Reviews by baskingshark

DISCLAIMER

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

The ThieAudio Hype 4 can be gotten here: https://www.linsoul.com/products/thieaudio-hype-4 (no affiliate links).




SPECIFICATIONS

Driver configuration: 2 x 10 mm composite dynamic drivers (isobaric arrangement) + 2 x 26A Sonion BAs for midrange + 2 x Sonion E50 Hummingbird ultra-tweeter BAs
Frequency response: 10 Hz - 22 kHz
Impedance: 17 Ω
Sensitivity: 105 dB
Cable: 2-pin, 0.78 mm; silver-plated OCC cable
Tested at: $399 USD


ACCESSORIES

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

The accessory spread is serviceable, with both foam and silicone tips accounted for. Though perhaps at this midFI pricing, consumers would have preferred a wider selection of silicone tips, or even a modular cable.




The foam tips tame treble and provide the best isolation. The silicone ones are a bit more balanced sonically, though with a slight drop in isolating properties.




The stock cable is a 2-pin silver-plated OCC cable, and this is well-braided and supple. Microphonics are minimal, and it has a chin cinch. This cable only comes in a 3.5 mm termination.




The zipper semi-rigid carrying case is one of the most practical ones in the industry, being of sufficient size to store the IEM with accessories to boot. The insides are lined with a velvety material and webbing.

Lastly the cleaning cloth may be useful for wiping smudges and debris off the IEM.

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


BUILD/COMFORT



The housings are fashioned from resin. When placing an order, one can opt amongst a blue, white or black faceplate.

Comfort is excellent - the lightweight shells and lack of protruding innards make this IEM a great companion for marathon listening sessions.



The Hype 4 isolates well, even in noisy environments. Unfortunately, I found driver flex with the silicone tips, but this is partially dependent on ear anatomy and types of tips used. Thankfully, when converted to the foam tips, driver flex is lessened; another trick to mitigate this is to lift up the earlobe and open the mouth before inserting the IEM.




INTERNALS

The Hype 4 packs an eclectic array of drivers:
- 2 x 10 mm composite dynamic drivers - arranged in an isobaric arrangement which ThieAudio names "IMPACT SQUARED" - furnish solid bass texturing and a huge sub-bass rumble.
- 2 x 26A Sonion BAs assist with the midrange
- 2 x ultra-tweeter Sonion E50 Hummingbird BA takes care of the upper treble


DRIVABILITY

I tested the Hype 4 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 true requirement for amplification.


SOUND & TECHNICALITIES


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

Tonally, the Hype 4 can be described as having a warm U-shaped profile.

The Hype 4 has a sub-woofer like sub-bass. This is impactful - courtesy of the isobaric implementation - with a massive visceral rumble noted. Texturing is quite well done, with moderate bass speed. With such copious bass on offer, there inevitably is some element of mid-bass bleed noted, but this gives lots of heft and warmth to the note weight.

The lower midrange - as mentioned - is lush and thick, though with no excessive loss of transparency. This region isn't too depressed too, unlike some other deep V-shaped tunings. For the anti-pinna gain gang, I'm glad to report that the Hype 4 has just a 7 dB rise in the upper mids, which translates to forward vocals without much shoutiness.

The Hype 4 is relatively sedate in the treble, with no sibilance. Thus, it is a suitable IEM for our treble-sensitive friends. Trebleheads might want to look elsewhere though.

The Hype 4 has a small whiff of BA timbre in the treble regions - notes have some hollowness compared to the DD notes - but it isn't the most egregious compared to other BA containing gear.

Technically, the Hype 4 would be classed as above average. Micro-detailing and instrument separation are decent enough for something that is not steroid-boosted in the treble. Soundstage is positioned slightly out of the ears, with solid imaging. The technicalities are more than serviceable for a hybrid, taking into consideration that this is not an analytical set, but something that sounds "musical".


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 2


Graph of the Hype 4 versus Hype 2 via IEC711 coupler. 8 kHz is a coupler peak.

We kickstart the comparisons with the Hype 4's own older brother, the Hype 2. The Hype 2 also sports 2 x 10 mm DDs in an isobaric arrangement for the bass, but it only has 2 other Sonion BAs for the midrange and treble.

These 2 IEMs share a similar tonal DNA, but the Hype 2 is a bit thinner in the mid-bass, with more lower treble (but less upper treble).

The Hype 2 has weaker soundstaging, treble extension, imaging and micro-detailing. Overall, the Hype 4 is a true upgrade over its sibling.


Letshuoer Cadenza 4


Graph of the Hype 4 versus Cadenza 4 via IEC711 coupler. 8 kHz is a coupler peak.

The Cadenza 4 has less bass and treble than the Hype 4. The Cadenza 4 sounds thinner and more sterile, lacking the bassy sub-woofer fun of the Hype 4.

The Cadenza 4 has a faster bass, though it has markedly less rumble. The Cadenza 4 has poorer soundstaging, but has better imaging. Micro-detailing is about on par.


QOA Aviation


Graph of the Hype 4 versus QOA Aviation via IEC711 coupler. 8 kHz is a coupler peak.

The Aviation is a U-shaped hybrid. It has a thicker lower midrange but a much darker treble.

The Aviation is a league behind in technical aspects, losing to the Hype 4 in soundstage, micro-detailing and layering. Bass is also looser and flabbier on the Aviation.


CONCLUSIONS



The Hype 4 is a musical hybrid for head-banging fun, bestowing a visceral rumble in the sub-bass. The midrange and treble are non-fatiguing and smooth, thus being suitable for treble-sensitive preferences. These sibilant-free sonics, coupled with an agreeably lush note weight and ergonomic fit, means that the Hype 4 can be enjoyed for long listening sessions without outstaying its welcome.

Some IEMs that are bassy and smooth sometimes veer to the other extreme of being weak technically. Thankfully, the Hype 4 still boasts of above average technical chops to pair with the laid-back profile, such that it doesn't sound analoguish.

I appreciate that the excellent isolation also makes this set an option for stage monitoring or for use in noisy environments.

There are some nitpicks - such as mild BA timbre, driver flex (which may be fixed with the provided foam tips), and mild mid-bass bleed - but all thing considered, the Hype 4 gets my recommendation for an enjoyable bassy set with good balancing between technicalities and musicality.

DISCLAIMER

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

The Tin HIFI P1 Max II can be gotten here: https://www.linsoul.com/products/tinhifi-p1-max-ii (no affiliate links).




SPECIFICATIONS

Driver configuration: 14.2 mm planar driver
Frequency response: 10 Hz - 20 kHz
Impedance: 16 Ω
Sensitivity: 98 dB/mW
Cable: 2-pin, 0.78 mm; 4 stranded oxygen-free copper silver-plated mixed cable; 3.5 mm termination
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)
- 1 pair of foam tips
- Cable

While the eartip spread is decent - we even have foamies here - it is disappointing to note that there is no carrying case, or even a pouch. Gear at this pricing usually also comes with additional goodies such as a modular cable for example. If this were a sub-$30 USD set, the provisions would be acceptable, but in this case (no pun intended), for a $100ish set to lack a case is not acceptable.




The foam tips tame treble the most, and furnish the best isolation. Of the 2 types of silicone tips, the wide-bore ones boost treble and improve soundstage, whereas the narrow-bore ones increase bass but with some compression in the staging.




Thankfully, the oxygen-free copper silver-plated mixed cable is quite good. It is well braided and supple, with minimal tangling. Microphonics are also dampened, with a chin cinch for added grip. However, it only comes in a 3.5 mm termination, with no modular option.

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 shells are fashioned from Heygears' 3D-printed resin. The faceplates have an eye-catching whorled appearance, and only weigh 3.8 g apiece. Coupled with no awkward protrusions along the internal aspects, this set is very comfortable to use in the ears.



This IEM is heavily vented, and this results in below average isolation. The vents however, assist with acoustic airflow, and there is no driver flex noted.


INTERNALS

The P1 Max II houses a 14.2 mm planar driver, which has an ultra-thin 2-micron diaphragm. This is paired with dual N52 magnets within a dual-chamber design.


DRIVABILITY

I tested the P1 Max 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

With a sensitivity of 98 dB/mW, this planar is not the easiest to drive. While one can get adequate headroom from a weak smartphone, this IEM will scale in soundstage, dynamics and bass tightness when adequately amped.


SOUND & TECHNICALITIES


Graph of the Tin HIFI P1 Max II via IEC711 coupler. 8 kHz is a coupler artefact peak.

Tonally, the P1 Max II has a bright V-shaped profile.

This IEM is sub-bass focused. There is a healthy rumble and descent to the lowest registers. Bass quality is the star of the show, with a clean, textured and fast bass heard. There is no mid-bass bleed even on tracks with complex bass movements.

As per the V-shaped signature, the lower midrange has some recession. This won't be an IEM for mid-lovers as such. While there is no bass encroachment to muddy this frequency band, this area does lack heft and some note weight. Ear gain hits around 9 dB in the upper mids, and there are instances of shoutiness for female vocals especially at louder volumes (Fletcher Munson curve).

The P1 Max II is a treble-head's dream, with good air and sparkle on tap. Sibilance is however present, and high hats and cymbals may be a tinge hot. The included foam tips or a warmer source pairing may mitigate this area to some extent.

As per most planar IEMs, timbre is not a strong suit. There is a metallic tinge for acoustic instruments, with nasal vocals noted. Timbral freaks best keep to single DD types in general, if timbre is a priority.

Technicalities are where the P1 Max II redeems itself. Soundstage width is good, lying just beyond the ears with amplification, though depth and height are average. There's great clarity and micro-details heard. Imaging is quite accurate too, with clarity in abundance.


COMPARISONS

The P1 Max II will be compared against other $100ish planar IEMs. Single DD, hybrids and pure BA setups are omitted as the different transducer types have their individual pros and cons.


Letshuoer S12 Pro

Graph of the Tin HIFI P1 Max II versus S12 Pro via IEC711 coupler. 8 kHz is a coupler artefact peak.

The S12 Pro is more V-shaped, with greater bass and treble emphasis. The S12 Pro has a more sedate upper mids pinna gain rise.

The S12 Pro is bassier, but the bass isn't as tight with bleeding noted. The lower midrange is more recessed in the S12 Pro, and it is also more sibilant in the treble region.

The S12 Pro has a weaker soundstage and poorer micro-detailing.


Hidizs MP145

Graph of the Tin HIFI P1 Max II versus MP145 via IEC711 coupler. 8 kHz is a coupler artefact peak.

The MP145 has 3 tuning nozzles to spice up - and give variety - to the frequency response. Across all nozzles, the MP145 is bassier, with less upper mids glare.

In technical aspects, the MP145 has a larger soundstage, with better layering, though micro-detailing goes to the P1 Max II.

The MP145 has a thicker note weight and sounds more natural in timbre, though it has a bigger shell, which may cause potential fitting issues.


CONCLUSIONS



The Tin HIFI P1 Max II has solid technicalities, with bass quality a highlight. Those liking a transparent and detail-oriented signature will appreciate Tin HIFI's latest creation. Ergonomics and build are well-done too.

However, some tonal flaws hold it back from greatness - the upper midrange and treble may be divisive, especially for our treble-sensitive brethren. The omission of a case - or even a pouch - at its > $100ish asking price is also not acceptable in this day and age. The below average isolation and relatively power-hungry requirements are also possible blemishes.

In the big scheme of things, amongst the ultra cut-throat planar IEM market, the P1 Max II doesn't exactly sink, but it isn't class-leading in any department to stand out from the tough competition. In such a hot market, being average is actually similar to being forgettable, as next week promises a new IEM release to capture the hearts, ears and wallets of audiophiles.

DISCLAIMER

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

The 7Hz Aurora can be gotten here: https://www.linsoul.com/products/7hz-aurora (no affiliate links).




SPECIFICATIONS

Driver configuration: 1 x 12 mm composite diaphragm dynamic driver + 2 x custom balanced armature drivers + 1 x 6 mm micro-planar driver
Frequency response: 5 Hz - 40 kHz
Impedance: 30 Ω
Sensitivity: 105 dB/V @ 1 kHz
Cable: 2-pin, 0.78 mm; single-crystal copper cable; 3.5 mm and 4.4 mm modular terminals
Tested at: $399 USD




ACCESSORIES

Other than the IEM, these are included:

- 4 pairs of 7Hz H07 silicone eartips
- 3 pairs of long nozzle silicone eartips
- Plastic case for eartips
- Cable
- Cable terminations for 3.5 mm and 4.4 mm modules
- Carrying case

The accessory spread is generous, and definitely befitting of a MidFI IEM.




While no foam tips are included, we have 2 variants of silicone tips. First up, we have 4 pairs of 7Hz H07 silicone tips - which are short-bore - and these present a balanced signature. Interestingly, 7Hz has debuted a long-nozzle eartip - which looks similar to the DUNU S&S types; these are also extremely balanced in sonics, but with improved soundstaging and isolation.

These S&S doppelgangers are my favourite pairing, as they furnish an expansive soundsage without overly boosting any part of the frequency response. However, they have longer nozzles and a sticky feel, and are not as soft in the ears as the other H07 silicone tips. The eartips come in their own plastic case, which is a nice touch.




We have a 2-pin single-crystal copper cable provided, and this comes with distal 3.5 mm and 4.4 mm modular terminals, for pairing with single-ended and balanced sources, depending on your needs. This cable is well-braided and thick, with minimal microphonics. A chin cinch is added for practicality, and the L-shaped terminals are useful during field-use.




Last but not least, we have an ovoid leatherette carrying case. The innards have webbing and soft cushioning, while the externals are tough enough to withstand compressive forces.

The rest of this review was done with the stock cable and stock long nozzle 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 medical-grade resin. The faceplates contain titanium filaments, which are unique to each housing - thus consumers will get their own individualized IEM so to speak. The shells have a mirror-like, psychedelic and colourful tiger-striped motif, which is certainly eye-catching. They may be prone to smudging, but build quality is top-notch.



The earpieces are quite large to house the numerous drivers. Thankfully, despite the bigger dimensions, comfort is still agreeable, due to the mere 5 g weight of each side. I had no issues wearing the Aurora for hour long sessions, with the smooth inner surfaces not poking the ears.

With the long-nozzle S&S look-alike tips installed, isolation is above average. I did not find any driver flex on my pair, which is a sign of good acoustic airflow.




INTERNALS

The Aurora is a tribrid, boasting of the following eclectic configuration with a 3-way cross-over:

• 1 x 12 mm composite diaphragm dynamic driver
• 2 x custom balanced armature drivers
• 1 x 6 mm micro-planar driver

The DD handles the bass, with the pair of BAs covering the full range. The micro-planar settles the upper treble.


DRIVABILITY

I tested the Aurora 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 weaker sources may juice it, the Aurora does benefit from amplification, in terms of soundstage, dynamics and bass control.


SOUND & TECHNICALITIES


Graph of the 7Hz Aurora via IEC711 coupler.

Tonally, the Aurora showcases a U-shaped, balanced sonic profile. This is quite genre agnostic, and should cover most consumer demands.

This is a sub-bass focused IEM. Bass extends deeply, with good rumble felt. However, it is not a bona fide basshead IEM in terms of sheer quantity. Quality-wise, the Aurora provides a textured, fast and tight bass, with not an ounce of mid-bass bleed. Even with complex bass tracks, the Aurora handles these with aplomb; case in point, for Sting's Englishman In New York, the Aurora aces the fast double bass solo in the middle of the track, where many other sets may fall apart.

The lower midrange is a tinge recessed, but this frequency band is very transparent and clean due to no bass impingement. This allows excellent layering and pinpointing of instruments and vocals on a dark background. On graphs, there appears to be a peak at the 3ish kHz region - I personally hate over-zealous upper mids - but on actual listening at moderate volumes (as per the Fletcher Munson curve), I found this region forwards without overt shoutiness, which is a tough line to balance. This slight peak actually furnishes clarity and resolution without being an ice-pick, and as we will read below, the technicalities on this IEM are top-notch.

The Aurora has good treble sparkle, but once again, this area is nicely balanced, in bestowing air but not veering to harshness. Sibilance is minimal, and the Aurora manages to get cymbal strikes and high-hat hits just right - they are present but not jarring. Of note, there's a 6/7 kHz dip in the treble which is something of a trade-secret used in TOTL tuning to decrease sibilance and splashiness without overly damping resolution.

As alluded to, the Aurora is a technicalities champ. Micro-detailing is very well portrayed. Soundstage width and height is expansive, especially when amped, and the Aurora sounds grand, yet with a very clean soundscape. Music never sounded compressed or claustrophobic. Imaging and layering is accurate, and technical junkies will be pleased to be able to locate instruments easily in the headspace.

Unlike other very technical sets, the Aurora doesn't sound sterile and maintains a decent note weight. However, where the Aurora loses some marks in my book, is in its timbral accuracy. In the upper frequencies, there is a slight hollowness to notes, especially for acoustic instruments like brasses and woodwinds. Vocals have a nasal twang too - this is a bit more prominent in female vocals.


COMPARISONS

Due to its very specialized driver configuration, I do not have any like-for-like IEMs with this setup in MidFI territory. Nevertheless, the Aurora will be compared against some other benchmark MidFI products.




Moondrop Variations

The Variations is a Harman measurebator's gold-standard. The Variations has a prominent mid-bass scoop out, so it sounds much thinner and anemic than the Aurora in this region. The Aurora is a bit brighter in the treble.

The Variations is slightly weaker in micro-detailing and imaging, but has a bit more natural timbre and a slightly bigger soundstage and better layering.

I would consider them sidegrades at the MidFI segment. The Variations is about $120 USD more expensive though, and there are widespread reports of QC issues dogging this IEM (my Variations faceplate dropped out spontaneously without trauma, for example LOL).


Letshuoer EJ07M

The EJ07M is also U-shaped, but has a bit of a darker treble, and a thinner lower midrange.

The EJ07M has a hair better imaging, but has weaker instrument separation, soundstage and micro-detailing. In fact, the EJ07M's soundstage is notably small and claustrophobic on doing A/B comparisons back-to-back with the Aurora.

The EJ07M suffers from horrendous driver flex, which may be a deal-breaker for some.


CONCLUSIONS



For folks wanting a balanced U-shaped pair with stellar technical prowess, the 7Hz Aurora is one to mull over. Technical chops are a highlight, in particular for imaging, soundstage and micro-detailing. Bass is very fast and clean, though not at bona fide basshead amounts, so it is a case of quality over quantity. The transparent midrange allows instruments and vocals to breathe, with good treble sparkle noted.

In terms of non-sonic tangibles, the Aurora is generously accessorized, with a modular cable for myriad source matching. Isolation is above average with relatively fuss-free drivability. While the shells are on the larger side, comfort is surprisingly decent in view of the lightweight shells.

For the ardent timbre-freaks amongst us, a negative would be a metallic timbre noted in the upper frequencies for female vocals and acoustic instruments. By and large, this is a bit more prominent for acoustic genres, and may be mitigated somewhat with tip choice or perhaps source pairing.

All things considered, the 7Hz Aurora belongs in the MidFI conversation, doing most departments well.

DISCLAIMER

I would like to thank Penon for providing this unit.

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




SPECIFICATIONS/COMPATIBILITY

• DAC Chip: Dual CS43131 Cirrus Logic chips
• Output ports: 3.5 mm single-ended and 4.4 mm balanced
• Typical output Power: 3.5 mm single-ended: 45mW (@32 Ω) or 8.07mW (@600 Ω); 4.4 mm balanced: 151.25mW (@32 Ω) or 29.4mW (@600 Ω)
• Playback: PCM up to 32 bit/384 kHz; DSD 256
• THD+N: -103 dB for 4.4 mm port; 100 dB for 3.5 mm port
• Crosstalk: -135 dB for 4.4 mm port; -85 dB for 3.5 mm port
• Dynamic range: 135 dB
• Frequency response: 20 Hz - 20 kHz
• S/N: 130 dB for 4.4 mm port; 125 dB for 3.5 mm port
• Tested at: $74.90 USD

The Penon Tail is a plug-and-play dongle. As a Windows 10 user, I did not require any additional drivers to be installed - it was easily recognized on various Windows and Android devices. However, I cannot vouch for its compatibility with Apple products, as I'm not an Apple ecosystem user.


ACCESSORIES

Other than the dongle, the packaging comes with:
- Lightning to USB-C cable
- USB-C to USB-C cable
- Leatherette pouch
- Plastic case



The accessories are truly generous for a sub-$100 dongle. Perhaps a small nitpick would be the omission of a USB-A to USB-C adapter for laptops and PCs, but otherwise, the Tail surely puts to shame pricier dongles with a lesser accessory spread.

Though the 2 cables are on the shorter side, they are supple and well-braided with a fabric sheath, with reinforcement of the insertion point of the cable to prevent fraying.

Last but not least, the plastic case and button leatherette pouch are practical additions for carrying the dongle around.


DESIGN/FUNCTION



The Tail is fashioned from aluminum, and is very solidly built. One side of the dongle is painted white, while the other faces are highlighted in a catchy gold tint.

This dongle is very light, weighing in at around 18 g. Coupled with portable and compact dimensions, it easily fits in a pocket or small bag.

This DAC/AMP has no screen or LED lights. Neither does it have an app, PEQ or DAC filters, so it is pretty no frills.




On one end, we have the USB-C port for data/power feeding.




The opposite end houses a 3.5 mm (single-ended) and 4.4 mm (balanced) port, with the latter nicely reinforced with gold-plating.




On the lateral side of the fuselage, we find 3 buttons. The outer 2 deal with volume controls, and the middle one is a pause/play button. This is a handy feature, as most dongle rivals do not have a pause button to momentarily stop music, necessitating users to go to the upstream source to do so. Sadly, the Tail's volume controls are not independent, and the volume steps are not the most finely-tuned.




Directly opposite these 3 buttons lies a single button - the gain switch - which is a useful option for hard to drive gear.


INTERNALS

This DAC/AMP's engine are dual CS43131 chips. It allows playback of PCM up to 32bit/384kHz, and DSD up to DSD256.

The Tail also utilizes a low-noise power line, with an accurate femtosecond crystal oscillator. Indeed, as we will read below, the noise floor is remarkably absent, with a dark hiss-free background.


SOUND/PERFORMANCE

I tested the Penon Tail 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 gear.

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


Tonally, the Tail is quite neutral, yet musical. Sonics are clean and transparent. Bass is textured and speedy with no obscuration of the midrange. There is a mild upper treble roll-off and some rounded note-edges to shave off sibilance and fatigue. Overall, we thus have a pleasant tonal balance that should please most consumers.

In technicalities, this DAC/AMP has good soundstage width, though depth and height are about average. It isn't the most micro-detailed dongle (but the Tail doesn't come across as overly fatiguing as such), and imaging is relatively accurate for a sub-$100 dongle.

Power-wise, the Penon Tail is marketed to pump out 45 mW (@32 Ω) or 8.07 mW (@600 Ω) on single-ended, and 151.25 mW (@32 Ω) or 29.4 mW (@600 Ω) on balanced, which is par for the course for most modern day dongles. It isn't the most powerful dongle per se, but should be able to handle the majority of IEMs, other than outliers.

As per usual practice, I put all my sources through a crucible testing of my hardest to drive gear:
1) Final Audio E5000 (low sensitivity at 93 dB/mW)
2) Sennheiser HD650 (high impedance at 300 ohm)
3) Yinman 600 ohm (600 ohm impedance and 87 db/mW sensitivity)

The E5000 was sufficiently driven with serviceable headroom; bass was decently textured with rather nimble speed. Dynamics were okay, though soundstage was a tinge compressed.

The HD650 was juiced adequately in terms of volume, though bass tightness, soundstage and dynamics were understandably not comparable to a desktop-grade amp. It sounded a tinge flat and "boring".

The final boss - the Yinman 600 ohm - which has a ridiculous double whammy of a low sensitivity coupled with high impedance, is not driven properly by most dongles, or even DAPs. Thus, it is no surprise - and actually no shame - that the Penon Tail also doesn't uproot any trees here, with the Yinman 600 ohm sounding one-noted in the bass with a distinct lack of dynamics.

I appreciate that this dongle does not get hot during usage, even when driving power-hungry behemoths. There is no hiss heard with sensitive IEMs, though there was a "pop" heard when disconnecting transducers, which is a slight annoyance.

We have no information on the output impedance specs of the Tail, but I hazard a guess that it is pretty low, as the very low impedance sets that were paired with the Tail didn't sound skewed in the frequency response.




COMPARISONS

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

Simgot DEW4X

The DEW4X's engine are dual C43198 cirrus chips, and it has a warm-neutral tonality. It sounds thicker in note weight than the Tail, with a more laid-back soundscape. The DEW4X has independent volume controls with small steps.

Power specs are similar - on high gain via balanced, the DEW4X is rated for 150 mW output, which is almost identical to that on the Tail.

In terms of technicalities, the DEW4X is weaker in soundstage and micro-detailing, with imaging on par.


Fiio KA13

The KA13 is a neutral bright dongle that contains dual CS43131 chips. It is more fatiguing and harsh in the upper frequencies, and sounds a bit thinner and sterile than the Tail.

The KA13 has a Fiio control app for additional goodies to explore. The KA13 also has well-implemented independent volume controls with finely tuned steps.

The KA13 on 4.4 mm desktop mode pumps out 550 mW output (THD+N balanced＜0.0005% (32 Ω)), easily dwarfing that of the Tail. It can thus power more demanding gear with ease, though the KA13 gets much hotter during usage, with greater battery drain. One can't game physics after all.

In technicalities, the KA13 has a hair better micro-detailing and imaging, but loses to the Tail in soundstage.


CONCLUSIONS



The Tail is an average dongle in the cut-throat sub-$100 USD market. For its positive traits, this dongle has neutrality without harshness. The midrange is very clean and transparent, with bass texturing a highlight. Musicality is certainly not lacking.

Accessories are also second-to-none, with a very light and compact frame. The Tail has a pause button, which is something neglected in other contender dongles. There are no hiss or heat issues, with a dark background heard during usage.

However, the Tail is quite no frills, in having no independent volume controls, no DAC filters, nor PEQ or app compatibility. Very vexing is a "pop" sound heard on removing transducers - perhaps this can be fixed in future iterations with a "pop" suppression implemented - but it may be a deal-breaker for some. Of note, it isn't the most powerful dongle as of 2024, but should still power most stuff out there other than outliers.

All things considered, the Penon Tail is quite average, and is a mixed bag.

DISCLAIMER

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

The Himalaya can be gotten here: https://www.aliexpress.com/item/3256806504567632.html (no affiliate links).




SPECIFICATIONS

• Driver configuration: 10 mm CNT dynamic driver
• Frequency response: 20 Hz - 28 kHz
• Impedance: 22 Ω
• Sensitivity: 110 dB/mW
• Cable: 2-pin, 0.78 mm; silver-plated OFC; modules for 2.5 mm, 3.5 mm and 4.4 mm terminals
• Tested at: $329 USD

ACCESSORIES



Other than the IEM, these are included:

- 3 pairs of NiceHCK 07 wide-bore silicone eartips (S/M/L/)
- 3 pairs of NiceHCK 08 narrow-bore silicone eartips (S/M/L)
- Plastic case for eartips
- Leatherette semi-rigid case for IEM
- Cable
- 3 modular terminals for 2.5 mm, 3.5 mm and 4.4 mm modules
- 3 pairs of tuning nozzles
- Magnetic clasp
- Cleaning brush

Other than the lack of foam tips, the accessories are fit for a king. This is definitely befitting of a midFI IEM packaging, and almost everything that a discerning audiophile should require is inside.




We have 2 variants of silicone tips provided. The narrow-bore NiceHCK 08 tips boost bass with some soundstage compression, whereas the wide-bore NiceHCK 07 tips increase treble and staging. It is a nice touch that these eartips even come with their own plastic insert case.


A silver-plated OFC cable graces the packaging. This is very well-braided and supple, with minimal microphonics or tangling. It comes with a chin cinch and 3 pairs of modular terminals for single-ended (3.5 mm) and balanced (2.5 mm and 4.4 mm) terminations. Unlike some other modular cables which are just plugged on, this stock cable has a screw-on sheathing to prevent the module from inadvertently dropping out, which may be potentially disastrous if a connected phone or DAP drops off it!




We have a black leatherette semi-rigid case, which is compression-proof. The innards have webbing and a soft lining to cushion the contents, with a zipper mechanism to close it.

NiceHCK has added some other nice goodies such as a magnetic cable clasp and a cleaning brush, the former to tidy up the cable, and the latter to remove debris from the IEM.




We also have a trio of tuning nozzles, which we will discuss about in the subsequent sections.

The rest of this review was done with the stock cable and stock NiceHCK 08 silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.


BUILD/COMFORT



The Himalaya's housings are fashioned from aviation-grade titanium alloy, via 5-axis CNC machining. It is no exaggeration to say that they are literally built like tanks, and the Himalaya feels extremely solid and robust. With a matte grey finish, the shells are elegant yet practical - indeed, some prettier mirror-like shells may prove to be scratch or fingerprint magnets, unlike an unassuming matte faceplate.



Ergonomics are top-notch, and the earpieces are light yet comfortable, with no awkward protrusions to poke the ears.

I did not encounter any driver flex, and isolation is surprisingly above average.


TUNING NOZZLES/INTERNALS

The Himalaya's engine is a 10 mm CNT dynamic driver, which has front and rear cavities with coaxial dual-layer diaphragms, inlaid with N52 and N45 dual magnetic circuits. The 22 um ultra-thin CNT dome is clad with a CCAW copper aluminum voice coil.

Tuning nozzles and switches seem to be the flavour of the year, and the Himalaya comes with 3 pairs of tuning nozzles:

Graph of the NiceHCK Himalaya via IEC711 coupler. 8 kHz is a coupler artefact peak.

As above, the gold and black nozzles are pretty similar - and some might say, borderline gimmicky - in furnishing a Harmanish tone with some sparkle in the lower treble, due to a slight 4 kHz uplift. These 2 nozzles are kings in technicalities, providing fast transients and crisp tones, with a textured and nimble bass. Do note however, that these 2 tunings feature an 11 dB ear gain, so these may be borderline shouty, especially at louder volumes (Fletcher Munson curve).



For folks who want a more laid back upper midrange and lower treble, the blue nozzle is a match made in heaven, bestowing a more chill soundscape, though there is admittedly some blunting of resolution with this nozzle.


DRIVABILITY

I tested the Himalaya 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 easily driven, and additional amplification is not 100% required.


SOUND & TECHNICALITIES



The following impressions were done with the gold nozzle installed.

On this configuration, tonally, the Himalaya sports a balanced Harmanish tone, as discussed above.

Bass is just slightly north of neutral, and this is not a basshead IEM by any means. There is a sub-bass preponderance, however, there is just a tickle of rumble heard in sub-bass heavy tracks. Bass has good texturing, with a nimble and fast bassline heard, with not an ounce of mid-bass bleeding.

The lower midrange is just a tinge depressed, but is very transparent in view of no mid-bass encroachment. Upper mids have a 11 dB ear gain - perhaps reminiscent of its Himalayan namesake? - this pushes vocals forwards, but there may be some shout heard, especially with louder volumes (Fletcher Munson curve). Narrow-bore tips, lower volume playback and warmer sources may mitigate this area somewhat.

Treble continues on from the upper mids peak, with moderate extension. Sibilance is kept minimal, though we still have a decent sprinkling of clarity and resolution.

Timbre is natural, which isn't surprising for a single DD configuration, though note weight is slightly on the thinner side.

The Himalaya aces technicalities, amongst the midFI single DD contenders. Imaging, instrument and micro-details are very well portrayed. Soundstage is a highlight, with music going to beyond the ears in width and height.


COMPARISONS

The Himalaya will be compared against other midFI single DDs that are "tunable". Planars, multi-BAs, and hybrids are left out as the different driver types have their pros and cons.

The gold nozzle is used on the Himalaya for these comparisons.


DUNU Falcon Ultra


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

The Falcon Ultra has 2 tuning nozzles, with the blue ones offering a Harmanish signature, compared to the gold nozzles, which decrease resolution but provide a laid-back darker tuning.

With the blue nozzles installed, the Falcon Ultra has a bit more bass, but with less shout in the upper midrange. It has a thicker note weight, and is less fatiguing in the upper-end.

The Falcon Ultra is behind in soundstage and micro-detailing, but is superior to the Himalaya in imaging. The Falcon Ultra is also easier to drive, and has a better accessory packaging, though it is a scratch and fingerprint magnet due to its mirror-like faceplate.

I would consider these 2 as sidegrades.


Oriveti OD200


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

The OD200 also has 2 tuning nozzles, veering between a very shouty neutral bright tonality (on the black nozzle), versus a laid back tuning on the silver nozzle.

Most users find the black nozzle unusable, due to an over-zealous 13 dB upper mids ear gain, so we will be doing the comparisons with the silver nozzles in-place.

On this setup, the OD200 sounds more placid and laid back, with a thicker note weight, and slightly better timbral accuracy. However, the OD200 pales in comparison in technicalities, having a more claustrophobic stage, weaker micro-details and sub-par imaging. The OD200 is also harder to drive.

The OD200 is in an inferior league in terms of tuning and technicalities, and I would recommend the Himalaya over it.


Simgot EA1000


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

OK, theoretically the EA1000 isn't a pure single DD. It has a passive radiator for the bass, but it functions mostly as a single DD, and is one of the midFI benchmarks, so definitely there will be interested readers for this comparison.

The EA1000 has 3 tuning nozzles, but all give a bright Harmanish tone, which is classical of Simgot's house sound.

The EA1000 has less bass and is brighter in the treble. It may be more sibilant as such, but the EA1000 has a bit less bite in the upper mids.

The EA1000 has a smaller soundstage, but has a hair better imaging, micro-detailing and clarity.

These 2 IEMs are sidegrades, with some variances in tuning.


CONCLUSIONS



The Himalaya should definitely be in the conversation when discussing midFI single DDs, keeping esteemed company with pace-setters such as the well-regarded Simgot EA1000 and DUNU Falcon Ultra.

In terms of non-sonic tangibles, the Himalaya has impeccable ergonomics, accessories and build, with easy drivability. Additionally, there are 3 tuning nozzles to vary the sonics.

On paper, 2 of the 3 tunings are very similar, so in essence, there are only 2 legit different tunings, between a brighter and resolving signature, and a more restrained and chiller tone; the latter has some compromise in resolution, but may be less fatiguing in the upper midrange.

On the brighter nozzles, this IEM has an expansive stage with competitive technical chops, with a transparent midrange and solid bass quality. It isn't one for bassheads in view of some sub-bass roll-off, and the upper mids may be a touch peaky at louder volumes (Fletcher Munson curve), but this can be tamed with tip or source choice, or even just swapping to the warmer tuning nozzle, or using it at lower to moderate volumes.

Overall, the Himalaya is certainly a competitive midFI single DD, and gets my recommendation.

DISCLAIMER



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

The Kiwi Ears Singolo can be gotten here: https://www.linsoul.com/products/kiwi-ears-x-crinacle-singolo (no affiliate links).


SPECIFICATIONS

• Driver configuration: 11 mm LCP dynamic driver + KIWI Acoustic Resonance System (KARS)
• Frequency response: 20 Hz - 20 kHz
• Impedance: 32 Ω
• Sensitivity: 108 dB/mW
• Cable: 2-pin, 0.78 mm; 3.5 mm termination; no info on cable material
• Tested at: $79 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

The accessories are quite disappointing for something retailing at just below $100 USD: there is no provision of a case, pouch or foam tips, and there are definitely cheaper competitors that include a better accessory line-up.




We have 2 variants of silicone tips - the wide-bore ones boost treble and soundstage, whereas the narrow-bore ones improve bass but with some compression in staging.




We have no information on the cable materials, but this is a 2-pin one. It is on the thinner side but comes with a very functional L-curve distal terminal, with a chin cinch for grip. Microphonics are quite abundant although it isn't too tangly. The stock cable is more serviceable than something haptically pleasing, but CHIFI addicts should have some handy aftermarket cable lying around to replace this.

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 Singolo is fashioned from resin. The inner aspects are transparent, showcasing the internal drivers and acoustic tubes in all their glory. We have a blue marbled faceplate to grace the outer part of the housing. The earpieces are solid yet beautiful.

The shells are lightweight with no awkward protrusions on the insides. However, the nozzles lie on the shorter side, and those with larger ears may find that it doesn't seal well with the provided stock eartips, which are likewise stubby. Thankfully, tip-rolling with longer aftermarket eartips eg Spinfits or Final E types may mitigate this area.



Isolation is bang average. I did not encounter any driver flex, which is a sign of good acoustic airflow.


INTERNALS

The Singolo utilizes an 11 mm LCP dynamic driver coupled with a KIWI Acoustic Resonance System (KARS).



KARS is essentially an extended labryinthine acoustic tube - 3D-printed to a 1.0 micron accuracy - that functions as an acoustic damper via air pressure and through Helmholtz resonances, to down-throttle certain frequencies. This results in an increased sub-bass resonance with a taming of the mid-bass, as we will read below.

Additionally, the KARS regulates ear pressure, thus attenuating driver flex and assisting with airflow regulation. Lastly, the KARS technology also decreases rear wave acoustic reflection, which assists in improving clarity.


DRIVABILITY

I tested the Singolo 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 difficult to drive; amplification is recommended for scalability and optimal sonics.


SOUND & TECHNICALITIES

Graph of the Kiwi Ears Singolo via IEC711 coupler. 8 kHz is a coupler peak.

Tonally, the Singolo can be described as neutral with a sub-bass boost. Compared to the measurebator's gold standard in the Moondrop Variations, the Singolo is not so recessed in the lower midrange (so it thankfully doesn't sound as sterile). This tuning choice is pretty pleasant and all-rounded for most music genres, and is generally free of harshness.


Graph of the Kiwi Ears Singolo versus Moondrop Variations via IEC711 coupler. 8 kHz is a coupler peak.

We hear an 8 dB big sub-bass shelf, with a clean and bleed-free mid-bass that cuts off at around 300 Hz, courtesy of the KARS acoustic tube. The sub-bass is very visceral, assuming one has a good seal with eartips, with good rumble and resonance felt. Mid-bass is textured and fast, with zero smearing.

The lower midrange is transparent, with slight recession but no mid-bass encroachment. Upper mids are safe with just a 7 dB ear gain at this region, which translates to vocals that are forwards without shoutiness.

Treble is smooth and fatigue-free, with an early roll-off. This IEM may not be for trebleheads as such, but it is very safe with no sibilance, nor harshness. The Singolo is thus a well-suited option for longer listening sessions.

Timbral accuracy is pretty solid as per most DD setups. No complaints here.

The Singolo is more of a musical than technical set. It isn't classleading in micro-detailing or imaging, with some smudging of instrument separation noted in fast tracks with competing riffs. Soundstage is average in width, but has decent height and depth.

Amplification might assist in soundstage and dynamics to some extent, but overall, on a spectrum, the Singolo is more safe (some might even say boring) over something aggressive for head-banging fun.


COMPARISONS

The Singolo will be compared against some other budget single DDs. Hybrids, pure BAs and planars are left out of the comparisons, as the different transducer types will have their own inherent pros and cons.


Simgot EA500LM

The EA500LM has 3 tuning nozzles to vary the sonics and furnish more versatility, though all tunings still lie towards a brighter Harmanish tone.

The EA500LM is hence more boosted in the upper mids and treble, which may result in more clarity and resolution, though with more shoutiness, fatigue and sibilance.

In technical chops, the EA500LM has superior soundstage, micro-detailing, imaging and instrument separation.

The EA500LM has a less natural timbre, but is easier to drive, with a better accessory line-up.


Kefine Delci

The Delci is a bassy U-shaped single DD, which also has big sub-bass. The Delci has more mid-bass and lower mids, with more treble extension.

In technicalities, the Delci is more expansive in soundstage, with slightly better micro-detailing and imaging.

The Delci sounds a tinge more metallic in timbre. However, packaging and drivability go to the Delci.




CONCLUSIONS

The Singolo is a musical single DD with a cool implementation of the KARS technology - something akin to an acoustic damper - which bestows a big sub-bass shelf with a clean mid-bass without bleed. This also eliminates driver flex as an added benefit.

Sound-wise, the Singolo sports a very safe tuning, which should be agreeable to most ears. There is no shoutiness, nor fatigue in the upper frequencies, with a transparent midrange heard. Timbre is natural as per its single DD roots. However, technical chops are middling and won't uproot any trees.

In external facets, the Singolo is downright beautiful, with its transparent resin housings allowing consumers to visualize the inner workings of this IEM. However, the overly short nozzles may pose potential fitting issues for larger ears - this may be mitigated with longer aftermarket eartips - and the Singolo isn't the easiest set to drive. To top it off, the accessory lineup is a disappointment for something near a 100 bucks.

In the big scheme of things, the Singolo parachutes into the competitive shark-infested sub-$100 USD single DD ocean, where there are a myriad of choices on offer; I would class this IEM as average but nothing market disrupting. The Singolo would be an option for folks searching for a fatigue-free musical beast that can be used for longer listening sessions, over something for head-banging fun or for critical listening. I do hope this KARS technology can filter down to future releases too, as this innovative concept may very well prove to be the future of IEMs.

DISCLAIMER

I would like to thank HIFIGO for providing this unit.

The Fosi Audio DS2 Cirrus 2024 version can be gotten here: https://hifigo.com/products/fosi-audio-ds2 (no affiliate links).



Take note that there was an older Fosi Audio DS2 utilizing ESS chips. The dongle we are talking about today is a newer variant for 2024, which packs dual CS43131 chips.


SPECIFICATIONS/COMPATIBILITY

DAC Chip: Dual CS43131 Cirrus Logic chips
Output ports: 3.5 mm single-ended and 4.4 mm balanced
Output Power: SE: 128 mW (@32 Ω), BAL: 510 mW (@32 Ω)
Playback: PCM up to 32 bit/384 kHz; DSD 64/128/256
Dynamic range: 130 dB
THD+N: 0.0001%
Noise: <1.6 UV.
Frequency response: 20 Hz - 20 kHz
S/N: ≥130 dB
Tested at: $59.99 USD


This is a plug-and-play dongle, and as a Windows 10 user, I did not require any additional drivers to be installed. It was easily recognized on various Windows and Android devices, but I cannot vouch for its compatibility with Apple products, as I'm not a user of their gear.

This dongle has no app or UAC 1.0 mode for gaming.


ACCESSORIES

Other than the dongle, the packaging comes with:
- USB-C to USB-C cable
- USB-C to USB-A adapter



Truth be told, it is a decent provision of accessories, perhaps other than the omission of a Lightning adapter for our Apple friends.

The provided USB-C cable is on the thinner side, but is pretty well braided.


DESIGN/FUNCTION



The DS2 Cirrus 2024 dongle is furnished from matte grey metal, and comes in a well-built rectangular design. It is very tiny, and easily fits in a pocket or small bag.

There is an LED light on the top, which changes colours based on the file format used:

• PCM < 48 kHz: red
• PCM 48 - 96 kHz: green
• PCM 96 - 384 kHz: yellow
• DSD 64/128/256: blue

This dongle has no screen, nor any settings menu to explore. Neither has it any gain or DAC filter options, so it is pretty no frills.

One side has the 3.5 mm (single-ended) and 4.4 mm (balanced) ports, with the latter reinforced by gold-plating.




The opposite side has a USB-C port for data and power feed.




On the lateral aspect, we have independent volume controls with very finely tuned steps - this is much appreciated as some higher-end dongles like the Questyle M15 for example, do not have this implemented.


INTERNALS

This DAC/AMP's engine are dual CS43131 chips. It allows playback of PCM up to 32bit/384kHz and DSD up to DSD256.


SOUND/PERFORMANCE

I tested the DS2 Cirrus 2024 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 ecosystem sources.

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




Tonally, the DS2 Cirrus 2024 is neutral and achromatic. This makes it a perfect option for purists who want only the transducer to do the colouring. It is very clean sounding, and gear that you are familiar with should sound exactly the same on pairing it here. End-to-end extension is good with no roll-off.

Technicalities are nicely done for a $50ish dongle. We hear an expansive soundstage in depth, height and width. Music is projected beyond the ears, and this is one of the better dongles in soundstage at sub-$100. Micro-details are captured well. Imaging is quite pinpoint, and one can hear projected instruments and vocals within the headspace with relative ease.

This dongle has a single-ended (3.5 mm) and balanced (4.4 mm) port. Fosi advertises 128 mW (@32 Ω) for the single-ended and 510 mW (@32 Ω) for the balanced port respectively (with a reported THD+N: 0.0001%). Unfortunately, the DS2 Cirrus 2024 has no gain options.

These purported power specs are actually quite impressive for a $50ish dongle, as the next step up would be the pricier Fiio KA13, which juices out 550 mW on its balanced desktop mode. Well, the proof lies in the pudding, and I put this DAC/AMP through my gauntlet of 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)

On balanced output, the E5000 was surprisingly well-driven, with a textured bass with good control of the bass. The HD650 had adequate dynamics, though the soundstage sounded a wee bit compressed.

The final boss, the Yinman 600 ohm - with a ridiculously high impedance and low sensitivity - was understandably underpowered. It is not a matter of volume, but the bass was somewhat bloated with lack of texturing, though dynamics and staging were adequate. It is no shame though, most dongles and DAPs can't drive this behemoth well, and it usually requires desktop grade sources to suitably drive it.

I did note a bit of distortion on driving these tough customers (especially the Yinmans), so perhaps the THD may not be as clean as marketed.

While we have no output impedance (OI) specifications provided by the company, to my ears, the OI should be relatively low, as low impedance gear paired with it didn't sound warped in the frequency response.

This device has no hiss even with highly sensitive IEMs. There is no "pop" sound on disconnecting gear, which is a sign of good noise floor implementation. The DS2 Cirrus 2024 gets slightly warm during usage (but not hot).



COMPARISONS

Simgot DEW4X

The DEW4X's engine are dual C43198 cirrus chips, and it has a warm-neutral tonality. Thus, it sounds thicker in note weight than the DS2 Cirrus 2024, and has a more rounded and laid-back profile.

Both dongles have independent volume controls with finely tuned steps, but the DEW4X has gain functions, with a UAC 1.0 gaming mode, so the versatility is a bit better.

On high gain via the 4.4 mm port, the DEW4X is rated for 150 mW output, which is paltry compared to the DS2 Cirrus 2024. Thus the DEW4X's anemic driving ability cannot juice more demanding gear.

In terms of technicalities, the DEW4X is weaker in soundstage, micro-detailing and imaging.


Fiio KA13

The KA13 is a neutral bright dongle that utilizes dual CS43131 chips.

The KA13 is better accessorized - it even has an Apple adapter included - with a Fiio control app for additional areas to explore. The KA13 likewise has well-implemented independent volume controls.

The KA13 on 4.4 mm desktop mode pumps out 550 mW output (THD+N balanced＜0.0005% (32 Ω)), which on paper is just slightly better than the advertised specs on the DS2 Cirrus 2024. However, at high loads, the KA13 doesn't distort so easily when driving difficult transducers - in contrast to the DS2 Cirrus 2024 - so I feel the former has a more controlled power delivery. The KA13 gets warmer during usage, and has a greater battery drain, which ties in with the great power outlay.

In technicalities, these 2 are neck-and-neck. The KA13 has better micro-detailing and imaging, but the DS2 Cirrus 2024 has a more expansive stage. The KA13 is about $20 more expensive though.


CONCLUSIONS



The Fosi Audio DS2 Cirrus 2024 is a solid dongle to consider in the competitive $50ish market. Its forte is in soundstaging, with an expansive soundscape heard beyond the ears, something that belies its relatively low price point - it actually comfortably beats most other $50ish competitors in this department.

This dongle is neutral and uncoloured, so it lets the connected transducer do the talking. Accessories, build, and portability are great for the asking price. It doesn't get hot during usage, with no hiss or "popping" too.

While the power specs on paper look audacious, on actual field testing, the DS2 Cirrus 2024 does run into instances of distortion when required to pump harder to drive gear. No doubt it can still drive relatively demanding gear, but the power isn't as clean, and as the adage goes, "power is nothing without control". This dongle also has some lack of features, such as no app, PEQ, DAC filters or even gain settings.

In the big scheme of things, the Fosi Audio DS2 Cirrus 2024 variant is a no frills dongle. It should be considered in the conversation for something with quite a lot of juice, yet retaining neutrality with a good sprinkling of technicalities, especially in soundstage.

DISCLAIMER

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

The Nimo can be gotten here: https://www.amazon.com/Tronsmart-Nimo-Super-Compact-Waterproof-Black/dp/B0CH5BSS93 or https://www.tronsmart.com/products/tronsmart-nimo-portable-mini-speaker (no affiliate links).




SPECIFICATIONS

Tested at $19.99 USD


ACCESSORIES



Tronsmart has provided only a USB-C to USB-A charging cable inside the box. Such an austere accessory packaging is unsurprising though, since the Nimo costs less than a restaurant meal, and I can close an eye for this.


BUILD/UTILITY



The Nimo has a rounded triangular chassis, and is made of sturdy metal. There are no sharp edges along its design. During ordering, one can opt amongst a black, violet, gold or green-hued housing.

It measures half the size of a palm - and weighing in at 0.24 pounds - it is extremely compact and portable. The Nimo comes with an attached lanyard, so it can be easily hung along on a bag or bike.

The bottom of the speaker has 3 sets of rubberized feet for grip, if it needs to be placed on a table or shelf for example.




On side of the fuselage, we have the buttons and charging port.



The buttons work as advertised:



Interestingly, unlike a conventional up and down volume button, pressing the power button once will increase the volume instead. Holding the multifunction button PLUS power button will lower the volume. Holding the power button longer (for > 2 seconds) will turn it off. Pressing the multifunction button once will pause/play music, while pressing it twice skips to the next track (a triple press will bring us to the previous track).

For those that intend to use this speaker for calls and meetings, I'm glad to report that it comes with an inbuild mic, and the multifunction button can be also used to accept or reject calls. It even has voice assistant support, which is quite nifty for such a low-priced speaker.

The Nimo will automatically shut down after 10 minutes if not paired with any other Bluetooth device. Additionally, it has an automatic protection function to shut itself down when the battery reaches critically low levels.

This speaker is quite frills free. It has no aux in or SD card slot, and can only be fed music via Bluetooth. It is charged via a type-C USB port, with no wireless charging available. There are no shining LED lights, unlike some of the other speakers in Tronsmart's stable.

Tronsmart markets that the Nimo has IPX7 waterproofing, which theoretically means it can survive submersion of 1 meter of water for 30 minutes! Thus, the Nimo can be brought for pool or beach parties, in addition to rough-and-tumble usage in the rain or sweaty environments.


FUNCTION/CONNECTIVITY



I tested the Nimo with multiple Bluetooth devices (both android and apple based, laptops/PCs and DAPs), and it was easily paired with these different devices.

It supports Bluetooth 5.3, but only with SBC codec. Higher-end codecs like AAC, aptX, aptX HD and LDAC are unfortunately not supported, but I guess we can't have unrealistic expectations for the retail price of sub-$20 USD.

During my field tests, the effective Bluetooth range is around 10 meters with no obstructions, or about 7 meters or so with obstructions. Stuttering was encountered with thick walls, albeit with nil drop outs. Latency is below a second.

Tronsmart advertises 12 hours battery life on a full charge, and it is thereabouts on my testing, but this is also partially dependent on volume used. Of course, battery life is expected to go down with repeated charge cycles, but 12 hours for a budget speaker is more than decent. The Nemo takes 2 hours to achieve a full charge.

This speaker can also support a stereo pairing mode where 2 Nimos can be linked for an expansive stereo effect. Unlike other Tronsmart speakers, there is no app support for the Nimo, which is a nitpick, but nonetheless a missed opportunity.


TECHNICAL ASPECTS

The Nimo sports a very transparent and clear sonic profile, and is quite neutral. It isn't a bassy speaker, even when placed on reverberant surfaces - there is a sub-bass roll-off - thus bassheads may need to get their bass kicks elsewhere (figuratively and literally). But the Nimo makes it up with a clean and fast bass, that has minimal bleed. The unveiled soundscape is a great match for not only music, but for calls, meetings and podcasts, as vocals are intelligible and not masked.

From an audiophile perspective, the Nimo doesn't have the largest soundstage or class-leading micro-details, but when looking at the sub-$20 price tag, the sonics are decent enough for day-to-day use and outdoor usage. For such a wee profile, the Nimo can get deafeningly loud in a small enclosed room, so it may be a useful option for office presentations or video playback, or even late night movies at home.




CONCLUSIONS

For consumers that are looking for a compact and well-built speaker that won't burn a hole in the wallet, the Nimo comes in with a very solid price-to-performance ratio. It furnishes an uncoloured signature, with big sound that belies its minute frame. It even has IPX7 waterproofing for the outdoor or gym enthusiasts, with decent battery life and relatively stable Bluetooth connectivity.

It isn't the last word in audiophile-grade sound, and an app and more Bluetooth codec support would have been appreciated, but considering it costs less than a restaurant meal, the Nimo would be a commendable daily beater for multiple case usages, and may even be a practical gift for relatives and friends.

DISCLAIMER

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

The Jialai Carat can be gotten here: https://www.aliexpress.com/item/1005006660245454.html (no affiliate links).




SPECIFICATIONS

• Driver configuration: 10 mm titanium-plated DLC dynamic driver
• Frequency response: 10 Hz - 28 kHz
• Impedance: 32 Ω
• Sensitivity: 106 dB/mW
• Cable: 2-pin, 0.78 mm; OFC cable
• Tested at: $69 USD

ACCESSORIES

Other than the IEM, these are included:

- 3 pairs of wide-bore silicone eartips (S/M/L/)
- 3 pairs of narrow-bore silicone eartips (S/M/L)
- 3 pairs of balanced silicone eartips (S/M/L)
- Cable
- Carrying case

Other than the lack of foam tips, the provisions are very generous for a sub-$100 USD IEM. I've definitely seen pricier sets with stingier accessories.




We have 3 variations of silicone tips. The wide-bore ones boost treble and soundstage, whereas the narrow-bore ones do the opposite in increasing bass but compressing staging. The balanced ones are a midpoint between these 2 in terms of sonics.




The OFC 2-pin cable is braided decently, but has microphonics and is a bit tangly. There is a chin cinch for added grip. Not the best stock cable, but serviceable in a way.




Lastly, we have a leatherette semi-rigid case. This has a magnetic clasp, and is lined internally with velvet to cushion the contents.

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


BUILD/COMFORT



Like its namesake, the Carat is gleaming and alluring, with a polished mirror-like finish. The shells are fashioned from aluminum alloy via 5-axis CNC machining, with solid build. These enchanting housings are however scratch and fingerprint magnets, so on a practical basis, it might behoof the user to baby this IEM during usage.



Comfort and ergonomics are good. The shells are light, with no awkward protrusions on the inner aspects to poke the ears. It can be used for marathon listening sessions without discomfort.

Isolation is average in view of the vented acoustics. I did not encounter any driver flex on my pair.




INTERNALS

The Carat's engine is a 10 mm titanium-plated DLC dynamic driver.


DRIVABILITY

I tested the Carat 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 100% necessary.


SOUND & TECHNICALITIES

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

Tonally, the Carat sports a bright V-shaped tuning, with an emphasis at the top-end.

The Carat has a sub-bass preponderance, with decent rumble at the low-end. It doesn't exactly hit basshead levels, but is definitely north of neutral. Mid-bass is thumpy, with above average texturing and speed. Mid-bass bleed is thankfully mild.

As per the V-shaped profile, the lower midrange is recessed, and can come across as thin. Hitting nearly 9 dB in the ear gain region, the upper mids are forwards with some nasalness and shoutiness noted, especially at louder volumes (Fletcher Munson curve).

Continuing on from the upper mids, the lower treble peaks at around the 5 - 6 kHz regions. This provides lots of clarity, but there is some sibilance and fatigue, especially if one is treble-sensitive. Trebleheads will certainly like the tuning choices though, so there are pros and cons here.

In terms of timbre, while acoustic instruments sound quite accurately portrayed, the aforementioned thin note weight does bestow sterileness to the soundscape and nasalness to vocals.

I would grade the Carat as having above average technicalities. Soundstage is not compressed but not classleading either, going to just beyond the ears. Imaging while not exactly dead pinpoint, is still fairly well-localized. Clarity is emphasized by the feisty upper end, and instrument separation is acceptable. Micro-detailing is solid for a sub-$100 single DD.


COMPARISONS

The Carat will be compared against some other budget single DDs. Hybrids, pure BAs and planars are left out of the comparisons, as the different transducer types will have their own inherent pros and cons.


Simgot EA500LM


Graphs of the EA500LM via IEC711 coupler. 8 kHz is a coupler peak.

The EA500LM has 3 tuning nozzles to vary the sonics and provide more versatility, though all tunings still lie towards a brighter Harmanish tone.

The EA500LM has a thicker note weight, with a slightly more organic timbre. In technical chops, the EA500LM has a better soundstage, with more precise imaging, though micro-detailing and clarity goes to the Carat.


Kefine Delci

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

The Delci has less treble and upper mids, thus bestowing a more relaxing upper end, with less fatigue and sibilance heard.

The Delci has a more natural timbre with a thicker note weight. In technicalities, the Delci trumps the Carat in soundstage, though the Delci has weaker micro-detailing. Imaging is about on par, though the Carat has sharper edge definition to notes.


CONCLUSIONS



In a sea of weekly single DD releases, we hear a clean and bright tone in the Carat, coupled with decent technical chops and a good sprinkling of micro-detailing and clarity. Accessories are second to none at this price range, with beautiful mirror-like shells, comfortable fit and easy drivability. While the charming mirror-like shells are a looker, on a practical basis, the housings may easily get scratched or smudged.

Sound-wise, there are some tonal flaws - an overly thin lower midrange culminates in an exuberant bloom in the upper end - resulting in a sterile soundscape that is entwined with some fatigue in the upper mids and lower treble. Vocals can come across as nasal and the Carat is thus not one for the treble-sensitive. However, on the converse, trebleheads might be very at home with the tonality.

All things considered, the Carat is a diamond in the rough. This unearthed gem lies in the realm of average - it isn't an extraordinary jewel but isn't a bad set by any means. However, the competition in budget CHIFI-land is so cut-throat nowadays, that even average may sadly not be enough: next week promises a new shiny hypetrain to grab the attention of consumers! Nevertheless, for a pioneer release from the brand, the Jialai Carat is okay, and would be a potential bridgehead for further (hopefully) more refined and polished gems down the line.

DISCLAIMER

I would like to thank the Angeldac Audio store for providing this review unit.

The Pandamon 2 can be gotten here: https://www.aliexpress.com/item/1005006655763085.html (no affiliate links).




SPECIFICATIONS

• Driver configuration: Full-range 10 mm square planar driver
• Frequency response: 20 Hz - 20 kHz
• Impedance: 9 Ω
• Sensitivity: 108 dB
• Cable: 2-pin, 0.78 mm; 4-core silver-plated oxygen free copper cable
• Tested at: $59 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)
- Cable
- Carrying case

While no foam tips are provided, the accessories are nevertheless quite decent for a budget set.




2 variants of silicone tips are included - we have the Celest 221 "Vocal" black tips, which are wide-bore. These boost treble and air, and widen soundstage. Conversely, we have the red Celest 608 "Balanced" tips, which are narrow-bore; these increase bass with some compression in staging.




We have a 2-pin 4-core silver-plated oxygen free copper cable, which is well-braided and tangle-free. Microphonics are negligible, with a chin cinch. It is certainly a very serviceable stock cable.




Lastly, we have a semi-rigid clam-shell zipper case, which should withstand compressive forces. Internally, it has webbing and a soft lining to cushion the contents.

The rest of this review was done with the stock cable and stock Celest 221 "Vocal" 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 HeyGears 3D-printed resin. They are painted individually via a hand-drawn brush technique, culminating in a black or blue-hued alluring motif, depending on which colour is ordered. The shells are indeed very beautiful and I daresay this IEM would actually make a suitable gift.

Ergonomics are excellent, with superb fit and comfort. The shells are light, with no awkward protrusions along the inner aspects to poke the ears. The Panadamon 2.0 can thus be used for long listening sessions, no worries.



Isolation is bang average. I did not find any driver flex on my pair, which is a sign of good acoustic design.


INTERNALS

The Pandamon 2.0 utilizes a full-range 10 mm square planar driver, which is a pretty unconventional driver setup.



DRIVABILITY

I tested the Pandamon 2.0 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.

However, due to its mind-bogglingly low 9 Ω impedance, the Pandamon 2.0 is fussy with source pairing due to the rule of eights. Source with > 1.125 Ω output impedance may skew the frequency response and make it very bassy, so ideally, the Pandamon 2.0 is best paired with something < 1 Ω in output impedance.


SOUND & TECHNICALITIES


Graph of the Celest Pandamon 2.0 via IEC711 coupler. 8 kHz is a coupler peak.

Tonally, the Pandamon 2.0 sports a warm U-shaped profile, if juiced from a low output impedance source. This is a pleasant and safe tuning choice, which should suit most consumers, other than diehard trebleheads and bassheads.

This set has a predilection for sub-bass focus, though lower-end extension isn't the deepest, so I wouldn't consider it as basshead in quantity. In terms of bass quality, texturing is average, and the Pandamon 2.0 may struggle to keep up with complex bass riffs, in terms of speed. There is some mid-bass bleed, but this adds warmth to the overall soundscape.

The lower mids are thick and lush due to the aforementioned bass bleed, furnishing tons of euphony to the sonics. The upper mids are safe with a 6 dB ear gain, so vocals are not shouty at all, which should please the anti pinna gain gang.

This IEM borders on dark, and the treble rolls-off early. We hear not an ounce of sibilance as such, and treble-sensitive peeps will be very at home. Resolution does take a hit though, so there are pros and cons, and trebleheads may need to look elsewhere for their kicks.

The Pandamon 2.0 has a slight metallic tinge to the timbre. Acoustic instruments sound a bit hollow, but it is not the worst offender in this department.

This IEM is not a tour de force in technicalities, favouring a "musical" signature over something outright analytical. Soundstage is above average but not class-leading. Imaging and instrument separation is fuzzy, though layering is okay. As alluded to, the darkish treble does veil micro-details and clarity.


COMPARISONS

The Pandamon 2.0 is quite unique in having a single SPD configuration, and there aren't many similar budget sets in this price range that are powered by the same setup. This technology is somewhere in between a single DD and pure planar, so FWIW, I've added some budget single DD types to compare.


EPZ Q5

The Q5 has a bright V-shaped profile, with way more treble extension. However, it can be more fatiguing in the treble region, with sibilance noted.

The Q5 has a thinner note weight - sounding more sterile and metallic - but it has improved soundstage, micro-details, imaging and clarity.


Simgot EA500

The EA500 has 2 tuning nozzles, but both still confer a brightish Harman tone. The EA500 is leaner in note weight - not sounding as exuberant - though it has a more pronounced upper midrange and treble. There is a bit of shoutiness noted in vocals as such, and this may be more fatiguing than the laid back Pandamon 2.0.

The EA500 has superior technicalities, and is a league ahead in imaging, micro-detailing and instrument separation. Soundstage is slightly wider on the EA500 too.


CONCLUSIONS



The Pandamon 2.0 beings a chill and pleasant soundscape to the budget CHIFI buffet table. It is a very musical set - with a hefty and euphonic note weight - and it eschews outright technical prowess for something affable and fatigue-free. There is not an ounce of sibilance or shoutiness in the upper frequencies, so it should be a match made in heaven for the treble-sensitive.

In terms of non-sonic aspects, the aesthetics are alluring, coupled with easy drivability, decent accessories and top-notch ergonomics. It would even make a good gift due to the elegant shells!

Admittedly, the Pandamon 2.0 is not the sharpest tool in the shed in terms of technical chops, and the bass could be flabby at times - but this does add colouration and mass to the tonal weight, and is part of the Pandamon 2.0's sedate appeal. Trebleheads will also need to consider alternatives due to the darkish treble, and this IEM's low impedance may make source pairing with high output impedance gear a tricky proposition.

If one throws a stone nowadays, it is very easy to hit a budget IEM that pursues technicalities and analytical tunings, sometimes to the detriment of fatigue or tonal balance. Once in a while, we yearn for laid-back gear like the Pandamon 2.0, to allow us to appreciate music for what it is, and to take us back to our roots of soaking in a warm enveloping sea of tonal bliss.

DISCLAIMER

I would like to thank Linsoul for providing this unit.

The Kiwi Ears Allegro can be gotten here: https://www.linsoul.com/products/kiwiears-allegro (no affiliate links).




SPECIFICATIONS/COMPATIBILITY



This is a plug-and-play DAC/AMP, with no requirement for additional drivers on Windows 10 and above. I had no issues pairing the Allegro with my various Windows and Android devices, but as I am not an Apple user, I can't vouch for its compatibility with this subset of products.

The Allegro has no app or UAC 1.0 mode for gaming.


ACCESSORIES



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



Admittedly, the accessory line-up isn't the best. There are no USB-A adapters or even Lightning adapters, so one will need to source for these items if you intend to use the Allegro with a laptop or Apple device, for example.

The provided USB-C cable is thankfully quite well-built, with a double braided cable that is sheathed with PVC.


DESIGN/FUNCTION



The Allegro sports a nostalgic retro gaming controller chassis reminiscent of gaming devices of the past decade. The dongle itself is built like a tank - furnished from metal - but is very light and portable.

While the aesthetics are truly old-school and cool, unfortunately the D-pad and A/B buttons are just for show, and these cannot be pressed.

The only "pressable" buttons are the volume buttons found on the lateral side of the fuselage. I'm glad to report that this dongle has independent volume controls, with finely-tuned steps.




Sadly, the Allegro has no LED screen, nor any settings menu to toggle to. Neither has it any gain or DAC filter options.

On one end, with have the 3.5 mm (single-ended) and 4.4 mm (balanced) ports, with the latter rimmed and reinforced by gold-plating.




The opposite end has a USB-C port for data/power.




INTERNALS

This DAC/AMP's engine is an ES9028Q2M DAC chip. It can allow playback of PCM up to 32bit/384kHz and DSD up to DSD256.


SOUND/PERFORMANCE

I tested the Allegro 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 ecosystem sources.

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


Tonally, the Allegro is neutral, with note weight on the thinner side. This furnishes a somewhat sterile soundscape, but the sonics are rather transparent, with minimal colouring. No doubt folks who want something more lush or euphonic might need to consider alternatives, but this dongle lets the connected transducer do the flavouring.

The keyword to describe the Allegro would be "clean".

Technicalities are above average for a $50ish dongle. Soundstage is propagated quite well in all 3 dimensions, with music heard just beyond the ears. There is also decent micro-detailing and layering. Imaging, while not exactly pinpoint, is still acceptable. Bass quality is surprisingly textured and fast.

Unfortunately, the Allegro's output specs are middling and are nothing to write home about. It pumps out 70 mW for the 3.5 mm and 155 mW for the 4.4 mm ports respectively (this is at THD+N of 0.0015% at 32 Ohms). While it would actually have been impressive just a year or two ago, we are now in an age where rival dongles at the same price segment or even cheaper - eg Fiio KA11 - handily beat the Allegro in terms of power specs.

Additionally, the Allegro has no gain options, so users are stuck with just one gain setting, even for harder to drive transducers.

As per all source testing, I put the Allegro through my acid tests of 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 decently driven, in terms of soundstage and dynamics, though it could do with better bass texturing and control. The HD650 lacked somewhat in dynamics and sounded a bit anemic, though there was sufficient headroom. The final boss, the Yinman 600 ohm - with an ultra low sensitivity and high impedance - was understandably not properly juiced, with muffled dynamics and a one-noted bass heard.

It is not a matter of volume - but more of control - that the Allegro lacks with these tough behemoths.

While we have no output impedance (OI) specifications provided by Kiwi Ears, the OI should be sufficiently low as low impedance gear paired with it didn't sound skewed in the frequency response.

The Allegro has no hiss even with highly sensitive IEMs. There is no "pop" sound on disconnecting gear, though it gets slightly warm during usage (but not hot).


COMPARISONS



Simgot DEW4X

The DEW4X sports dual C43198 cirrus chips, and has a warm-neutral tonality.

Both the DEW4X and Allegro have independent volume controls with finely tuned steps, but the former also has gain functions, with a UAC 1.0 gaming mode for our gaming friends.

On high gain, with the 4.4 mm port, the DEW4X is rated for 150 mW, which is similar to the power output of the Allegro (ie they both can't drive demanding gear that well). In terms of technical chops, the Allegro is slightly superior in soundstage, micro-detailing and imaging.


Fiio KA13

The KA13 is a neutral bright dongle that utilizes dual CS43131 chips.

The KA13 is better accessorized (it even has an Apple adapter included), with a Fiio control app for additional goodies to play with. The KA13 also has well implemented independent volume controls.

The KA13's selling point, is its gargantuan 550 mW output on desktop mode (THD+N balanced＜0.0005% (32 Ω)), which as of the time of writing, is one of the most powerful dongles. Indeed, the KA13 is only a hair less powerful than the more expensive Fiio KA17 (650 mW output). Thus, the KA13 easily trumps the Allegro in this aspect, and the former can drive a myriad of tougher customers easily, and with aplomb. Admittedly we can't game physics, and the KA13 gets warmer during usage, and has a greater battery drain.

In technicalities, these 2 are quite close, with the KA13 having better imaging and micro-detailing, but the Allegro boasting of a more expansive soundstage.




CONCLUSIONS

While it doesn't reinvent the wheel, the Allegro is a decent entrant to the $50ish dongle market. It brings a neutral and transparent soundscape to the table, with above average technical chops on offer.

In terms of externals and aesthetics, it provides an old-school retro gaming controller doppelganger design, to stir up pangs of childhood nostalgia. Sadly though, the D-pad and A/B buttons are not functional, and it would have been cool if these had actually worked! Thankfully, the Allegro is also small and portable, with robust build, coupled with finely-tuned independent volume controls.

Sound-wise, the Allegro is neutral, and lets the connected transducer do the colouring. It doesn't get hot during usage (just warm), and has no hiss with fussy high sensitivity gear.

It has to be said, that the accessories and power output specs are somewhat disappointing, with competitor dongles besting it in sheer power numbers - this is more apparent when trying to drive low sensitivity/high impedance transducers. The functional aspects of the Allegro are also not the best, with no gain options, DAC filters, LED screen or app compatibility.

Being average (or even above average) nowadays is arguably not enough, with CHIFI competitors releasing new products on a weekly basis. I don't think the Allegro is a bad product by any means - it actually does more right than wrong - but I'm not sure if the attention of audiophiles will be captured by a shinier and newer product next week, that's how cut-throat this industry is! Nevertheless, this dongle is an option to consider for neutral-heads and purists that want something achromatic, clean and transparent.

DISCLAIMER

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

The Cadenza 4 can be gotten here: https://letshuoer.net/products/letshuoer-cadenza4-wired-iem-hifi-earphones-in-ear-monitor (no affiliate links).




SPECIFICATIONS

• Driver configuration: 10 mm beryllium-coated dynamic driver + 3 balanced armature drivers (1 Sonion and 2 Knowles BAs)
• Frequency response: 20 Hz - 40 kHz
• Impedance: 15 Ω
• Sensitivity: 102 dB
• Cable: 2-pin, 0.78 mm; silver-plated monocrystalline copper cable; modular plugs for 2.5 mm, 3.5 mm and 4.4 mm termination
• Tested at: $249 USD

ACCESSORIES



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

The accessories are quite generous for a midFI set, perhaps only lacking in foam tips.

We have 2 variations of silicone tips included. The wide-bore "vocal" ones boost the upper frequencies as per their name sake, adding air and soundstage; the narrow-bore "balanced" ones increase bass but compress staging slightly.




The stock cable is a 2-pin silver-plated monocrystalline copper one, and is one of the better cables I've encountered. It is well-braided, with minimal tangling, and comes with a chin cinch. Microphonics are minor, and the best part is that it comes with 3 modular plugs - 2.5 mm, 3.5 mm and 4.4 mm - thus ensuring that the Cadenza 4 can be paired with a myriad of balanced and single-ended sources.




Last but not least, we have a round hard screw-on carrying case. It is lined internally with a soft material, while the outside is as tough as a rock. Certainly a very useful case to protect the held contents.

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



Letshuoer has utilized Heygear 3D-printed resin for the shells of the Cadenza 4, and it is built solidly. The housings come in a white matte finish, with a CNC anodized aluminum alloy faceplate.

The Cadenza 4 is one of the best fitting IEMs, with smooth internal aspects and a concha protrusion for stability. It is quite light too, so this IEM can be used for marathon listening sessions without discomfort.



Despite being vented, isolation is solid, and this IEM can be used surely in noisy places. I didn't find any driver flex on my pair.


INTERNALS

The Cadenza is a 4 driver hybrid comprised of a 10 mm beryllium-coated dynamic driver + 3 balanced armature drivers (1 Sonion and 2 Knowles BAs).

These prized drivers are linked via 3 acoustic tubes with a 4-way crossover. Incidentally, these acoustic tubes are meticulously manufactured via 3D-printing, to a 50 um specification.


DRIVABILITY

I tested the Cadenza 4 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 easily driven, but will scale a bit with juice.


SOUND & TECHNICALITIES


Graph of the Letshuoer Cadenza 4 via IEC711 coupler.

Tonally, the Cadenza 4 sports a refined neutral tuning with an element of sub-bass boost. It is uncoloured and "reference-like", and is a kindred spirit for purists who do not want something too V-shaped or flavoured in signature.

This is a sub-bass focused IEM, with quite deep sub-bass extension. Quantity is just a bit above neutral, so bassheads may need to look elsewhere. What the Cadenza 4 cedes in quantity, it makes up in quality, with a very textured and nimble bassline heard, with no mid-bass bleed.

The lower midrange is neutral, with excellent clarity and transparency, in view of no bass encroachment. This allows instruments to be easily layered on a dark background. This is a double-edged sword, as there is a bit of thinness in the lower mids, so those that want a more lush and dense note weight might need to consider alternatives. The upper mids are forwards but not overly shouty.

The Cadenza 4 has a resolving treble, without veering to sibilance or harshness. High-hats and cymbals are not splashy, although upper treble does have a roll-off.

There is minimal BA timbre, though as stated above, note weight is a bit thin. For folk who yearn for a tinge more bass/body to notes, do select the narrow-bore eartips rather than the wide-bore "vocal" ones.

In terms of technicalities, the Cadenza is quite a beast. Soundstage is expansive in width and height, with imaging and layering a strong suit. Micro-details are captured well, for something not overly steroid boosted in the treble. Transients are fast and crisp.


COMPARISONS

Comparisons were made against other midFI hybrids. Planars, single DD and BA types are omitted, as the different transducers have their own pros and cons.




AFUL Performer 5

The Performer 5 is a U-shaped set with more bass. However, the Performer 5's bass bleeds a lot, with a one-noted bassline heard, lacking all texture.

The Performer 5 has more marked BA timbre (though it has a thicker note weight). The Performer 5 is a league behind in technicalities, losing to the Cadenza 4 in soundstage, micro-details and imaging.


QOA Aviation

The Aviation is another U-shaped set with more bass quantity. However, the bass isn't as fast and clean as that on the Cadenza 4.

The Aviation has a thicker note weight and a more natural timbre. However, when it comes to technical chops, the Aviation is weaker in soundstage, micro-detailing and imaging.


Penon Fan 2

The Fan 2 is a warm neutral hybrid. It has a much lusher and thicker midrange than the Cadenza 4, with the Fan 2 furnishing a more euphonic soundscape as such. Timbre is a bit more natural on the Fan 2.

The Fan 2 is inferior in technicalities, with a less expansive soundstage and poorer layering/imaging.

The Fan 2 Achilles' heel is its very long nozzles, which may cause discomfort for users. The Cadenza 4 is much better fitting by miles.


CONCLUSIONS



The Cadenza 4 is a neutral-head's delight, presenting a rather uncoloured and "reference" soundscape. It has excellent technical chops - imaging and soundstage are aced in particular - and coupled with the transparent tone, comfortable fit and top-notch isolation, the Cadenza 4 would be a solid option for audio work, mixing and stage monitoring. The treble is not overly steroid-boosted, yet with resolution still decently retained. Bass is fast and clean, with a clear midrange.

In terms of externals and aesthetics, there isn't much to fault, with the Cadenza 4 being generously accessorized - with a hard case and modular cable - and this is combined with easy drivability and the aforementioned stellar comfort and isolation.

No doubt, some consumers might find the Cadenza 4's tonality overly bland, especially bassheads or those wanting a transducer for head-banging fun. Admittedly, the Cadenza 4's note weight is a bit willowy, but utilizing the provided narrow-bore tips or pairing with a warmer source may beef up its body to some extent.

In a sea of hackneyed Harmanish fare, the Cadenza 4 is a refreshing breath of change, and would certainly be a recommendation for purists, neutral-heads and folk looking for an audio tool for studio or stage work.

DISCLAIMER

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

The DB2 can be gotten here: https://www.aliexpress.com/item/1005006457118526.html (no affiliate links).




SPECIFICATIONS

• Driver configuration: 10 mm titanium-plated graphene dynamic driver + 1 balanced armature driver
• Frequency response: 20 Hz - 20 kHz
• Impedance: 16 Ω
• Sensitivity: 107 dB/mW
• Cable: 2-pin, 0.78 mm; OFC cable; 3.5 mm termination
• Tested at: $23 USD

ACCESSORIES



Other than the IEM, these are included:
- 5 pairs of wide-bore silicone eartips (XS/S/M/L/XL)
- 3 pairs of narrow-bore silicone eartips (S/M/L)
- Cable
- Carrying pouch
- Waifu post card

The accessories are great for a sub-$30 USD set. Can't be expecting the moon at this pricing, but happily, most bases are covered, perhaps other than the lack of foam tips.




We have 2 variants of foam tips. The black narrow-bore ones boost bass with some compression in soundstage, whereas the coloured wide-bore ones increase treble and staging.




We have a 2-pin OFC cable included. This is quite supple, but it lies on the thinner side. Microphonics are surprisingly minimal, though there is no chin cinch and it tangles easily. During ordering, one can select a mic cable or a non-mic version.




There's a leatherette clasp pouch to store the IEM. It may prevent scratches on the IEM, though it is soft and might not survive a drop or compressive force.

Last but certainly not least, we have a Waifu post card, which may be the most important accessory for our Otaku brethren. The Waifu even has a name: Tian Hui!

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 DB2's housings are fashioned from a polycarbonate cavity with an aluminum alloy-line bezel, plus a resin faceplate. The insides are transparent to allow users to visualize the internal drivers. There are 3 options for the faceplate - purple, black or blue. They are quite a looker, with the marbled motif.




Ergonomics are very good, with its teardrop shaped design fitting snugly in the ears. There are no awkward protrusions on the inner aspects, and the shells are light - thus, the DB2 can be used for long listening sessions without discomfort.

There's unfortunately driver flex on my set, though this is partially related to choice of eartips, and individual ear anatomy. Being a vented IEM, isolation is bang average.


INTERNALS



The DB2 is a hybrid, featuring a 10 mm titanium-plated graphene dynamic driver - this takes care of bass and midrange - and a BA which settles the treble frequencies.

We have no information on the BA brand, but these 2 drivers are arranged in a crossover design.


DRIVABILITY

I tested the DB2 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, with no compulsory need for amplification.


SOUND & TECHNICALITIES

Graph of the NiceHCK DB2 via IEC711 coupler. 8 kHz is a coupler artefact.

Tonally, the DB2 sports an old-school V-shaped tuning.

This IEM is sub-bass focused, with a deep rumble heard in sub-bass heavy tracks. Quantity-wise, it hits hard and is just a level shy of basshead levels. In terms of quality, bass has below average texturing, with middling speed and some mid-bass bleed, especially when complex bass riffs come out to play.

In keeping with the V-shaped profile, the lower mids are markedly recessed. This is not a set for midrange lovers as such, as male vocals may sound thin. With a 10 dB ear gain, the upper mids are admittedly on the shouty side, especially if used at higher volumes (Fletcher Munson curve). This IEM is hence best played at lower to moderate volumes.

The DB2's treble rolls off early, and while there is some taming of sibilance with this tuning choice, resolution is consequently depressed.

The DB2 does suffers from BA timbre, which is more apparent in the treble frequencies which is covered by the BA driver. Notes sound thin, especially when acoustic instruments are showcased. However, it isn't the worst offender in this department, which we will read about below.

On to technicalities. Soundstage is average in all 3 dimensions, with micro-detailing and resolution taking a backseat, in part due to the rolled-off treble. While imaging is pretty well-done for the coin, when very complex instrumentation with competing parts are heard, the music does smear, so instrument separation isn't the best.


COMPARISONS

Comparisons were made against other budget hybrids. Planars, single DD and BA types are omitted, as the different transducers have their own pros and cons.


CVJ Mei


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

The Mei has 4 tuning options via 2 switches, so it can be tuned from neutral bright to a bassier L-shaped fare. The Mei is hence more versatile.

On the both switches up config, the Mei is neutral bright, with a thinner note weight and a more metallic timbre. The Mei has less bass but it is tighter and cleaner. On this configuration, the Mei has a more extended treble, but there is sibilance and fatigue noted.

On this setup, the Mei is also easily a league ahead in technicalities, with better imaging, soundstage and micro-detailing.


KZ Krila


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

The Krila is touted by the company to beat $1000 IEMs, but hyperbole aside, it probably operates at around the $30 USD mark in CHIFI-land.

The Krila has 4 tuning switches, which in theory furnishes 16 tuning permutations. However, in practice, there's just a 5 dB difference in the bass amongst the most extreme of switches, so the tuning switches are partially gimmicky.

The Krila has a more artificial timbre, with a thinner note weight. However, it has better imaging, soundstage and micro-detailing. The Krila has less bass (though it is more textured and fast), but the Krila has a more sibilant and harsh treble.


CONCLUSIONS



In the big scheme of things, the DB2 is admittedly forgettable, even considering its relatively affordable price tag. It is not downright bad, but being average in CHIFI-land is not good enough nowadays, as next week promises a new hypetrain to devour the thoughts and wallets of CHIFI addicts.

The DB2 brings an old-school V-shaped signature to the budget CHIFI table. There are some tonal flaws, such as an overzealous 10 dB upper midrange - which translates to shoutiness - coupled with a big bass that isn't too textured. Vocal lovers will lament a missing lower midrange, and the treble also drops off early, which may result in some veiling of resolution and micro-details. Soundstage is nothing to write home about too.

Alas, even the accompanying Waifu might not be able to mitigate for these negatives, but there are some redeeming properties. While there is slight BA timbre, the DB2 isn't the worst offender in this area, compared to other budget CHIFI hybrids. There is driver flex, though the rest of the external components - namely comfort, aesthetics, build, drivability and accessories - are done well enough for a sub-$30 IEM. Imaging is not too bad, and the treble is safe for our treble-sensitive friends.

Is there a market for the DB2? Well, it may be an option for those new to the hobby, or as a gift for lay consumers. But for folks who have been around the block and back in CHIFI-land, there are rivals out there - even at the same price range or for just a bit more - that are more technical or polished in tonality.

DISCLAIMER

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

The Delci can be gotten here: https://hifigo.com/products/kefine-delci or https://www.linsoul.com/products/kefine-delci (no affiliate links).




SPECIFICATIONS

• Driver configuration: 10 mm DLC + PU diaphragm dynamic driver
• Frequency response: 20 Hz - 20 kHz
• Impedance: 28 Ω
• Sensitivity: 108 dB
• Cable: 2-pin, 0.78 mm; 3.5 mm termination
• Tested at: $59 USD (usual price $79 USD)

ACCESSORIES



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

The accessories are very decent for a sub-$100 USD set, perhaps other than the lack of foam tips being a small nitpick.




We have 2 variants of silicone tips provided - the narrow-bore ones boost bass but compress soundstage a bit, whereas the wide-bore ones increase treble and air, with some soundstage improvement.




While we have no information on the exact cable materials, this stock cable is actually quite good for a budget IEM. It is well-braided, with minimal tangling and negligible microphonics. There is a chin cinch for added grip during usage. The cable only comes in a single-ended 3.5 mm termination, but it is no biggie for diehard audiophiles to pair an aftermarket balanced cable, with the detachable 2-pin housing.




Lastly, we have a semi-rigid leatherette zipper carrying case; it is tough to withstand compression, with inner webbing.

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


BUILD/COMFORT



The Delci is fashioned from aviation-grade CNC machined aluminum alloy. It is literally built like a tank, and comes in a steam punk-like gunmetal hue.

Each earpiece weighs a mere 5.3 g, and coupled with smooth inner aspects sans awkward protrusions, the Delci promises to be a comfortable proposition for longer listening sessions, in terms of ergonomics.



I didn't detect any driver flex on my pair, but this is partially dependent on ear anatomy and type of tips used. Even though this IEM is heavily vented, isolation is above average and it can be used in noisier environments.




INTERNALS

The Delci's engine is a 10 mm DLC + PU diaphragm dynamic driver.


DRIVABILITY

I tested the Delci 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, and can be powered off a weak smartphone. But it will scale with amplification, in terms of bass tightness, dynamics and soundstage.


SOUND & TECHNICALITIES


Graph of the KEFINE Delci via IEC711 coupler. 8 kHz is a coupler artefact.

Sound wise, the Delci has a U-shaped tonality, which makes it quite compatible with a myriad of music genres.

This set is sub-bass focused, with a nice visceral rumble heard in sub-bass heavy tracks. The mid-bass is nevertheless very nimble, with no mid-bass smearing. Admittedly, texturing may be at times one-noted, but it can handily cope with fast complex bass tracks. For example, in Sting's Englishman In New York, at around 2:12 there is a double bass solo, which the Delci handles with aplomb.

The lower midrange is relatively transparent, allowing vocals and instruments to be easily layered on a dark background. With no more than 6 dB ear gain, upper mids and vocals are extremely non-fatiguing, with zero instances of "shout". The vocals are still forwards and are not drowned out in the mix - so not to worry - but the pinna-gain sensitive gang will be very home with this tuning choice.

The slight boost in the upper mids continues on with an elevated lower treble. This brings resolution and clarity to the table, though there are some instances of spiciness. Sibilance is just slight, but thankfully the narrow-bore eartips included in the packaging can tame the treble for the very treble-sensitive. The upper treble tails off, so it isn't the most airy IEM per se.

Timbre is very natural, and is a highlight on this set, for acoustic instruments in particular.

In terms of technicalities, the Delci boasts of an expansive soundstage in all 3 dimensions, especially when well juiced with amplification. Imaging is accurate, with solid instrument separation and layering. Micro-details and resolution are good in view of the boosted lower treble, no complaints here.

All in all, with the big sub-bass and slightly augmented lower treble, the Delci amalgamates musicality and technicalities nicely. It does not veer to either extreme - not being overly sterile and analytical, yet staying away from being too analogue-sounding.


COMPARISONS

Comparisons were made against other $50 - $100 USD single DDs. Planars, hybrids and BA types are omitted, as the different transducers have their own pros and cons.


Oriveti OD100

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

The OD100 is a much brighter IEM, and is very shouty in the upper mids, due to an over zealous 14 dB ear gain! The OD100 also has a marked sub-bass roll-off, and is quite sibilant in the treble. Thus, perhaps only trebleheads will gravitate to the OD100's tuning, as it can be grating for other consumers in tonal balance.

The OD100 is much more sterile in note weight, and sounds rather metallic in timbre. The OD100 has weaker soundstaging and imaging, but has slightly sharper edge definition and clarity, which is perhaps a function of the brighter signature.

The OD100 can be worn cable down or over-ears due to a bullet shaped design, which slightly increases fit permutations.


Moondrop Aria 2


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

The Aria 2 follows the virtual diffuse sound field (VDSF) - which is essentially Moondrop's in-house variant of the Harman curve. Its sound signature is on the thinner side, with an upper midrange boost - this provides a "clean" soundscape, but it can sound boring and a bit shouty in the upper mids, with a 9 dB ear gain. Bass is also less pronounced on the Aria 2.

The Aria 2 is thus more sterile sounding, with less dynamics on tap. In technicalities, the Aria 2 loses in soundstage and imaging, with micro-detailing about on par.

The Aria 2 is much heavier in weight, and may be uncomfortable to use for longer listening sessions.


Simgot EA500LM


Graph of the Delci versus EA500LM (3 tuning nozzles) via IEC711 coupler. 8 kHz is a coupler peak.

The EA500LM has 3 tuning nozzles, with all tuning permutations being much brighter - and fatiguing - in the upper mids. This IEM has slightly better versatility though, due to the aforementioned tuning nozzles, but upper mids-sensitive folk should be wary of the EA500LM as such.

The EA500LM sounds a bit more metallic in timbre. With the gold/red nozzle installed on the EA500LM (ie least fatiguing/shouty combination), technicalities like imaging and micro-detailing are about on par with the Delci, though the Delci is the winner in soundstage.


CONCLUSIONS



The KEFINE Delci is a stellar entrant to the ultra-competitive budget single DD market. At its current pricing of $50ish USD, there's a lot to like about it. Externally, accessories, build, drivability, comfort and isolation are quite impeccable (literally and figuratively).

Sound-wise, the Delci is no slouch, espousing a U-shaped tuning with huge sub-bass rumble, yet being quite nimble in the mid-bass. The upper midrange eschews the commonly-found shout-fest fanatical steroid-boost in CHIFI budget sets, being very sedate in this region. Timbre is extremely natural, which should please the most ardent of timbre-snobs, and the Delci excels at soundstage and imaging, beating some of the single DD benchmarks in this arena.

I would have preferred a hair better texturing in the bass, but can close an eye considering its modest pricing. The lower treble is on the brighter side, and can be a tinge spicy, but thankfully, the provided narrow-bore eartips can mitigate this frequency band, even for my treble-sensitive ears.

In a nutshell, the Delci is an excellent budget single DD that I would heartily recommend for newcomers to the hobby, or even for those that want to sample something that blends musicality and technicalities adeptly, with no shouty upper midrange to boot.

DISCLAIMER

I would like to thank Tangzu for including me on the Singapore leg of the Nezha tour.




SPECIFICATIONS

• Driver configuration: 6 x balanced armatures (2 Sonion BAs + 4 custom BAs) and 1 x EST driver
• Frequency response: 10 Hz - 20 kHz
• Impedance: 16 Ω
• Sensitivity: 106 dB
• Cable: 2-pin, 0.78 mm; OCC silver-plated cable; 3.5 mm and 4.4 mm modules
• Tested at: $399 USD

ACCESSORIES




Other than the IEM, these are included:
- 3 pairs of wide-bore SANCAI silicone eartips (S/M/L)
- 3 pairs of narrow-bore SANCAI silicone eartips (S/M/L)
- 1 pair of balanced silicone eartips
- Cable
- Modular plugs for 3.5 mm and 4.4 mm terminals
- Large carrying case

The accessories are certainly princely and befitting of a midFI set. No complaints here, perhaps other than the lack of foam tips.




Other than 1 pair of balanced silicone tips, we have 2 variants of the popular SANCAI eartips. The wider-bore SANCAI tips boost treble and soundstage, whereas the narrow-bore ones increase bass, though with some compromise in staging.




Tangzu has provided an OCC silver-plated cable. This comes with 3.5 mm and 4.4 mm terminations to pair with single-ended and balanced sources, depending on your preferences. This cable is braided extremely well in a Litz design, with a PVC external sleeve that promises to reduce EMI. It has minimal tangling and has a chin cinch for added grip. Microphonics are zero.




Last but not least, we have a huge leatherette zipper carrying case, lined internally with a velvet and webbing. It is semi-rigid to withstand compressive forces, and is large enough to contain the IEM plus accessories. Definitely an elegant yet functional addition in the packaging.

The rest of this review was done with the stock cable and stock wide-bore SANCAI silicone 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 and hypoallergenic medical-grade resin. The shells are a real looker, incorporating electro-plated aluminum flakes in the faceplate, with laser-cut aluminum gold-plated motifs etched into the earpieces. These metal flakes are hand-layered onto the shells, with one side of the Nehza featuring rising flames, whereas the other earpiece has lotus fires, which ties in with Nezha's firewheels (https://en.wikipedia.org/wiki/Nezha).



Though the shells lie on the larger side, they are light and ergonomic, with a concha protrusion for stability. There are no weird protrusions to poke the ears, and the Nezha can be used for hour long sessions on my end.

I found no driver flex on my unit, though isolation is below average in view of the vented acoustics.


INTERNALS

The Nezha utilizes a unique 6 BA + 1 EST driver setup, with no DD being used at all. Instead we have the following configuration:
- 2 Sonion vented subwoofer BAs handle the low-end
- 2 custom BAs take care of the midrange
- 2 custom BAs settle the treble
- 1 EST is added for upper treble air

These eclectic drivers are paired via a Q-IAO crossover.


DRIVABILITY

I tested the Nezha 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, and amplification is not 100% essential.


SOUND & TECHNICALITIES


Graph of the Tangzu Nezha via IEC711 coupler. 8 kHz is a coupler artefact.

Tonal-wise, the Nezha sports a U-shaped smooth and darkish signature.

This set is sub-bass focused, but bass extension is not the deepest. Quantity is just north of neutral but not at basshead amounts. We hear a whiff of BA bass, in terms of a lack of movement of air and decay, compared to traditional DD bass. Sets with BA bass generally face this issue, even with a vented subwoofer concept implemented here in the Nezha, but it thankfully redeems itself in bass quality, with a very nimble bass without bleed, coupled with solid texturing.

The lower mids are slightly depressed, but this region is still relatively transparent without any bass encroachment. The upper midrange hits about 5 - 6 dB, resulting in smooth and fatigue-free vocals.

Treble rolls-off relatively early, and the Nezha is quite dark in the treble. Thus, this furnishes a very sedate and sibilant-free upper-end, which is well-suited for the treble-sensitive amongst us. There is no splashiness or harshness, and this IEM is a great option for longer chill listening sessions. Conversely, this IEM may not be for the trebleheads.

Timbre is surprisingly natural for a BA-containing setup, with not much BA timbre heard for acoustic instruments. There are way worse offenders in this arena for sure! Note weight is on the thicker side and the sonics are lush.

In terms of technicalities, the Nezha won't uproot any trees, and I would class it as being quite middle-of-the-road. While imaging is quite accurate, layering and soundstage are bang average; the Nezha may struggle to be smear-free when it tackles complex riffs with competing instrumentation. Micro-details are decently captured, but the darkish tone does contribute to some veiling of resolution. As such, the Nezha is a musical rather than analytical IEM.


COMPARISONS

Comparisons were made against other midFI multi-driver types. Planars and single DDs are omitted, as the different transducers have their own pros and cons.




EPZ 530


Graph of the EPZ 530 via IEC711 coupler.

The EPZ 530 is a bright V-shaped pure BA setup. It has much more treble than the Nezha, which may lead to sibilance and fatigue, but on the flip-side, the 530 has better resolution.

The 530 has superior isolation, but has a metallic timbre and a thinner note weight. The 530 has improved technicalities - in soundstage, imaging, micro-detailing and transients.


Yanyin Canon II


Graph of the Yanyin Canon II via IEC711 coupler. 8 kHz is a coupler artefact.

On paper, the Canon II has 4 tuning permutations. Sadly, as one can visualize above, the tuning switches are gimmicks, with not much change in tonality (just a 2 dB difference in the bass across the most extreme of tunings). This IEM also has a U-shaped signature across all the tunings, though the Canon II is a bit more recessed in the lower mids, but with a hair more treble extension.

The Canon II is slightly better in soundstage, imaging and layering, with micro-detailing about on par. Timbre is also quite natural on this set.

The Canon II comes with a poor accessory inclusion, but has better isolation.


CONCLUSIONS



The Nezha is a buttery smooth sibilant-free set, which is felicitous for relaxing late-night listening, with no harshness present in the upper frequencies. Timbre is surprisingly good for a BA-containing IEM, with the darkish signature a match made in heaven for the treble-sensitive. The thick and lush signature furnishes a hefty note weight. The accessories are quite premium, coupled with fetching looks and easy drivability.

Admittedly, trebleheads will need to look elsewhere for their kicks, and analytical-junkies may find the technical chops middling. Indeed, the Nezha is a beast that aces musicality over outright technicalities. Bassheads may also yearn for more quantity, but the Nezha makes up for that with good quality - with a quick and textured bass, with no bleed.

This IEM promises a tranquil and pleasant soundscape, and should be in the conversation for the treble-sensitive, or folks wanting a set for chilling back to enjoy music, rather than to analyze every fine minutiae in the track.

DISCLAIMER

I bought the EPZ Q1 Pro from Aliexpress at a discounted price.

It can be gotten here: https://www.aliexpress.com/item/1005006467098821.html (no affiliate links). Do note that there are 3 variations available for purchase - a mic version, non-mic version and a DSP USB-C variant.




SPECIFICATIONS

• Driver configuration: 10 mm PU + LCP liquid crystal molecular dome diaphragm DD
• Frequency response: 20 Hz - 20 kHz
• Impedance: 32 Ω @ 1kHz
• Sensitivity: 100 dB/Vrms
• Cable: 2-pin, 0.78 mm; LEONI 4-core single-crystal copper cable; 3.5 mm termination
• Tested at: $32.60 USD

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of silicone eartips
- Cable
- Carrying pouch

For a $30ish IEM, the accessories are admittedly disappointing.




We have only one selection of silicone tips (no foamies or alternative silicone types are included). Thankfully, these tips are quite comfortable in terms of fit.




The stock cable is a LEONI 4-core single-crystal copper cable, and only comes in a 3.5 mm termination. This cable is well-braided in a Litz concept, and is supple, with a chin cinch. Microphonics are minimal.




There's no case provided, with just a small drawstring pouch included. It is made of a velvety material, which promises to prevent scratches, but it won't survive compression or a drop for sure.

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 Q1 Pro definitely is a looker, and has one of the most fetching faceplates for a budget IEM, with a purplish cosmic hue. The shells are fashioned from dermatological-friendly medical-grade resin, utilizing 3D-printed DLP high-precision (0.25 um) cut housings.

Comfortable is top-notch, with excellent ergonomics. There's an inner concha protrusion for grip, with no weird protrusions. To top it off, the Q1 Pro has is very light.



I did not find any driver flex on my pair.

Isolation is below average, in view of the vented acoustics.


INTERNALS

The Q1 Pro's engine is a 10 mm PU + LCP liquid crystal molecular dome diaphragm DD, housed within a double cavity and double magnetic circuit.


DRIVABILITY

I tested the Q1 Pro 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, though it would benefit a bit from amplification, in terms of bass tightness, soundstage and dynamics.


SOUND & TECHNICALITIES


Graph of the EPZ Q1 Pro via IEC711 coupler. 8 kHz is a coupler artefact peak.

The Q1 Pro sports a consumer friendly Harmanish tonality, which should be a crowd pleaser.

This is a sub-bass focused IEM. It is not for bassheads though, as the sub-bass extension isn't the deepest, or with the greatest rumble. Bass speed is nimble with mild mid-bass bleed, with bass texturing being bang average.

The lower midrange is just a tinge recessed, but not overly so. The slight mid-bass bleed adds heft and lushness to this region. With a 9 dB ear gain, the upper mids are pushed forwards and are just at the edge. At louder volumes (Fletcher Munson curve), this can be somewhat shouty, but at lower to moderate volumes, it is quite well-behaved.

The Q1 Pro isn't the most extended in the treble. It is thus safe in the upper treble, with minimal sibilance. It should be a suitable pairing for all but the most treble-sensitive, with no splashiness of high hats or cymbals.

Timbre is relatively natural. In terms of technicalities, the Q1 Pro has average soundstage width, though height and depth are quite good. Imaging is decent but not pinpoint, and micro-details and instrument separation are about average. The Q1 Pro is thus more of a musical than technical beast.


COMPARISONS

Comparisons were made against other budget single DDs. Planars, hybrids and pure BA IEMs are omitted, as the different transducers have their own pros and cons.



7Hz Salnotes Zero 2

The Zero 2 is a warmer IEM, with more bass and a slightly less pronounced treble. The Zero 2 has a worse fit due to its angular-shaped shell with sharp edges. The Zero 2 is also tougher to drive.

The Zero 2 has a wider soundstage, but lags behind in micro-details, imaging and layering.


Simgot EW200

The EW200 is another archetypal Harmanesque set, which is a bit more zealous in the upper mids and treble. Thus, the EW200 may be more fatiguing for the treble-sensitive or anti-pinna gain gang.

Timbre is more metallic on the EW200, with a thinner note weight. The EW200 is superior in micro-detailing, imaging and clarity. The EW200 is however, easier to drive.


CONCLUSIONS

The EPZ Q1 Pro is a decent entrant to the budget single DD fray. It bestows a musical soundscape, with a consumer-friendly Harmanish signature, that should be an all-rounder for most music genres. The shells are drop-dead gorgeous, with excellent comfort. Timbre is natural, in addition to minimal sibilance in the treble.

While the upper mids hit about 9 dB ear gain and may be at the edge between forwardness and fatigue, if used at moderate volumes (Fletcher Munson curve), this region should be relatively well-behaved. Do note that the Q1 Pro is not a technical tour de force - it pursues a musical and agreeable profile, over an outright analytical signature. Think of it as a "musical" sidegrade that showcases the other side of the coin compared to more technical - but harsher - benchmarks like the Simgot EW200.

It is by no means perfect, but does more things right than wrong. Folks who have been around the block and back with higher-end IEMs might want to keep their powder dry. But with the alluring looks and relatively affordable pricing, the Q1 Pro will make a suitable gift or even an introductory set for those new to the CHIFI IEM rabbithole.

DISCLAIMER

This is a loaner unit from DITA. It will be returned after this review.

The DITA Project M can be gotten here: https://ditaaudio.com/products/project-m (no affiliate links).




SPECIFICATIONS

Driver configuration: 9.8 mm PM1+ dynamic driver + 1 x Knowles balanced armature driver
Frequency response: 20Hz - 20KHz
Impedance: 32 Ω @ 1kHz
Sensitivity: 107 dB/mW @ 1kHz
Cable: 2-pin, 0.78 mm; 16 strand; with 3.5 mm and 4.4 mm modular terminals
Tested at: $325 USD


ACCESSORIES



Other than the IEM, these are included:
- 5 pairs of Final E ear tips (SS/S/M/L/LL）
- Systainer hard carrying case
- Cable
- 2 modular plugs (3.5 mm single-ended and 4.4 mm balanced)

The accessories are quite princely, and are befitting of a $300ish IEM, perhaps other than the lack of foam tips.




Nevertheless, the highly sought after silicone Final E tips are included here, and they are one of my favourite eartips (confession, I have about 20 pairs of Final E tips at home haha). These tips are very comfortable and slightly tame the treble - this is a good pairing for the Project M, which lies on the brighter side. DITA has included 5 pairs of Final E tips here, from SS sizing all the way to LL.

Achtung! The Final E tips provided here glow-in-the-dark, so the significant other might notice that there is a new IEM in town (this can't be hidden!)




The stock cable is a MOOCA cable by Cardas. While we have no info on the cable materials, it is sheathed with PVC, and is a 16-stranded cable. This is very well-braided and supple, though slightly tangly. Sadly there is no chin cinch, but microphonics are minimal.

It is much appreciated that this cable is modular, with a 3.5 mm and 4.4 mm distal terminal, with a screw-on cover to protect it from dislodging. I've seen other simple plug-in modular cables with no screw-on protection cause the connected DAP to drop off! With a modular concept, users can decide which modular terminal to use, depending on whether you utilize single-ended or balanced sources.




Last but not least, we have a Systainer carrying case made by Tanos. This case is quite hard and tough, which promises to cushion the precious contents inside. This case is stackable in a lego-like configuration, so that's something cool to play with for owners of more than one case.

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


BUILD/COMFORT



The Project M is downright one of the most beautiful IEMs I have encountered in my audio journey. Fashioned from transparent resin, one can see the inner workings of the Project M in all their glory. The resin shells are not just pretty wallflowers, as they are tough as nails and extremely solid.

Due to the prism-like function of the transparent resin, at some angles, the Project M's shells are illuminated with a rainbow!



The housings are very light, with top-notch ergonomics. There's a concha protrusion for added grip, with no awkward edges to poke the ears. I have used the Project M for hour long sessions without issues.



I did not encounter any driver flex on my set. Isolation is average, and this IEM is still suited for outside use.


INTERNALS

The Project M is a 2 driver hybrid, comprised of a 9.8 mm PM1+ dynamic driver and 1 Knowles balanced armature driver. These are nested in a stainless steel chamber, with sound tubes leading to an aluminum nozzle.




DRIVABILITY

I tested the Project M 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

The Project M is moderately easy to drive. While it can be driven off a weak phone, the Project M scales with amplification (for soundstage, dynamics and bass tightness). Amplification is recommended to get the most out of this IEM as such.


SOUND & TECHNICALITIES


Graph of the DITA Project M via IEC711 coupler. 8 kHz is a coupler artefact peak.

Tonally, this IEM is a neutral bright affair.

The Project M is a sub-bass focused IEM. Having said that, it isn't the most extended in sub-bass rumble, with bass quantity is just a hair north of neutral. The Project M aces bass quality, with a nimble bass-line heard, coupled with nice texturing and not an ounce of mid-bass bleed.

The midrange is transparent and clean, with no bass encroachment. Instruments and vocals are easily palleted on a dark background. With just a 5 dB ear gain, the upper mids are fowards without shrillness, which is a refreshing change from the usual shouty upper midrange in most modern day IEMs.

The Project M is a treblehead's dream. Treble is well-extended with lots of sparkle and air. We are greeted with solid clarity and micro-details as such, though there is sibilance. Treble-sensitive folk might need to consider alternatives.

There's BA timbre, with note weight on the lighter side. This set is perhaps not for lovers of timbre.

The Project M is a very technical and resolving midFI hybrid. Micro-details are solidly captured, and layering and is very well done, with pinpoint imaging and an above average soundstage in all 3 dimensions.


COMPARISONS

Comparisons were made against other midFI hybrids. Planars, single DD and pure BA IEMs are omitted, as the different transducers have their own pros and cons.




Penon Fan 2

The Fan 2 is a warm neutral hybrid, with a thicker note weight. It has a lusher midrange with a less airy treble. The Fan 2 is more relaxed tonally, without sibilance.

In technicalities, the Fan 2 is weaker, with a smaller soundstage and it is also worse in micro-detailing and imaging.

The Achilles' heel of the Fan 2 is its super long nozzles, which may cause consumers discomfort (this is in contrast to the ergonomic Project M). The Fan 2 is more easy to drive.


DUNU Da Vinci

The Da Vinci is a bassier IEM, with thicker note weight and a more natural timbre. It is darker in the treble, with less harshness/sibilance.

The Da Vinci is weaker technically though, with poorer micro-detailing and soundstage, and it sounds more veiled.


ThieAudio Hype 4

The Hype 4 is a more V-shaped hybrid, with more bass and upper mids. It sounds more fun and less sterile. Treble is less sibilant on the Hype 4.

The Hype 4 has a bit of driver flex though. In technical chops, the Hype 4 has less clarity, but has better soundstage.


CONCLUSIONS



DITA has released a decent and elegant Mid-FI hybrid in the Project M. Incidentally, I believe this is DITA's pioneer hybrid release, and it is also the cheapest IEM in their stable as of the time of writing.

In terms of external tangibles, the Project M has one of the most beautiful shells in the industry, with a robust transparent resin housing that even allows a prism effect of rainbow colouration! We also have a generous accessory line-up, melded with great comfort during usage.

Sound-wise, the Project M furnishes a neutral bright tuning, with good resolution and technical chops. Bass is clean and fast, with no mid-bass bleed, and the midrange is as clean as a whistle. Treble is well-extended with great air, and this should please analytical-junkies and trebleheads.

However, the Project M lies on the brighter side of the spectrum, with BA timbre and a thinner note weight; these may be deal breakers for treble-sensitive listeners and those who value timbre.

All-in-all, it is a decent hybrid in the midFI pantheon to consider, but it may be a love-or-hate-it kind of IEM, depending on your tolerances and priorities - for treble and timbre versus technicalities.

DISCLAIMER

I would like to thank Rikubuds for providing the Saber 3 review unit.

It can be obtained here:
https://rikubuds.com/generation-3/
https://www.instagram.com/rikubuds/




SPECIFICATIONS



Tested at 100 Euros.


ACCESSORIES

Other than the earbuds, these are provided:
1) Large carrying case
2) White high-density foams
3) Red medium-density foams
4) Black low-density foams

No complaints here, it's really a great accessory line-up for a earbud. I've definitely seen way stingier goodies with pricier buds.




We have 3 types of foams in the packaging. The white foams are the densest, furnishing the greatest warmth and bass quantities. The black ones are the thinnest in density, removing some of the bass and adding clarity and brightness. The red ones are a mid-point between the two in terms of sound. Do foam-roll and see what suits your preferences sonically.




While the Saber 3 comes with a 3.5 mm non-detachable cable, when placing an order, one can message Rikubuds to get different terminations (eg 4.4 mm), various coloured cables, and also even to request for a detachable MMCX version, though one needs some coin for these.

This stock cable is somewhat thin and tangly, but it is supple and braided well, with minimal microphonics. The right terminal has a red band to mark that it is the right side, with a blue one on the left side, as per usual audiophile convention.




Last but not least, we have a carrying case which is huge, with inner webbing and pockets to store accessories.




For the otaku amongst us, the Saber 3 has its own waifu:


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


BUILD/COMFORT

The Saber 3 incorporates a RG39-1 shell. It is extremely comfortable and ergonomic, with the stem's centre of gravity housed in the intertragal notch. The housings are very light, and this earbud can be used for hour long listening sessions without any discomfort whatsoever.




INTERNALS

This earbud's engine is a 15.4 mm PET & LCP dome composite diaphragm dynamic driver.


DRIVABILITY

I tested the Saber 3 with the following sources:
- Apple dongle
- Aune Yuki
- Cayin RU7
- Chord Mojo 2
- Fiio K11 DAC/amp
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

With a 64 ohm impedance and 107 dB/mW sensitivity, the Saber 3 benefits from amplification. While powering this earbud off a weak smartphone, one can get adequate loudness by maxing out the volume, but the bass is flabby and one-noted, with compressed dynamics. Hence, amplification is recommended to do the sonics justice.


SOUND & TECHNICALITIES



Tonally, the Saber 3 is an L-shaped basshead earbud. For folks who have heard the Final E3000 and E5000, the Saber 3 is the flathead version of these bassy IEMs. It is extremely smooth, with a thick note weight; there's not an ounce of fatigue in the upper frequencies.

Most earbuds are mid-bass focused, with an anemic sub-bass, but the Saber 3 bucks the trend, in providing a deep sub-bass rumble, with superb extension. For a earbud, I would consider it as basshead in quantity, with a tremendous mid-bass thump. Installing the densest white foams will boost the bass even more, for the bassheads amongst us! If one finds the bass too intrusive, no worries, the black (thinnest) foamies will shave off some reverberations to make it more balanced (even on black foams, the Saber 3 is still a bassy earbud though!).

The bass has average texturing, though speed is surprisingly nimble for such a bassy signature. We do have some mid-bass bleed, which is really inevitable with the copious bass on tap.

The lower midrange is warmed by the aforementioned massive mid-bass, which adds a lot of note weight and heft to the soundscape. The Saber 3 hence sounds very creamy and lush, and this is sonically akin to sleeping in a fluffy pillow. There's a slight boost in the upper mids, though vocals are very restrained with no shoutiness; so those sensitive to this pinna-gain region should be pleased.

Treble is dark on the Saber 3, so trebleheads might need to look elsewhere. Treble rolls off early, so we get sibilant-free sonics with no harshness - this earbud is definitely a kindred spirit for our treble-sensitive brethren - though some clarity and resolution is lost due to the function of a toned down treble.

Timbre is very natural, as per most DD-only earbuds.

Technicalities are decent for a darkish signature, with soundstage that is expansive (especially in depth), though it is perhaps not the most micro-detailed compared to brighter or more analytical buds. Imaging is surprisingly solid.


COMPARISONS




Yincrow RW-2000

The RW-2000 is a warm U-shaped set. The RW-2000 has a detachable cable, and is more easily driven. The RW-2000 can be worn cable down or over-ears, so fitting permutations are a bit more versatile.

The RW-2000 has a smaller soundstage, though it has slightly better layering, imaging and micro-detailing.

These 2 earbuds are considered a bit different in flavour, with the Saber 3 being one for chill listening sessions or bassheads, whereas the RW-2000 is a bit more balanced.


Yinman 600 ohm

The Yinman 600 ohm is also an L-shaped flathead with huge bass and a warm signature, but it is one of the most difficult transducers to drive, with a whopping 600 ohm impedance and 87 dB/mW sensitivity. Hence, this earbud generally needs desktop-grade sources for optimal drivability - not a matter of volume but more of bass control and dynamics - which severely limits its portability. Although the Saber 3 is not the easiest to drive, the Yinman 600 ohm is on a different planet for drivability requirements.

The Yinman 600 ohm is thicker in note weight, but sounds darker in the treble. The Yinman 600 ohm is behind in micro-detailing, imaging, instrument separation, while soundstaging is about on par. It also has a non-detachable cable.


CONCLUSIONS



For earbud enthusiasts who are looking for a chill and relaxing set - with not an ounce of fatigue in the upper registers - the Saber 3 is a match made in heaven. The creamy smooth sonics, combined with big bass, is a unique proposition amongst the usually sub-bass anemic earbuds we see every day. It is tuned very safely in the upper mids and treble, so there is no fear of any ice-pick vocals or sibilance.

In fact, if you have heard the Final E3000 or E5000, the Saber 3 sports a similar warmish and dark signature, which is well-suited for long listening sessions. No doubt, trebleheads might be alienated with the tuning choice, so it isn't the most analytical transducer in the Rikubuds stable, but one that embraces lush musicality over outright micro-detailing.

Nevertheless, the Saber 3 has solid soundstaging and imaging, with organic timbral accuracy. This earbud is also extremely well-fitting, with a great accessory line-up.

Compared to other darkish flatheads, the Saber 3 actually fares better in technicalities than the Yinman 600 ohm, with less power-hungry requirements to boot. It still however requires some amplification to tighten the bass and improve dynamics, due to the highish impedance, and sadly won't sound as great from a weak smartphone.

For late night listening sessions, or for bassheads, this earbud is definitely one that I can recommend.

DISCLAIMER

I bought the Fiio KA17 from Aliexpress at a discounted price.

It can be gotten here: https://www.aliexpress.com/item/1005006468787689.html (no affiliate links).




SPECIFICATIONS/COMPATIBILITY





Tested at $149.99 USD


The KA17 is a plug-and-play device. It does not require additional drivers on Windows 10 and above, and this dongle was easily recognized by various Android and Windows devices I paired it with. Apologies, as I am not an Apple user, so I can't comment on its usage with Apple gear.

The KA17 is compatible with a free Fiio Control App for Android devices. This is sadly not available for Apple users. As of the time of writing, only PEQ can be accessed with the app, though Fiio's rep says they are looking to add other functions to this app later on (https://www.head-fi.org/threads/fii...icially-released.971370/page-19#post-17998142).



For our gaming friends, the KA17 has a nifty UAC 1.0 mode, which is compatible with devices such as the Switch and PS5.


ACCESSORIES



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



Sadly, there is no Lightning adapter for our Apple users, but the accessories are nonetheless pretty generous. Some pricier dongles do not have a case for example. Talking about cases, we have in the box, an elegant leatherette case, and one can choose between a blue or black variant.

The USB-C to USB-C cable is sheathed nicely and is pretty supple, and the USB-A adapter is a useful gadget to plug the KA17 to laptops and PCs.


DESIGN/FUNCTION



The KA17 comes in a rectangular profile, and is fashioned from aluminum alloy. There's a black or blue chassis which users can opt for during ordering.

It is quite portable, weighing 33.5 g and measuring 64 x 27.7 x 12.7 mm. The KA17 is definitely pocketable and unobtrusive.

The top of this DAC/AMP features an elegant 0.91 inch matrix dot display LED screen.




One end has the 3.5 mm (single-ended) and 4.4 mm (balanced) ports.




The KA17 is uniquely designed with 2 USB-C input ports. One is for data-cum-power, whereas the other one along the lateral side of the fuselage is solely earmarked for external independent power. As this dongle is marketed to output up to 650 mW power on desktop mode, we may need this power booster!

Anyways, the KA17 can be powered from just the data USB-C port, without the aforementioned external USB-C power port, but the caveat is that this only works if the upstream source has enough output power (eg laptops and desktops should be fine). Android phones may also power the KA17 from the data port, but bear in mind, the battery might be drained down rapidly (some lineages of Apple phones reportedly may not have enough power though).

Users would be pleased to note that the KA17 does not cannibalize power from USB-OTG connected source when the external power USB-C port is plugged in. Hence, this latter USB-C port is a useful option to pump out higher output without consuming the battery of a weaker phone that is connected to the other data USB-C port.




On the other lateral side of the body, we have the desktop mode switch, volume switches and a multifunction button. Holding this multifunction button for 2 seconds will take one to the settings menu, where we have a wealth of toys to play with. These are:

• SPDIF toggling
• Channel balancing
• Timeout screen
• MQA toggling
• EQ settings
• Max volume cap
• Finetuning volume steps
• Screen rotation
• UAC 1.0 and 2.0 toggling
• Language
• Firmware version checks
• Gain settings
• DAC filters

Since the KA17 is a powerhouse, one may inadvertently max out the volume and destroy the transducer (or heavens forbid, the ears!), so it is nice that Fiio has provided options to limit the max volume and volume steps!

For our friends who love to EQ, the KA17 is special in that it supports 3 custom 10-band PEQ settings via the Fiio Control App. As discussed, this is only supported on Android devices. There are also preset EQ options found here, namely:
- Jazz
- Pop
- Rock
- Dance
- R&B
- Classical
- Hip-hop

The PEQ is a really incredible tool to shape the dongle to whatever sound signature you wish for. However, PEQ is unavailable in the UAC 1.0 mode, and the PEQ only supports up to a max PCM 192 kHz/24 bit. The SPDIF output also has no PEQ. Thankfully, once saved on the Android App, the PEQ settings will be available the next time you want to use it (there are 3 custom PEQ banks available).

The KA17 supports up to 60 and 120 volume steps (which allows great finetuning of the increments), and it has independent volume controls, something which is not seen in pricier competitor dongles (cough cough looking at you Questyle M15).

Sadly, in stock form, the KA17 has no play, pause and track skip buttons available on the dongle, but as above, Fiio is getting feedback and seeing if these can be added to their App for future firmware updates.


INTERNALS

The KA17's engine are dual ES9069Q DAC chips with dual OPA1662 amps. It supports up to 768 kHz/32 bit and DSD512, with full MQA decoding available. The 3.5 mm jack also supports SPDIF output (though this is limited to 96 kHz/32 bit).




For the technical geeks, this device has a THX AA 78+ amp, with 8 op amps in a parallel 4-channel circuit. Its brain is a
16-core XMOS XU316 with dual crystal oscillators. This is installed in a 3 stage plus 3 rail power supply design. The primary stage involves filtering and voltage protection, while the secondary stage settles the DC-DC boost conversion. The final stage involves 3rd stage LDO voltage stabilization, and the power supply circuit is split to two smaller rails.



The digital and analogue tracks are also installed on individual circuit boards with shielding, to minimize cross-talk.




SOUND/PERFORMANCE

I tested the Fiio KA17 with only Android phones and Windows laptops and PCs. Once again, I'm not an Apple user, so I can't vouch for its performance with Apple ecosystem sources.

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


In stock form, tonally, the KA17 sports a neutralish profile, with a hint of warmth. It is very clean, yet expansive sounding. If one has heard the classic Fiio house sound, generally it veers to a sterile and analytical soundscape, and the apple here does not lie far from the tree. However, the KA17 seems to have a tinge thicker note weight than the other Fiio dongles - such as the predecessor KA13 for example - but the former adds a bit of musicality on top of the technical aspects with this added note weight.

Of course, with the previously mentioned 10-band PEQ, audiophiles can adjust this dongle to any tonality they wish for, so the possibilities and versatility of this device are literally endless. Dare I say it, but the PEQ is actually a game-changer, as one can prime the KA17 to be a warmer source for edgier gear, and vice versa.

Technicalities are superb for a $100ish dongle. Soundstage is expansive (especially with height and depth), and micro-details are retained well. Imaging and layering is solidly portrayed, and the KA17 can handily beat more expensive dongles in this department.

This DAC/AMP has single-ended and balance ports, with gain settings, and a beast desktop mode. Power-wise, we get impressive advertised output specs of 270 mW on single-ended, and 650 on mW balanced with the desktop mode triggered. As of the time of writing, the KA17 is the king godzilla in the dongle stable, beating its older brother's (the Fiio KA13) 550 mW output power. This is literally enough power to drive the most demanding of transducers, and users should not fear for any lack of headroom.

For voltage specs, on desktop mode and high gain, this corresponds to:

• single-ended output: 3 Vrms
• balanced output: 4.5 Vrms

No doubt we can't game physics, and the KA17 does get hot on desktop mode, especially when driving power-hungry transducers. The battery drain on phones is also quite substantial. Indeed, with desktop mode triggered, the parallel amp is in play, and Fiio reports a 40% power consumption increase with this: https://www.head-fi.org/threads/fii...icially-released.971370/page-19#post-17998142

Thankfully, we have an option to turn off desktop mode to conserve battery, especially for less demanding transducers. This dongle runs warm but not hot with desktop mode switched off. Additionally, Fiio has a placed an internal thermostat inside the KA17, which automatically reduces or tones down the output when the temperature hits a preset level. Using the KA17 in a fan-cooled environment, or perhaps removing the leather case may also aid in heat dissipation, especially if one is using the KA17 on desktop mode for long periods.

For those that do not require desktop mode, these are the specs for the power output on non-desktop mode, which is still very respectable, and should drive most gear out there, other than outliers (https://www.head-fi.org/threads/fii...-is-officially-released.971370/#post-17923494)

3.5mm output, high gain:

• L+R>110 mW+110 mW (16 Ω, THD+N<1%)
• L+R≥140 mW+140 mW (32 Ω, THD+N<1%)
• L+R≥20 mW +20 mW(300 Ω, THD+N<1%)

4.4mm output, high gain:

• L+R≥150 mW+150 mW(16 Ω, THD+N<1%)
• L+R≥300 mW+300 mW(32 Ω, THD+N<1%)
• L+R≥30 mW+30 mW(300 Ω, THD+N<1%)

FWIW, I put the KA17 through its paces via 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)

With 4.4 mm and desktop mode, I'm glad to report these 3 goliaths were easily tamed, with much headroom to spare. Dynamics, soundstage and bass control were all exquisitely done, and the KA17 may actually do a better job with bass texturing and tightness than some desktop devices!

The KA17 has a low output impedance of 1 ohm on the single-ended and 1.5 ohm on the balanced ports, respectively. This fixes the issues of the predecessor KA13's 1.7 and 1.8 ohm output impedance on single-ended and balanced, which made it a tricky pairing with low impedance IEMs. We have no impedance mismatch here with the KA17, so there won't be tonal skewing of fussy IEMs.

Some additional areas of refinement: the KA17 has no EMI or hiss, which is a sign of good shielding and well-implemented noise floor control. There is also no nasty "POP" sound heard on removing transducers.


COMPARISONS

The KA17 will be compared against other midFI dongles . Some are actually pricer than the KA17, but read on to discover some surprising results, that performance is sometimes not related to price!


Cayin RU7

The RU7 is a 1-bit tech dongle. It is warmer and more analoguish than the KA17, though with inferior technicalities. The RU7 has smaller soundstage depth and height (but perhaps a hair better width), with weaker micro-detailing, imaging and transients.

Although the RU7 has a presentable 400 mw output on balanced/high gain, this is dwarfed by the KA17's 650 mW on tap. Both dongles run warm during usage (the KA17 a bit more so, especially on desktop mode, but this is not unexpected cause of the bigger power outlay).

The RU7 has 3 DSD filters, but it has no PEQ or app compatibility. It has no second USB-C port for external power feeding, and it also has some clicking noise during usage due to DSD conversion within the DAC.

The RU7 is more expensive, and has poorer power/technicalities, but it is a tinge thicker in note weight with a more natural timbre. However, value goes to the KA17, as the RU7 has no PEQ and can't drive higher demand transducers.


Aune Yuki

The Yuki is a dual Cirrus CS43198 dongle. It is tuned neutralish, with some blunted note edges.

The Yuki has no app compatibility, no DAC filters and no PEQ. It does not even have an LED screen.

With regard to technicalities, the Yuki is a league or two behind the KA17, with the former having worse soundstage depth and height, with second-rate imaging and micro-detailing. The Yuki is slightly more organic in timbre.

One area which may be deal-breaking, is the Yuki's anemic power specs. It has a paltry 160 mW on 4.4 mm, which is multiples lower than the KA17's monstrous 650 mW. Having said that, the Yuki runs cooler during usage, with a bit less battery drain.

Considering the Yuki is just $10 cheaper than the KA17, I would get the KA17 any day of the week, in view of the superior versatility (PEQ), technicalities, UI settings and power output.


Questyle M15

The M15 is a ES9281AC dongle, which is quite neutral. It has no LED screen, PEQ, app or DAC filter settings.

The M15 is behind in power output, and can't drive too demanding stuff. The M15 has weaker soundstage and imaging, with less dynamics. It also hisses with some sensitive IEMs, with EMI present on occasions. The M15 has no independent volume steps too.

In a nutshell, the M15 costs more, but actually doesn't perform as well as the cheaper KA17.




CONCLUSIONS

I hardly give 5/5 ratings for my reviews, but the Fiio KA17 deserves this stellar score for performing excellently in almost all departments.

Externals like build, accessories and portability are solid, with independent volume controls that are finely-tuned, with even an option for volume protection. There are a myriad of settings to play with, such as DAC filters, and even a UAC 1.0 mode for our gaming friends. The PEQ - only available on the Android app - unlocks tonal versatility, and may be a game-changing addition to morph the KA17 to what is desired tonally on-the-fly.

In stock form, it boasts of a neutral signature with a touch of warmth, with excellent technicalities to boot - in particular, soundstage and micro-details are eye (or rather, ear) catching. Internally, the KA17 is well-designed, with no hiss, EMI, nor "POP" on disconnecting gear.

The KA17 has a wicked 650 mW output power on desktop mode, which kills all competition in the dongle world, and this workhorse can easily drive challenging low sensitivity/high impedance gear to aplomb, with eargasmic dynamics and large headroom. It is not a one-trick pony, as fastidious sensitive IEMs also synergize well, due to the low output impedance of this dongle, something that more powerful sources usually neglect.

Well, despite all these laudable traits, the KA17 is not perfect, and one has to have a critical lens to pick out small areas for improvement. The big power output comes with a compromise of battery drain and heat (especially on desktop mode). Thankfully, Fiio has cleverly added a separate USB-C port for external power feeding, so as not to burn out weaker batteries from mere phones. Also, there is an option to turn off the desktop mode to conserve battery, and the KA17 still pumps out respectable specs even with this handicap.

As written above, Fiio has promised to look into adding more functionality to the Fiio Control App, which as of the time of writing, only supports PEQ. If this can truly be addressed, we will be close to perfection, though the Fiio Control App sadly does not support Apple devices for the KA17.

In conclusion, the Fiio KA17 has my stamp of approval for a benchmark dongle. At the $100ish retail price, it adeptly beats costlier dongles in most departments, with the PEQ being the feather on its cap. The KA17 is a sound investment (no pun intended) for audio enthusiasts that want a future-proof portable source, that can also double up as a desktop device, with stupendous power in this minute frame.

DISCLAIMER

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

The EA500LM can be gotten here: https://www.linsoul.com/products/simgot-ea500-lm (no affliliate links).




SPECIFICATIONS

• Driver configuration: Lithium-magnesium diaphragm dynamic driver
• Impedance: 21 ohms
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 123dB/Vrms (@1kHz gold/red nozzle), 123dB/Vrms (@1kHz silver/red nozzle), 124dB/Vrms (@1kHz silver/black nozzle)
• Cable: 2-pin, 0.78 mm; 3.5 mm termination. Silver-plated OFC wire
• Tested at: $89.99 USD

ACCESSORIES



Other than the IEM, these are included:
- 3 pairs of silicone eartips (S/M/L)
- Cable
- Carrying case
- 3 pairs of tuning nozzles
- Spare silicone rings

The accessories are decent for a sub-$100 set, perhaps other than the lack of other types of eartips.




The silicone eartips are serviceable from a sonic and comfort perspective, though it would have been nice to have a wider selection of tips, be it foam or silicone ones.




Simgot has provided a silver-plated OFC cable, sheathed with anti-oxidation PVC. This is well-braided but is somewhat tangly. Thankfully, there's a chin cinch for added grip.




There's an ovoid zipper leatherette case, with inner webbing to store accessories, and a bunch of spare silicone ring identifiers.




Lastly, we have 3 pairs of tuning nozzles, which we will go into further detail below.




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 EA500LM is fashioned from CNC etched alloy. It comes in a tear-drop shape design, with a mirror-like finish. While this is elegant, it may be a fingerprint or scratch magnet.

The shells are light and ergonomic, and are designed from accumulated data of 3D ear models. Indeed, comfort is top-notch for long listening sessions, with no awkward protrusions to poke the ears.

I did not find any driver flex on my pair. Isolation is above average in view of the vented acoustics.


TUNING NOZZLES/INTERNALS

The EA500LM - as per its "LM" namesake - utilizes a lithium-magnesium diaphragm dynamic driver.

Tuning nozzles are all the rage nowadays, and unexpectedly, this set comes with 3 pairs of tuning nozzles. Unlike other "tunable" IEMs that are gimmicky with minimal changes in tonality, I'm glad to report that the tuning nozzles of the EA500LM do contribute to some tonal differences:

Graphs of the Simgot EA500LM via IEC711 coupler. 8 kHz is a coupler artefact.

Simgot is known for its bright Harmanish house sound, and the black/silver and silver/red nozzles are tuned in the same vein as this stock house sound, bringing a thin but resolving and transparent soundscape, with solid technicalities to the table.

For the pinna-gain sensitive, the gold/red nozzle is a better match, toning down the upper mids and lower treble as per the graphs above, though with a slight compromise in resolution. This gold/red nozzle combination provides a thicker note weight than the basic Simgot tuning, with more meat to the bones.

The first 2 nozzles will suit the trebleheads and vocal lovers, with the silver/red nozzle being kind of a midpoint compromise if you want something more analytical but less fatiguing. Personally, I am not a fan of the overly bright silver/black config, and mostly utilized the more laid-back gold/red setup.


DRIVABILITY

I tested the EA500LM 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 100% required.


SOUND & TECHNICALITIES



The following impressions were done with the gold/red nozzle installed.

On this setup, the EA500LM has a Harmanish tonality that is quite crowd-pleasing. Simgot has taken on feedback from their previous IEMs, to shave off a few dB from the zealous upper mids of their house sound with this gold/red tuning nozzle.

Bass is focused at the sub-bass, though there is a sub-bass roll-off. This IEM is hence not for bassheads. While there is no mid-bass bleed, the texturing can be one-noted at times, though it is relatively speedy during complex bass movements.

The lower midrange is clean and transparent, with just a touch of mid-bass warmth. With a 9 dB ear gain on the gold/red nozzle, the upper mids are forwards but relatively shout-free, which is a very tough line to balance. The other 2 nozzles have a more zealous upper midrange, and I find the gold/red one to be the most restrained of the lot for this frequency band.

Treble is moderately extended, though this isn't the most airy of IEMs. We have decent resolution and clarity retained, though not veering to too much fatigue. Sibilance is just slight, with no splashy high hats or cymbals.

Timbre is on the metallic side, even when compared to other single DD brethren.

The EA500LM is a really solid in technicalities, for a sub-$100 USD single DD. Soundstage is wide, with accurate imaging and solid layering (soundstage height and depth are above average). There's a good sprinkling of micro-details and fast transients noted.


COMPARISONS

The EA500LM will be compared against other sub-$100 USD single DDs. Planars, multi-BAs, and hybrids are left out as the different driver types have their pros and cons.
The gold/red nozzle is used on the EA500LM for the comparisons.


Simgot EA500 (original)


Graphs of the Simgot EA500LM versus OG EA500, via IEC711 coupler. 8 kHz is a coupler artefact.

The OG EA500 has only 2 tuning nozzles, and both have less sub-bass than the EA500LM's 3 tuning nozzles.

When compared to the gold/red nozzle on the EA500LM, the EA500 is a tinge thinner in note weight, with a less natural timbre. The EA500 has slightly better micro-detailing, but loses in soundstage and bass extension. The EA500 is easier to drive.

In the big scheme of things, considering the EA500LM is about 10 bucks more than the OG EA500, it is an incremental upgrade and not a night-and-day different IEM. You get a slightly more refined IEM with an extra tuning nozzle in a way, but for existing owners of the OG EA500, perhaps there is not great value proposition to procure the newer EA500LM.


Oriveti OD100

The OD100 is a brighter IEM - it is shoutier in the upper mids, more sibilant in the treble, with less bass. Overall, this contributes to the OD100 sounding more fatiguing than the gold/red nozzle config on the EA500LM.

Timbre is worse on the OD100, and it is technically a league behind, with the OD100 having inferior micro-detailing, soundstage and layering.

The OD100 can be worn cable down or over-ears, so fit is a bit more versatile, but it is has no tuning nozzles to vary the tonality.


Moondrop Aria 2

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

Tonally, the Aria 2 has less bass, but is a tinge brighter. It hence sounds more sterile. Technically, the Aria 2 is slightly poorer, with a smaller soundstage and weaker imaging/micro-detailing.


CONCLUSIONS



The EA500LM is a technical behemoth, for a budget single DD.

Accessories, aesthetics and build are good for the coin, and it is easily driven. There are 3 tuning nozzles to spice up tonal options, from a bright analytical-focused tuning to a slightly tamer Harmanish fare, to suit different ear sensitivities and preferences. Technicalities as alluded to, are arguably class-leading for the single DD budget bracket, with soundstage and imaging are really well done.

Well nothing is perfect, and there are admittedly some nitpicks. The bass perhaps could do with better texturing, and the black/silver nozzle may be overly fatiguing for all but the most diehard of trebleheads.

Nevertheless, as an overall package, the EA500LM is certainly multifaceted and polished, and would be one of my recommendations for a high-performing sub-$100 single DD set.