignore technicalities should check out this basshead fun-sounding hybrid.

DISCLAIMER

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

The Celest Relentless can be gotten here: https://hifigo.com/products/kinera-celest-relentless (no affiliate links).




INTRODUCTION

For folks that are interested in a little ancient Chinese mythology, the "Relentless" namesake used for this IEM is actually from a touching story of a legendary guardian bird:



SPECIFICATIONS

• Driver configuration: 8 mm dynamic driver + 2 x 29689 balanced armature drivers + 4 x 10012 balanced armature drivers
• Frequency response: 20 Hz - 20 kHz
• Impedance: 27 Ω
• Sensitivity: 105 dB
• Cable: 2-pin, 0.78 mm; 5N copper silver-plated cable; modules for 3.5 mm and 4.4 mm terminals
• Tested at: $169.99 USD

ACCESSORIES

Other than the IEM, these are included:

- 3 pairs of Celest 221 "vocal" silicone eartips (S/M/L/)
- 3 pairs of Celest 608 "balanced" silicone eartips (S/M/L)
- 2 pairs of foam tips (M/L)
- Cable
- Modular plugs for 3.5 mm and 4.4 mm
- Metal bookmark
- Carrying case
- Cleaning brush

For a $100ish USD set, the accessories are very generous; essentially, everything that an audiophile would require is covered.




The black Celest 221 tips are wide-bore and they boost treble and soundstage. The red Celest 608 are narrow-bore, and these increase bass, though with some stage compression. The foam tips provide the best isolation, albeit with a attenuation of the treble frequencies.




The stock copper silver-plated cable is well-braided and tangle-free, with minimal microphonics. There's a chin cinch for added grip. It comes with options for 3.5 mm (single-ended) and 4.4 mm (balanced) modules, depending on your source preference. A nice touch is that the distal terminal has a screw on design, so that the module doesn't inadvertently drop out during usage, which is something not uncommon in flimsy modular cables which are just plug-on.




The metal bookmark, as detailed above in this tragic story of the guardian deity bird, dovetails (no pun intended) beautifully with the Relentless moniker.




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

The rest of this review was done with the stock cable and stock narrow-bore Celest 608 silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.


BUILD/COMFORT



The housings are fashioned from HeyGears 3D-printed dermatologically-friendly resin. The faceplates are individually hand-painted, so each earpiece is unique! These faceplates showcase feathers of the guardian bird, coupled with waves of the tumultuous East China Sea, as per this storied narrative.



The shells are semi-transparent, allowing consumers to visualize the acoustic tubing and drivers!

While on the larger side to accommodate 7 drivers per shell, the housings are light, and I had no issues using the Relentless for longer listening sessions. The inner aspects are smooth with no awkward protrusions.



I did not encounter any driver flex on my pair. Isolation is slightly above average, and this IEM can be used in noisy places without much penalties.


INTERNALS

The Relentless is a 7 driver setup, comprised of the following configuration:

• 1x 8 mm dynamic driver takes care of the bass and midrange.
• 2 x 29689 BAs settle the lower treble
• 4 x 10012 BAs handle the upper treble

DRIVABILITY

I tested the Relentless with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM has moderate drivability requirements. It is not an extremely easy IEM to drive, and will scale slightly with amplification, in terms of headroom and dynamics.


SOUND & TECHNICALITIES


Graph of the Celest Relentless via IEC711 coupler.

Tonally, the Relentless sports a bright V-shaped tuning. It promises an exciting listening session, melding a big fun bass with a well-extended and resolving treble. This is in contrast to Celest's usual darker house sound.

This is a mid-bass focused set, with bass north of neutral, but just a bit shy of bona fide basshead levels. There's decent sub-bass rumble and an impactful mid-bass. The bass is surprisingly textured, with nimble speed and just a slight smattering of mid-bass bleed.

As per its V-shaped signature, the lower midrange is recessed to some extent, though thankfully there is no huge bass encroachment, so this frequency band remains relatively transparent. Upper mids hit about 8 dB ear gain, and vocals are forwards without pushing into overt shouty territory.

The Relentless has a bright treble, furnishing lots of resolution and clarity, with lots of air. This IEM will be a blessing for trebleheads for sure, though we do run into some instances of sibilance. Thankfully, for the treble-sensitive amongst us, this region can be tamed somewhat with the foam or narrow-bore silicone tips, in addition to perhaps using a warmer source or not playing the Relentless at high volumes (Fletcher Munson curve).

There's just a minor whiff of BA timbre, and for a set that packs so many BAs, timbral accuracy is surprisingly decent. Note weight is a tinge on the lighter side, but by and large, acoustic instruments and vocals sound quite natural (don't be expecting single DD levels of timbre of course).

Technical chops on the Relentless are quite something, with a huge soundstage, well-layered instrument separation and superb micro-detailing. The Relentless has one of the better soundstages for a $100ish IEM, with sound projecting quite far beyond the ears in width, with good depth and height to boot. Imaging is relatively accurate and transients are crisp.


COMPARISONS

The Relentless will be compared against other midFI hybrids. Single DDs, multi-BAs, and planars are left out as the different driver types have their pros and cons.


Binary X Gizaudio Chopin

The Chopin is a U-shaped set with a mammoth lower midrange/lower mids scoop out. Thus, the Chopin sounds much thinner and anemic in this area, with an artificial metallic timbre.

In technical aspects, the Chopin has a more claustrophobic soundstage, with weaker imaging and micro-detailing. The Chopin also has unique tear drop shaped shells which may possibly pose fitting issues.


Penon Fan 2

The Fan 2 is tuned warm neutral. It has a linear bass (with less quantity), though it has a thicker and lusher midrange than the Relentless. The Fan 2's treble is blunted, with some loss of resolution. The Fan 2 is however, more sedate and less sibilant in the treble. Of note, the Fan 2 is inferior in soundstage, micro-detailing and imaging.

Many consumers complain about fitting issues with the Fan 2's long nozzles, so this might be a potential deal-breaker.




CONCLUSIONS

The Celest Relentless is one of the better $100ish hybrids one can get their paws on as of the time of writing. It compares very favourably against some similarly priced hybrid rivals, beating them in technicalities.

Segueing seamlessly into this poignant and stirring chronicle of the legendary guardian Relentless bird, this IEM has well-matched - and generous - accessories, elegant faceplates and comfortable ergonomics.

Bestowing a bright V-shaped signature, the Relentless has excellent technical chops, in particular micro-detailing and soundstage are the stars of the show. The bass has a good mix of quantity and quality, with a very resolving and extended treble making this the perfect set for trebleheads and detail-freaks. To top it off, timbre is surprisingly natural for something containing so many BAs.

It may be a tinge spicy for our treble-sensitive friends, but thankfully the treble region can be mitigated with foam tips or warmer source pairing or even playback at non-high levels (as per the Fletcher Munson curve). The midrange is a wee bit depressed - as per V-shaped style tuning - so mid-lovers might want to look for something else that beefs up the lower midrange more. However, it has to be said, the Relentless is not as anemic-sounding as something like the Binary Audio Chopin, which has a way more concave lower-midrange.

All things considered, the Relentless gets my recommendation for folks who are looking for a solid entry-level V-shaped midFI hybrid, which is beautiful on the inside and outside.

DISCLAIMER

I would like to thank Linsoul for providing this review unit.

The Shozy P20 can be gotten here: https://www.linsoul.com/products/shozy-p20 (no affiliate links).




SPECIFICATIONS

• Driver configuration: 14.5 mm planar driver
• Frequency response: 5 Hz - 40 kHz
• Impedance: 30 Ω
• Sensitivity: 105 dB/mW
• Cable: 2-pin, 0.78 mm; modular cable with 3.5 mm and 4.4 mm terminals; no information about cable materials
• Tested at: $139 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
- Carrying case

The accessories are serviceable for a $100ish planar IEM. It isn't the best though, as we are missing foam tips and a modular cable, something that may be offered in a similarly priced competitor.




We have a selection of 2 variants of silicone tips. The wide-bore ones boost treble and enhance soundstage, whereas the narrow-bore ones increase bass, with some compromise in staging.




We have no information on the stock cable materials, though it is a disappointment, being thin and tangling easily. Thankfully, it has a chin cinch, though there is a smattering of microphonics. During ordering, one can opt for a 3.5 mm or 4.4 mm terminated version.




Last but not least, we have a semi-rigid zipper carrying case. This is tough enough to withstand compressive forces, with an inner soft lining and webbing.

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 P20's housings is made of black matte resin, with a cool carved maze-like faceplate. It certainly is quite unique aesthetically.

The shells have moderate weight and lie on the larger side, though thankfully I found the comfort to be okay for longer listening sessions.



The P20 is a vented IEM and hence isolation is bang average. Despite the vents, I encountered driver flex on my pair, though this is semi-dependent on eartip choice and ear anatomy.


INTERNALS

The P20 houses a 14.5 mm planar driver.


DRIVABILITY

I tested the P20 with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is relatively difficult to drive. Amplification is recommended to scale soundstage, bass tightness and dynamics.


SOUND & TECHNICALITIES


Graph of the Shozy P20 via IEC711 coupler. 8 kHz is a coupler artefact peak.

Tonally, the P20 is a warm and bassy IEM, with note weight on the thicker side.

The P20 has a predilection for the sub-bass frequencies, with decent extension. Quantity-wise, it is north of neutral, and when well amplified, the bass is impactful and textured, with moderate speed. We do run into some mid-bass bleed though.

There is a slight lower midrange depression, with this region warmed tremendously by the copious bass. This adds lots of heft to this frequency band, though there is some veiling of sonics as a result. With a 7 dB ear gain in the upper mids, vocals are forwards but not shouty.

The P20 has a dark treble, with limited air and extension. Trebleheads will scoff about the tuning, but this is a safe IEM for our treble-sensitive brethren. Sibilant-free sonics greet the listener, with no harshness in this region.

Like most planar IEMs, the P20 has some element of planar timbre, though it isn't the worst miscreant in this arena.

When discussing technicalities, the P20 has a wide soundstage (depth and height are average). It isn't the most resolving or micro-detailed set - this is in part influenced by the dark treble - so analytical-heads best look elsewhere. Imaging, layering and instrument separation are middling and nothing to write home about. Note edges are also blunted, but this takes the harshness off somewhat.


COMPARISONS



The P20 will be compared against other planar IEMs. Single DDs, multi-BAs, and hybrids are left out as the different driver types have their pros and cons.


Letshuoer S12 Pro

The S12 Pro is a bright V-shaped IEM, with much greater treble emphasis than the P20. The S12 Pro is more extended in the treble, but we run into the dreaded S word of sibilance and harshness.

The S12 Pro has a more metallic timbre, but it has better technical chops in micro-detailing, imaging and instrument separation. Soundstage goes to the P20.


Hidizs MP145

The MP145 has 3 tuning nozzles, to vary the frequency response amongst variations of a U-shaped tonality, and thus it has superior versatility. The MP145 has a more extended treble, with greater clarity and sparkle.

The MP145 has a killer soundstage, easily dwarfing that of the P20's. Imaging and micro-detailing are also slightly improved on the MP145.

The MP145 is harder to drive, and it also has a larger shell, which may cause fitting issues for some consumers.


CONCLUSIONS



In the big scheme of things, amongst the slew of planar releases, where does the Shozy P20 lie? Honestly, it falls squarely in the middle, being an average contender in most departments. Verily, one can describe the P20 as a jack of all trades but master of none.

The tuning is fatigue and sibilant-free, with a warm and bassy soundscape that is pleasant enough. When juiced well, the big bass is impactful while still keeping texture, albeit there is some mid-bass bleed. The huge bass does eat into the midrange, which obscures layering and micro-detailing. The treble, while smooth and without harshness, may not be the cup-of-tea for trebleheads.

While soundstage is commendable in terms of width, the rest of the technical aspects are quite meh. Glaringly, there is also driver flex, which is a potential deal-breaker for some consumers. Fortunately, the accessories are okay, though this IEM isn't the easiest to drive off a weaker source.

In the cut-throat planar wars, the P20 is certainly not an outright flop. However, being average is still a death sentence of some sorts, as this equates to being forgettable. Indeed, once a new and shinier toy releases next week, the ears and wallets of audiophiles will be captured elsewhere, and sadly, this IEM might be relegated to a footnote on audio forums.

DISCLAIMER

I would like to thank the HIFIGO for providing this review unit.

The Elysian Pilgrim can be gotten here: https://hifigo.com/products/elysian-acoustic-labs-pilgrim (no affiliate links).




SPECIFICATIONS

• Driver configuration: 1 x 9.2 mm Liquid Silicone Rubber (LSR) Mg-Al alloy diaphragm dynamic driver + 1 x 2300 Sonion balanced armature driver + 2 x E50 Sonion balanced armature drivers
• Frequency response: 10 Hz - 20 kHz
• Impedance: 9 Ω
• Sensitivity: 101 dB
• Cable: Pentaconn connector; silver-plated copper stock cable; option for 3.5 mm or 4.4 mm termination
• Tested at: $399 USD

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of Spinfit CP100 eartips (S/M/L)
- Cable
- Case
- Cleaning brush
- Cleaning cloth

For a midFI IEM, the accessory line-up is not up-to-scratch; gear at this price point usually incorporates a wider array of tips - foam or other silicone types for example - in addition to perhaps having a modular cable.




Nevertheless, the provided Spinfits are very comfortable and are quite balanced in terms of sonics.




The stock cable is a silver-plated copper one. This is well-braided, but has some tangling and microphonics. There's a chin cinch for grip. During ordering, one can opt for a 3.5 mm or 4.4 mm termination, depending on your source needs. Unfortunately, this cable utilizes a semi-proprietary Pentaconn connector; hence pairing aftermarket cables might be troublesome.




The ovoid carrying case is well stitched, and is rigid enough to withstand compression or a drop. The innards have webbing and a soft material to cushion the contents.

Last but not least, we have a cleaning cloth and brush to remove debris.

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


BUILD/COMFORT



The beautiful matte housings are fashioned from 3D-printed 304 stainless steel. The faceplate has carved circular alternating panels of a mirror-like finish, which gives the Pilgrim an elegant façade. Unfortunately, these mirror-like portions may be potential scratch or fingerprint magnets, so do take care of these puppies!



Comfort and ergonomics are top-notch. With a lightweight shell and no awkward protrusions on the inner aspects, the Pilgrim can be used for long listening sessions without any discomfort whatsoever.



I did not find any driver flex on my pair. Isolation is average and nothing to write home about.


INTERNALS

The Pilgrim is a 4 driver hybrid:
- 1 x 9.2 mm LSR Mg-Al alloy diaphragm DD settles the bass
- 1 x 2300 Sonion BA takes care of the midrange
- 2 x E50 Sonion BAs handle the treble

These are arranged in a 3-way crossover within a 3D-printed internal acoustic cavity.


DRIVABILITY

I tested the Pilgrim with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW 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, with no essential requirement for amplification.

However, due to its low 9 Ω sensitivity, the Pilgrim may pose an issue for sources with > 1.125 Ω output impedance (based on the rules of eights), as higher OI sources may skew the sound signature. Thus, it is best to keep the Pilgrim with low OI sources.


SOUND & TECHNICALITIES

Graph of the Elysian Pilgrim via IEC711 coupler. 8 kHz is a coupler artefact peak.

Tonally, the Pilgrim sports a balanced and clean-sounding U-shaped profile. It sounds very crisp, something reminiscent of the usual Elysian house sound.

The Pilgrim is a sub-bass focused set. This hybrid is not one for bassheads, as the quantity is just north of neutral, with not the biggest bass boom. However, what it cedes in absolute quantity, it aces in quality, espousing a rapid and tight bass which is punchy without any bleed. Texturing of the bass is the chef's kiss.

The midrange is very transparent, with no bass flab to encroach here. With just a 6 - 7 dB ear gain in the upper mids, vocals are forwards without shoutiness or nasality.

The Pilgrim has a well-extended treble with good sparkle. Trebleheads will love the resolution on tap. It may be just at the border for the ardent treble-sensitive amongst us at the lower treble - there's admittedly slight sibilance - but treble perception is quite dependent on hearing health, volume played at (Fletcher Munson curve), source and eartip pairing etc. If one finds the treble a bit jarring here, do consider tip-rolling or even using a warmer source.

In technical aspects, the Pilgrim showcases its prowess, with a spacious soundstage with nimble transients and accurate layering and imaging. Micro-details are in abundance with solid instrument separation. Indeed, the Pilgrim is probably one of the most detailed IEMs at this price bracket.

There's just a small whiff of BA timbre, but it's not the biggest offender in this department amongst the BA containing hybrid rivals. The Pilgrim does not sound overly sterile despite being a technical champ, which is definitely a desirable trait - some technical behemoths do veer to being overly analytical after all!


COMPARISONS



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


ThieAudio Hype 4

Graph of the Elysian Pilgrim versus Hype 4 via IEC711 coupler. 8 kHz is a coupler artefact peak.

The Hype 4 has more bass and a thicker note weight, but its treble is more recessed.

In technical aspects, the Hype 4 has a more profound bass reverberation, but there is some mid-bass bleed in contrast to the clean basslines of the Pilgrim. The Hype 4 has a deeper soundstage, but is a bit narrower in width. Micro-detailing is a tinge less pronounced on the Hype 4.

Timbre is more natural on the Hype 4. Of note, the Hype 4 has driver flex, which may be a deal-breaker for some users.


Moondrop Variations

Graph of the Elysian Pilgrim versus Moondrop Variations via IEC711 coupler. 8 kHz is a coupler artefact peak.

The measurebator's gold standard of the Variations, follows the Harman curve. The Variations has a scooped-out mid-bass/lower mids, which does cause it to sound a tinge anaemic here. The Variations also has a more shouty upper midrange with less treble extension.

In technicalities, the Variations has weaker staging and micro-details, though it has a hair better imaging.


CONCLUSIONS



The Elysian Pilgrim is a technical masterpiece for lovers of a clean and transparent soundscape. It is quite balanced in signature, with a nimble and textured bass, transparent midrange, and a sparkly and resolving treble.

Amongst its MidFI brethren, the Pilgrim may be considered a technical tour de force, with excellent micro-detailing and clarity being showcased. Soundstage is no slouch, and imaging is also commendable.

Sound-wise, the Pilgrim may be a tinge energetic in the lower treble regions, but this can perhaps be tamed with eartip or source choice. Most of my other quibbles have to do with non-sonic properties, such as the semi-proprietary Pentaconn connector (this limits aftermarket cable pairing), dearth of eartip choices, and its inherent low impedance (sources with high output impedance might skew the sound signature). Thankfully, the Pilgrim is ergonomic and easy to drive.

All things considered, the Pilgrim is a technicalities junkies' best friend, but it doesn't commit the cardinal sin of sounding overly sterile at the expense of just chasing technical chops. I would consider this to be a solid option at the MidFI pricing for fans of the Elysian house sound.

DISCLAIMER

I would like to thank Penon for providing this review unit.

The Shozy MXN can be obtained here (no affiliate links): https://penonaudio.com/SHOZY-MXN.html




SPECIFICATIONS

• Driver configuration: 15.4 mm dynamic driver
• Frequency response: 18 Hz - 22 kHz
• Impedance: 32 Ω
• Sensitivity: 110 dB
• Cable: non-detachable; no info on cable materials. Option for 4.4 mm or 3.5 mm termination
• Tested at: $49.90 USD

ACCESSORIES

Other than the earbuds, these are provided:
1) Carrying case
2) Red high-density full foams
3) Black medium-density full foams
4) Blue low-density full foams
5) Donut foams

The provided accessories are excellent for a sub-$50 USD flathead packaging, can't complain much here.




We have 4 types of foam covers. The red full foams are the densest, bestowing the most warmth and bass. The blue ones are are the thinnest full foams, and they decrease bass but add some brightness to the equation. The blacks ones are a mid-point between the two in terms of sound. Lastly, we have the donut foams, which burnish the midrange and make the sonics less bassy. Do foam-roll and explore what suits your preferences.




We have a very practical zipper carrying case. This is semi-rigid, with the insides lined by a soft material and webbing.




There's no information on the cable materials. FWIW, this cable is on the thinner side, but is well-braided and tangle-free. It has minimal microphonics, with a chin cinch for added grip. When placing an order, one can opt for a 3.5 mm or 4.4 mm termination, depending on your source preference.

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


BUILD/COMFORT



The MXN uses the common MX500 shell type, and is fashioned from plastic. It is very light and ergonomic, and I had no issues using it for long listening sessions.



INTERNALS

This earbud's engine is a 15.4 mm dynamic driver.


DRIVABILITY

I tested the Shozy MXN with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This earbud is relatively easy to drive, though it will scale with amplification, in terms of bass tightness, dynamics and soundstage.


SOUND & TECHNICALITIES



Tonally, the Shozy MXN sports a warm mid-centric signature. As discussed, the MXN comes with a selection of foams, and the donut foams will augment the midrange, whereas the full foams will make it more bassier and warmer.

The following impressions below are with the donut foams installed.

Like most earbuds, there is a sub-bass roll-off, but the mid-bass is textured and punchy without much mid-bass bleed.

Midrange is the star of the show, with a thick and lush lower midrange adding much heft to the note weight. Upper mids are forwards without shout, and this flathead is a superb option for vocals and acoustic genres. Dare I say, the vocals are creamy and even addictive.

Treble is smooth without harshness or sibilance. It lies towards the dark side of the spectrum, and this earbud will be a kindred spirit our treble-sensitive brethren, but perhaps trebleheads will yearn for a bit more sparkle.

The MXN is extremely organic in timbre, and this will be a delight when listening to acoustic genres.

I would consider $50 to lie in midFI territory for a earbud transducer. Compared to similarly priced competitors, the MXN has above average technicalities. No doubt the tuners embraced a musical soundscape over something highly technical or analytical, but even with blunting of note edges (to relief harshness) and the darkish treble, the MXN still has decent resolution. It isn't the last word in micro-detailing or clarity, but makes it up with an expansive soundstage, coupled with good layering and imaging.


COMPARISONS

The Shozy MXN will be compared against other midFI earbuds.




Fiio FF3S

The FF3S is a warmer earbud, with more bass than the MXN. The FF3S has weaker micro-detailing and soundstage, but has similar levels of imaging.

The FF3S has a detachable cable with 3.5 mm and 4.4 mm modular terminals, however this cable is semi-proprietary, so one needs to get a similar cable from Fiio directly, which kind of defeats the purpose.


DUNU Alpha 3

The Alpha 3 has a neutral bright tuning, with less bass and note weight than the MXN. The Alpha 3 has a more metallic timbre and doesn't sound as organic.

The Alpha 3 has a more extended treble, which furnishes more clarity and micro-detailing, though it can potentially be sibilant and fatiguing. The Alpha 3 has a smaller soundstage but tighter imaging.

The Alpha 3 has a non-detachable cable too. The Alpha 3 housing is much heavier and longer in the stem, so the ergonomics are not as comfortable as that on the MXN.


CONCLUSIONS



The Shozy MXN is a flathead for long late-night relaxing sessions. The excellent timbre and lush note weight confers a musical and agreeable sonic profile, with a thick and sweet midrange showcasing vocals and acoustic instruments to the fullest (no pun intended). The non-peaky upper midrange and sibilant-free treble are a great match for treble-sensitive ears. While there is a sub-bass roll-off - this is a common gripe for most earbuds - the mid-bass is textured and fast.

Due to the blunted note edges and darkish treble, the MXN is not an analytical or micro-detailed focused flathead, but the soundstage and imaging are still solid, even when compared back-to-back with pricier midFI benchmarks like the DUNU Alpha 3 and Fiio FF3S.

This earbud is easily driven, with a nice accessory spread, and is comfortable to wear. It has a non-detachable cable, but we routinely see TOTL earbuds - some costing near a grand - also being non-detachable, so I can close one eye here.

For earbud aficionados that are searching for a midFI earbud that is warm, silky smooth and tranquil, with midrange being a highlight - the Shozy MXN is a great option to consider.

DISCLAIMER

I bought the FA19 at a discounted price from Aliexpress.

It can be gotten here: https://www.aliexpress.com/item/1005006889859626.html (no affiliate links).




SPECIFICATIONS

• Driver configuration: 10 x Knowles balanced armature drivers
• Frequency response: 20 Hz - 40 kHz
• Impedance: 10 Ω
• Sensitivity: 106 dB/mW
• Cable: MMCX; silver cable 8 stranded Litz; modules for 3.5 mm and 4.4 mm terminals
• Tested at: $999.99 USD

ACCESSORIES

Other than the IEM, these are included:

- 2 pairs of foam eartips (M)
- 2 pairs of double flange silicone eartips (M)
- 3 pairs of bass silicone eartips (S/M/L/)
- 3 pairs of balanced silicone eartips (S/M/L)
- 3 pairs vocal silicone eartips (S/M/L)
- 3 pairs of Spinfit silicone eartips (S/M/L)
- 3 pairs of HS18 silicone eartips (S/M/L)
- Plastic case for eartips
- HB5 Carrying case
- Cable
- 2 modular terminals for 3.5 mm and 4.4 mm modules
- MMCX release tool
- Magnetic clasp
- Cleaning brush with pin to flick tuning switches



The accessories are truly fit for a king, and this is one of the best accessory line-up I've encountered in my audio journey.

We are literally spoiled for choice with the wide array of eartips; these even come in a little plastic case.



The dual flange tips provide the best isolation, though comfort may be an issue because of the deep insertion. The Spinfit tips are rather neutralish - they have excellent comfort and fit - without coloring the sonics too much. The HS18 tips bestow a warm neutral tonality, with solid fit and seal.

The other 3 silicone tips perform their functions as per their namesake:
- "Vocal" tips - boosts upper frequencies.
- "Bass" tips - boosts lower frequencies.
- "Balanced" tips - mid-point between the above 2 tips.

For foam lovers, fear not, there are 2 pairs of foam tips included. These improve isolation, though with some soundstage compression and treble dip.

Eartips play a major part in sonics, comfort, seal and isolation, so do explore and tip-roll to see what suits your requirements.




The stock cable is a silver cable braided in an 8-stranded Litz configuration. This is sheathed with TPU, which should prevent yellowing and hardening. This is definitely one of the better stock cables, with good heft and robust braiding. It does not tangle much, and has minimal microphonics. There's a chin cinch for added grip.

A plus point for this cable, is its modular plugs, with distal terminals for 4.4 mm (balanced) and 3.5 mm (single-ended plugs). Thus, this increases the FA19's compatibility with various sources.

The MMCX removal tool is a useful addition for safe removal of the MMCX cable, and we have a magnetic clasp to tidy up the cable. Also included is a cleaning brush plus switch pin, for toggling the switches on this tunable IEM.




Last but not least, we have a large semi-rigid case, which has compartments and a velvety material internally to cushion the contents.

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


BUILD/COMFORT



The FA19 is fashioned from resin via DLP 3D-printing technology, with an ultra-tight precision of up to 0.0375 mm. The shells are beautiful yet solidly built. Other than the faceplate, the rest of the shells are transparent, which allow users to visualize the drivers in all their glory.

Weighing in a 7 g apiece, the earpieces are very light. Ergonomics are top-notch too, with a concha protrusion for added stability, yet without any poking edges on the inner aspects to cause discomfort. In fact, I've used the FA19 for marathon listening sessions without any discomfort whatsoever.

Unlike most IEMs which use 2-pin connectors, the FA19 utilizes MMCX, which allows the housings to swivel slightly - this improves fitting and positioning of the IEM in the ears. MMCX does have a bad rep in budget CHIFI due to wearing out after multiple cable swaps, but MMCX come in a variety of grades, from cheap and less robust ones, to higher quality types. The MMCX in the FA19 seem to be of the latter types - they snap on and off with ease, and aren't too tight or too lose - I've swapped them at least 30 times during my testing without any issues.



Contrary to most all-BA IEMs, the FA19 is vented in the sub-woofers, so the FA19's isolation is bang average, and loses out to some unvented BA types in this department. Indeed, I tried bringing the FA19 for a stage monitoring gig, but unfortunately it didn't isolate that well, with bass losses noted in noisy environments.

On the flip side, the vents bring a wealth of benefits:

• Soundstage is expanded and akin to an open-backed concept
• Bass reverberations and decay are improved, and beat most all-BA types in this area - we will read about this below
• Some users complain about the pressure sensation of an all BA unvented housing - there is none of that in the FA19 here

TUNING NOZZLES/INTERNALS



The FA19 packs 10 choice Knowles BA drivers in its frame, in the following setup:

• 4 custom Knowles bass drivers handle the low-end
• 2 ED Knowles drivers take care of the midrange
• 4 SWFK Knowles drivers settle the treble regions

There's a rubycon film capacitor arranged in a 3-way crossover, with a midrange notch filter to ensure a seamless transition from the midrange to the treble frequencies.

As alluded to, the bass BAs have a vented sub-woofer via a negative feedback system to boost bass. This IEM also has a creatively designed extended acoustic tube - Fiio patents this as the S Turbo concept - which deliberately lengthens the tubes so as to dissipate treble, and hence retain bass. Indeed, BA bass is the usual pitfall found in all-BA sets, but as we will read in the following sections, the FA19's bass sounds extremely close to a DD bass, in terms of movement of air and decay.


Graph of the Fiio FA19 via IEC711 coupler. 8 kHz is a coupler artefact peak.

The FA19 in stock form, has a "monitor" mode - see the red graph above. This furnishes a warm neutral signature that is very agreeable to the ears. This tuning is very reference-like and sounds mature.

Toggling the bass boost switch - the black graph above - pumps up the bass, thus bringing some fun to the equation.


DRIVABILITY

I tested the Fiio FA19 with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is easily driven, and additional amplification is not essential.

However, take note that it has a low 10 Ω impedance, which in practice, due to the rule of eights, means that sources with an output impedance of > 1.25 Ω may change the frequency response of this IEM. Thus, source pairing is potentially tricky for audiophiles that use higher impedance gear.


SOUND & TECHNICALITIES

The following impressions were done with the bass boost switch turned off - ie stock form with the red graph. This confers a warm neutral tonality as described above.

With the vented bass BA, the FA19 has good sub-bass extension, and the bass sounds similar to a regular DD bass. It isn't exactly 100% identical though, as there's just a slight lack of decay in the final tail of bass notes, but this improves on the vast majority of unvented BA bass drivers that sound unnatural in terms of movement of air and decay. Bass is textured, speedy and clean, with no bleed.

For folks that want a bigger bass, just hit the bass boost switch. This makes the FA19 warmer than the stock tuning, with a more impactful mid-bass and deeper sub-bass extension.

The lower midrange is a tinge depressed, but is very transparent due to no bass impingement. This allows instruments and vocals to be nicely palleted against a dark background. Upper mids hit only a 6 dB ear gain, which translates to forward vocals without shoutiness; this will be much appreciated by the anti-pinna gain gang.

The FA19 has a smooth treble, with good extension. Sibilance is kept to a minimal. Despite not being overly zealous in the treble, it is still very resolving to allow micro-details and fine nuances in the music to be captured.

The FA19 is a technicalities beast. It boasts of a massive soundstage that goes beyond the ears, with pinpoint imaging and remarkable layering. And this is without needing to resort to a steroid boosted treble to garner "fake clarity", a cardinal sin committed in some other CHIFI gear.

BA timbre is minimal compared to some other all-BA rivals. Note weight is just right on stock tuning.


COMPARISONS



The FA19 will be compared against other pure BA IEMs. Hybrids, planars and single DDs are left out of the comparisons, as the different transducer types have their own pros and cons.

The bass boost switch is turned off for these comparisons.


Sony IER M9

Graph of the Fiio FA19 versus Sony M9 via IEC711 coupler. 8 kHz is a coupler artefact peak.

The M9 has less bass, and the bass sounds quite BA-like, with a lack of decay and sub-bass extension. The M9 also has less treble, and sounds darker.

The M9 has a weaker soundstage and poorer micro-detailing, but has a hair better imaging. The M9 has a thicker note weight.

The M9 is harder to drive. The M9 has better isolation, but due to the pressure suction in the ears, some users complain of discomfort using it.


EPZ 530


Graph of the Fiio FA19 versus EPZ 530 via IEC711 coupler. 8 kHz is a coupler artefact peak.

The EPZ 530 is a bright V-shaped set, with more upper mids and treble than the FA19. Thus, the EPZ 530 sounds more aggressive and harsh, with sibilance in more abudance.

The EPZ 530 has a more prominent metallic BA timbre, with a truncated BA bass that lacks natural decay.

In technical aspects, the EPZ 530 loses in soundstage and imaging, with micro-detailing about on par.


CONCLUSIONS



The Fiio FA19 is a competitive all-BA set that belongs in the TOTL conversation. In stock tuning, it has a pleasant warm neutral signature, adeptly balancing musicality and technical prowess. Flicking the bass boost switch thickens the bass, adding some excitement to the soundscape, so it isn't a one trick pony.

The ace up its sleeve is a vented sub-woofer labyrinthine acoustic tube, which allows the FA19 to sound very close to a DD bass in terms of air movement and decay. The vented design also assists with a huge soundstage and relief of pressure in the ears, though isolation loses out to other all-BA sets which are unvented.

The rest of the tonality is also appealing, with the midrange clean as a whistle, coupled with a resolving yet sibilant-free treble. Technicalities are a highlight, in particular soundstage and imaging.

In non-sonic aspects, the FA19's packaging is one of the best in the business, with all that an audiophile would require accounted for. The modular cable promises compatibility with both single-ended and balanced sources. Build quality and ergonomics are second to none. For detractors of MMCX connectors, the FA19 comes with this connector type, but thankfully the quality seems solid, with easy removal and connectability.



While the FA19 is easily driven, with no requirements for amplification, the low impedance of 10 ohms may be potentially problematic when used with high impedance sources.

In conclusion, the FA19 is a solid all-BA set. It keeps the stellar properties of an all-BA IEM - such as the technical performance and nimble bass - yet also acing some areas that other all-BA gear fail to achieve, such as bass naturalness and pressure relief. This IEM has my heartfelt recommendation, and would be a great option for folks searching for a TOTL model that does most departments well.

DISLCAIMER

I would like to thank Creative for providing this unit. The Aurvana Ace 2 can be gotten here (no affiliate links): https://en.creative.com/p/headphones-headsets/creative-aurvana-ace-2




SPECIFICATIONS






Tested at: $162 USD


ACCESSORIES

In addition to the TWS buds, the following are included:
- USB type-C to USB-A cable
- Charging case
- 4 pairs of silicone eartips

The accessories are very serviceable, not much to complain about here.




The charging case is very elegant, featuring a translucent plastic façade, with an inner copper chassis. This case measures 64.7 x 49.1 x 26.9 mm, and weighs a mere 37 g, which translates to easy pocketability and superb compactness. This charging case can be juiced via a USB type-C port at its back, or Qi-compatible wireless charging.

It's quite cool that the earbud is attached to the case via a magnetic clasp. Indeed, even when turned over and shaken vigorously, it didn't drop out, which is a very practical addition when outdoors.

There is a button at the bottom of the case which can be triggered for manual Bluetooth pairing, or it can be held longer for a factory reset (press 3 seconds for the former, or 8 seconds for the latter).




BUILD/UTILITY

The Aurvana Ace 2 comes in a fetching matte design. Part of the earbud has the same translucent motif of the charging case, which allows consumers to visualize the inner drivers. The rest of the housing has a black opaque design.



This earbud is very ergonomic, with a long stem to point down from the concha, balancing the centre of gravity very adeptly. When well fitted with the correct eartip sizing, even during exercising or shaking the head, the transducer stays in place. Weighing in at 4.7 g per side - and with dimensions of 34.0 x 23.3 x 25.8 mm - this set is very comfortable to use, with no fitting issues even for marathon listening sessions.



Creative markets an IPX5 waterproof rating for this earbud, which provides protection from a low-pressure water jet for 10 – 15 minutes. In essence, this earbud can be considered as water-resistant and rain-proof, but it may not survive a prolonged submersion underwater. Verily, the Aurvana Ace 2 is a suitable earbud to bring for sweaty exercise sessions, or even jogs in light rain. It may also accompany users to the beach or pool, but of course, don't go wild and dive into the water with it!


FUNCTION

The touch button that handles all the controls is located at the top of the stem. The buttons work as advertised - for calls and music playback in particular:


The earbud turns on the moment it is removed from the charging case. It can be manually turned on or off by long-pressing the touch button too. The touch buttons are of good haptic size, and are not overly sensitive. They are quite well implement, unlike some other TWS sets which had too small or easily triggered buttons - or worse still - found at awkward positions where the buttons are poorly accessed.

The Aurvana Ace 2 does not have independent volume controls, but the volume steps are sufficiently spaced.

For folks who would like to use the Aurvana Ace 2 extensively on-the-go, I'm glad to report that it has both an ANC and ambient mode. The ambient mode is a useful feature for situational awareness, and the ANC mode dampens the lower frequencies to provide improved isolation in noisy environments. Compared to other TWS gear I've tried, the ANC here isn't the most isolating, but it should be serviceable outdoors.

This earbud also supports Google Assistant and Siri. It has 3 omni-directional mics per earpiece, which utilizes the Qualcomm cVc™ Noise Cancellation Technology. During field testing on calls and online meetings, the other participants reported that the voice quality was very clear and intelligible.


BATTERY

The Aurvana Ace 2 itself packs a lithium-ion button battery rated at 52 mAh, whereas the charging case contains a 470 mAh lithium-ion polymer battery. The earpiece is touted to have 6 hours battery life with ANC and ambient mode turned off, and this drops to 4 hours with these functions activated.

Added with the battery from the charging case, we can get a total of 24 hours with ANC/ambient mode off, and up to 16 hours with ANC/ambient mode toggled. However, bear in mind that battery life is expected to decrease with repeated charge cycles. Battery life is also partially dependent on type of file format used and volume, but with the charging case, this earbud should easily get users through the day.

Charging time is less than 2 hours, but just with a quickie 10 minute top-up charge, this can provide around 1 hour of music playback.

These are what the lights indicate on the charging case and earbud:



CONNECTIVITY/USAGE

I had no issues pairing the Aurvana Ace 2 with a myriad of Bluetooth devices, be it Windows, Android and Apple phones and even some DAPs. This earbud was picked up easily with minimal fuss.

This TWS utilizes Bluetooth 5.3 LE Audio, with support the following codes:

• LC3
• aptX Lossless
• aptX Adaptive
• aptX
• AAC
• SBC

For audiophiles who chase the highest bit rate, this new aptX Lossless codec can theoretically hit a maximum of 1,200kbps. In contrast, the previous 2 high bitrate codecs of aptX Adaptive and LDAC can only reach a bitrate of 420kbps and 990kbps respectively.

Indeed, the aptX Lossless codec sounds almost indistinguishable from a wired connection - especially when one is not focusing intently in a quiet place at home with TOTL gear - so the gap between wired and wireless quality is slowly but surely closing to a hair's breadth! Speaking about LDAC, it unfortunately does not seem to be included as one of the supported formats here; this is a pity, but the older Bluetooth codecs are all covered.

Bluetooth connectivity is extremely solid, and is probably one of the better implemented ones in a TWS set. It can hit about 15 metres with no obstructions, or 10 metres with obstructions. I had minimal drop outs on-the-go, and there's just a slight lag during music or videos, which is very acceptable.

More brownie points are scored, with Creative providing a free app that can unlock goodies such as a 10-band EQ, custom touch buttons and the like:


There's also an option to download the SXFI app for this device, which creates a customized spatial holography for each individual user.


SOUND

The Creative Aurvana Ace 2 sports 2 disparate driver configurations. A custom-tuned 10 mm dynamic driver handles the bass, whereas the pioneer xMEMS technology settles the midrange and treble. In fact, this TWS is probably one of the first transducers in the world to incorporate this exotic driver!

In stock form - with ANC and ambient mode turned off - we hear an L-shaped warm and bassy signature; this is a kindred spirit for bassheads. The massive bass hits deep with a huge thump, and there's a a visceral rumble felt in the chest. The bass is not the tightest though, with mid-bass bleed noted, with some lack of texturing. Admittedly, the bass does encroach into the midrange, but this adds warmth to the lower mids. The upper midrange is very sedate with no shoutiness, and the treble is smooth and sibilant-free.

The xMEMS driver bestows good soundstage and imaging, with decent micro-detailing on tap. And this is without veering to harshness or an overly boosted treble to bestow "fake clarity".

TWS sets are primarily designed for outdoor usage and convenience, and the prominent bass in the Aurvana Ace 2 is perhaps added to cater for environmental losses of bass due to external noise. However, as per previously alluded to, because of the gargantuan bass, there is an element of incoherency, so diehard audiophiles used to wired gear may find the slower and boomier bass to not dovetail with the faster and more technical xMEMS driver.

Thankfully, turning on the ANC mode markedly tames the big bass, and converts this TWS to a more neutralish tonality. This may be an option for purists or for those that do not want an intrusive basshead profile. Of course, EQ is also an option with the free Creative app, to bring down the bass quantity, so there are ways to mitigate this area.


CONCLUSIONS



The Aurvana Ace 2 is an all-rounder daily beater TWS suited for different case needs. External tangibles are well-catered for, from the accessory spread, to the impeccable ergonomics, all the way to the provision of decent battery life. IPX5 waterproofing also allows users to bring it out for exercise or even in inclement weather. I appreciate the addition of ambient and ANC modes, which are useful in external environments. There's even a free Creative app for EQ or button customization.

Packing 3 mics per side, the Aurvana Ace 2 has crystal-clear voice calls, so it may be used for work or meetings. The Bluetooth range and stability is also one of the better implementations in a TWS, and a slew of Bluetooth codecs (including the new high bit-rate aptX Lossless) are supported. Sadly, the popular LDAC is not compatible here.

In terms of sonics, the Aurvana Ace 2 is one of the first adopters of the xMEMS technology, and this confers good technical chops for a TWS. The stock tuning is a basshead's dream, with a huge rumble heard in the lower-end. The upper midrange and treble are smooth and free of harshness.

However, die hard audiophiles and purists may find the stock tuning to be somewhat boomy; this leads to some incoherency between the nimble xMEMS treble driver and the slower bass DD - but thankfully, EQ on the complimentary app or even triggering the ANC mode, can tame the bass and make the tonality a bit more neutral.

In a nutshell, the Aurvana Ace 2 is quite suited as an EDC (everyday carry), be it for music appreciation, on-the-go use, or for calls and meetings. Packed to the gills with features, it is a practical and user-friendly TWS.