Reviews by baskingshark

DISCLAIMER

I would like to thank Fiio for furnishing this unit. The FF1 can be gotten here (no affiliate links): https://www.aliexpress.com/item/1005005951811656.html




SPECIFICATIONS

• Driver configuration: 14.2 mm polyurethane + beryllium-plated dynamic driver
• Impedance: 40 Ohms
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 106 dB/mW
• Cable: 0.78 mm, 2-pin. Oxygen-free copper cable, 3.5 mm termination
• Tested at $20.99 USD

ACCESSORIES



Other than the earbuds, these are included:
- 3 pairs of donut foams
- 3 pairs of full foams
- 1 pair of silicone wing hooks
- 2 pairs of silicone rings (L/M)
- Type-C USB to 3.5 mm adapter
- Cable




The accessories are extremely generous for the $20 entrance fee, and definitely puts pricier competitors to shame in this department. There's even a type-C USB to 3.5 mm adapter added, for users whose phones do not have a 3.5 mm jack.

Two variants of foam tips are included. The full foams add bass and warmth, whereas the donuts aren't as bassy and open up the upper end a bit. We also have silicone rings and winged hooks to assist in fitting.




The stock cable is a 2-pin oxygen-free copper cable with a 3.5 mm termination. Even though it is detachable, it is unfortunately semi-proprietary, and most aftermarket 2-pin cables will not be able to fit in. Thankfully, the cable is microphonic free, with a nylon fabric sheath, and it is quite usable haptically, other than the lack of a chin cinch.

The cable has a mic with in-line volume control; thus, other than for music, this earbud can potentially be used for calls and meetings.

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


BUILD/COMFORT



Weighing in at 3.2 g apiece and measuring 16.2 mm in diameter, the plastic housings are very light and comfortable. Ergonomics are solid, with no complaints on this front. During ordering, customers can opt for a silver or black shell.


INTERNALS

The FF1 houses a 14.2 mm polyurethane + beryllium-plated dynamic driver. Internally, Fiio has installed elongated acoustic tubes, which are marketed to increase bass quantity (higher frequencies are first to be dissipated in a longer tunnel, this preserving bass).




DRIVABILITY

I tested the FF1 with the following sources:
- Apple dongle
- Cayin RU7
- Colorfly CDA M1 DAC/AMP dongle
- Creative Sound Blaster X5
- E1DA DAC/AMP dongle
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This earbud is relatively easily driven, and amplification is not 100% required. Having said that, the FF1 will sound tighter in the bass, with improved dynamics, if fed clean power.


SOUND & TECHNICALITIES



The FF1 can be described tonally as having a mild V-shaped profile (ie boosted mid-bass and lower treble), which is quite consumer friendly.

The FF1 is mid-bass focused, with bass north of neutral but not at true basshead levels. Sub-bass extension is decent for a flathead, but as per most earbuds, there is a roll-off at the lowest registers. However, bass quality is wanting - the bass is ponderous and untextured (one-noted), and when complex bass movements come out to play, the basslines smear, with mid-bass bleed present.

As per the V-shaped soundscape, the lower midrange is recessed. With a double-whammy of the aforementioned mid-bass bleed, this region is veiled and transparency takes a hit. Thankfully, unlike some rival buds that like to have over-zealous upper mids, this frequency band in the FF1 is restrained, with no shoutiness noted.

The lower treble continues on from the upper mids boost, with minimal sibilance. Thereafter, the upper treble rolls off early, and the FF1 is not airy, with some penalties in resolution. The choice of foam covers will influence treble perception, so do explore to see what suits your preferences - eg full foams versus donut foams versus silicone rings, or even a combination of these.

Timbre is very natural, in keeping with its single DD engine.

Alas, the FF1 falls short in technical chops. Soundstage is average in all 3 dimensions, with middling micro-detailing and instrument separation. The FF1 redeems itself slightly in imaging, which is quite accurate for a budget earbud.


COMPARISONS

FAAEAL Rosemary

The Rosemary is an L-shaped warm and bassy bud. It has a 150 ohm impedance and requires copious amplification compared to the FF1. The Rosemary also has a non-detachable cable.

The Rosemary has a thicker note weight, and is way more bassier. When properly driven, the Rosemary has slightly better technicalities in micro-details, instrument separation and soundstage.


NiceHCK EB2S

The EB2S is a warm neutral bud. It has way lusher mids than the V-shaped FF1, and midrange lovers might find it to be a better option as such.

The EB2S has a non-detachable cable, but it has improved technicalities, with better instrument separation and imaging.


CONCLUSIONS



For the coin, the FF1 is extremely well accessorized, with solid build and ergonomics, and easy drivability. Coupled with a mic, this earbud may also suit non-audiophiles who want a daily beater set for calls and meetings. Other good points are the FF1's natural timbre with a consumer friendly V-shaped profile. Costing around $20ish USD, the FF1 is relatively cheap and won't cause heart-rendering pain should it get damaged or lost.

The FF1's detachable cable is sadly proprietary, which limits aftermarket cables. It is also not the most "audiophile" technical beast, with sub-par technicalities and a slower bass noted.

In the big scheme of things, the FF1 is probably a budget earbud for beginners new to the flathead rabbithole. Earbud connoisseurs who own higher-end gear will have heard something better and should temper expectations, as they may find the FF1 lacking in technicalities and sounding a bit "lowFI". Newcomers searching for a cheap multifunctional flathead for work and music may be attracted to the FF1 as an overall package though, so it might appeal to this segment of consumers.

DISCLAIMER

I would like to thank Linsoul for furnishing this unit. The Hype 2 can be gotten here (no affliate links): https://www.linsoul.com/products/thieaudio-hype-2




SPECIFICATIONS

• Driver configuration: 2 x 10 mm composite isobaric dynamic drivers + 2 x Sonion balanced armature drivers (P2356HF/4 and E25ST001/D)
• Impedance: 25 Ω
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 108 dB/Vrms
• Cable: 2-pin, 0.78 mm; 5N OCC silver-plated Litz cable; 3.5 mm termination
• Tested at $299 USD

ACCESSORIES



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

For something close to 300 bucks, the accessories are servicable, albeit other rivals at this price-point may provide a modular cable or a wider assortment of eartips.




The included foam tips increase isolation, though at the expense of taming the treble, whereas the silicone ones boost treble air and soundstage. Do explore to see what suits your preferences.




The stock cable is a 5N OCC silver-plated Litz cable. Haptically, there is nothing much to complain about - is pretty well-braided, with a chin cinch. There's just slight microphonics noted. Sadly, it is not modular, and only comes in a 3.5 mm termination.




Lastly, we have a cleaning cloth and a huge rectangular semi-rigid case. This case is large enough to contain the IEM plus accessories, and is a very functional addition. The innards have webbing and are lined by a soft material.

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


BUILD/COMFORT



Fashioned from 3D-printed medical-grade dermatologically-friendly resin, the shells are light and ergonomic. Despite being on the larger side, they fit snuggly in my average ears, with a concha protrusion for added grip. I experienced no discomfort despite longer listening sessions. ThieAudio says that each shell is individually painted, and indeed each earpiece has an individual serial number, which adds some exclusivity to the equation.




During ordering, one can opt for a red-hued or blue shell. 2-pin connectors are generally more robust than MMCX ones at the budget/midFI segment, and it is much appreciated that the Hype 2 utilizes the former connector type.




Despite being vented, I noted driver flex during insertion of the earpieces, but this can be mitigated to some extent with eartip choice, and is also dependent on ear anatomy.



Isolation is surprisingly above average, and this IEM can be used on-the-go or in noisy places with no issues.


INTERNALS

The Hype 2 packs a 2 DD + 2 Sonion BA driver setup:
- 2 x 10 mm composite DDs in an isobaric arrangement handle the bass
- P2356HF/4 Sonion BA settles the midrange and treble
- E25ST001/D Sonion twitter reproduces frequencies until 18 kHz.


DRIVABILITY

I tested the Hype 2 with the following sources:
- Apple dongle
- Cayin RU7
- Colorfly CDA M1 DAC/AMP dongle
- Creative Sound Blaster X5
- E1DA DAC/AMP dongle
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is easily driven, and amplification is not 100% required.


SOUND & TECHNICALITIES


Graph of the ThieAudio Hype 2 via IEC711 coupler. 8 kHz area is a coupler artefact peak.

The Hype 2 can be described tonally as having a mild V-shaped signature. It is quite a fun sounding set with big bass on tap.

This IEM is sub-bass focused. The bass is just a level shy of true basshead levels. Indeed, the bass is very well extended with a deep throaty rumble. The Hype 2 is somewhat scooped out in the mid-bass, so there isn't a massive bass thump, and this is a different bass presentation from what some bassheads may be used to. Nevertheless, the bass quality is excellent, with no mid-bass bleed, and a nimble and clean bass heard, with outstanding texturing.

The Hype 2 is a joy to listen to for bass forward genres such as EDM and hip hop!

As a consequence of the lack of big mid-bass, the lower midrange is admittedly thin. This is a double-edged sword though, as this region is quite transparent without a big encroaching bass, and instruments and vocals are given much space to breathe and showcase their talents, though note weight is on the slender side. The upper mids has a 6 dB ear gain, which pushes vocals forwards without veering too much to shouty territory.

The lower treble continues on from the boosted upper midrange, but is relatively sibilant-resistant. This region is quite smooth, and treble-sensitive peeps should be decently placated. The upper treble has a roll-off and isn't the most sparkly or airy, so trebleheads might want to consider alternatives. Having said that, the Hype 2 is not one of those typical CHIFI steroid-infused overly boosted treble types that give "fake clarity", and this set keeps decent resolution on tap without cheating in boosting the upper end.

Fitted with 2 BAs covering the midrange and treble, there's a slight whiff of BA timbre for acoustic instruments, giving a slyph-like tone to notes. Nevertheless, it is not the worst offender in this department, with some similarly priced competitors performing way worse here (cough cough, no pun intended for the AFUL Performer 5).

In technical chops, the Hype 2 does very well for a sub $300 hybrid. Micro-detailing as alluded to above is solid, and imaging is quite pinpoint, with up-to-scratch instrument separation. Soundstage is quite expansive in all 3 dimensions and even on complex tracks, the Hype 2 manages to hold its own.

Coherency is commendable, with the fast DDs covering the bass complementing the Sonion BAs handling the upper registers.


COMPARISONS

Comparisons were made with other hybrids around the $200 - 300 USD region. Planars, tribrids, single DDs and pure BA types were left out of the equation as the different transducers have their pros and cons.




AFUL Performer 5

The Performer 5 is a U-shaped sub-bass focused hybrid. Technically, the Performer 5 has inferior imaging, micro-detailing, soundstage and resolution.

The Performer 5 flops at timbre - and has poor coherency - with its untextured bass notably slower than the faster BAs handling the other frequencies. The bass smears when complex bass lines come out to play.


Penon Fan 2

The Fan 2 is a warm neutral set, with a thicker note weight and a thicker midrange than the Hype 2.

The Fan 2 has a more natural timbre, though it is behind in soundstage, micro-detailing, imaging and instrument separation. The Fan 2 also has an awkward fit due to super long nozzles, though it does not have driver flex.


CONCLUSIONS

The Hype 2 is a nice addition to the midFI hybrid market. It brings "fun" sonics to the table, and bass is undeniably the star of the show, in both quality and quantity. Though the lower mids are somewhat pulled-back in the mix, the midrange is quite transparent, with good clarity noted. Treble is pretty well-dosed, in keeping good resolution without resorting to the usual party trick of overly boosting this region.

As for externals, this IEM is beautifully crafted, with comfortable ergonomics and easy drivability. Isolation is also above average, though it loses some marks due to driver flex. Against similarly-priced hybrids, the Hype 2 fares very well, and coherency is quite polished. While there is some BA timbre noted, it is arguably not the worst offender in this respect.

In a nutshell, the Hype 2 will have a place in my rotation as an entertaining hybrid that doesn't neglect technical chops, and does most departments well. All aboard the hype-train choo choo!

DISCLAIMER

I would like to thank BGVP for furnishing this review unit. It can be gotten here (no affiliate links): https://www.aliexpress.us/item/3256805727091756.html or http://en.bgvp-hifi.com/product/info/42




SPECIFICATIONS

• Driver configuration: 10 mm polyurethane + ceramic dynamic driver
• Impedance: 34 Ohms
• Frequency response: 20 Hz - 40 kHz
• Sensitivity: 105 dB/mW
• Cable: MMCX, 3.5 mm termination; 2-strand OFC silver-plated cable
• Tested at: $49.99 USD

ACCESSORIES



Other than the IEM, these are included:
- 3 pairs of "vocal" silicone eartips (S/M/L)
- 3 pairs of "bass" silicone eartips (S/M/L)
- 1 pair of foam eartips
- Carrying case
- Cable
- 2 pairs of front tuning nozzles
- 2 pairs of rear tuning nozzles

For the retail price of a hair below 50 bucks, the accessories are truly fit for a king; everything is useable out-of-the-box.




As per their namesakes, the "bass" silicone tips increase sub-bass (with some slight compression in soundstage and air), whereas the "vocal" tips increase the upper frequencies, though with some loss of sub-bass. The foam tips tame treble and improve isolation, though with some depression in the soundstage.




The stock cable is a 2-strand OFC silver-plated cable. It is on the thinner side and is microphonic. There is a chin cinch for added grip, but the elephant in the room are the MMCX connectors. Generally, at the budget segment, MMCX is not as robust as 2-pin connectors with frequent cable swaps, so I'm a bit bummed out that this connector is used in the P05.




4 pairs of tuning nozzles are packed in a small plastic container - we will go into further detail below on what they do.




Last but not least, we have a semi-rigid zipper case. It is large enough to store the P05 plus accessories, and the innards are lined with a velvety material and webbing.

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


BUILD/COMFORT



The P05 is a bullet-shaped IEM. Fashioned from aviation-grade aluminum alloy via CNC machining (that is subsequently sand-blasted and polished), the housings are light yet tough. Indeed, each earpiece weighs in at a meagre 3.4 g, and comfort is impeccable. To top it off, this IEM can be worn cable-down or over-ear, which increases fitting options.



I did not find any driver flex on my set. Isolation is however, sub-par, due to the open-backed design. This open-backed concept does play a part in presenting an expansive soundstage (see sound & technicalities section), so it is kind of a double-edged sword.




DRIVABILITY

I tested the BGVP P05 with the following sources:
- Apple dongle
- Cayin RU7
- Colorfly CDA M1 DAC/AMP dongle
- Creative Sound Blaster X5
- E1DA DAC/AMP dongle
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is moderately easy to drive, weaker sources should be able to power it with higher volumes, though it will scale with amplification.


INTERNALS/TUNING SWITCHES

The P05 incorporates an exotic 10 mm polyurethane and ceramic dynamic driver, which is uncommon to say the least.



The IEM's selling point is the 2 rear and 2 front tuning nozzles, which promises versatility. Unlike the Toneking Ninetails - which also operates via rear and front tuning nozzles - the P05's rear and front nozzles have varying groove dimensions. Hence, the rear nozzles cannot be screwed into the front and vice versa.

Nevertheless, with 4 pairs of tuning nozzles, we have 4 different tuning options on tap:

Graphs of the BGVP P05 with various tuning nozzles via IEC711 coupler. 8 kHz is a coupler artefact peak.

As seen in the graphs above, the P05 sports variations of a Harmanish signature. With the red and blue graphs, we have a sub-bass roll-off, while the green and black ones boost the sub-bass. There are slight differences in the upper mids/lower treble otherwise, amongst the green/blue and red/black graph configurations.

Do explore with the nozzles to see what suits your preferences tonally. Personally, I enjoyed the rear silver/front gold nozzle configuration (ie green graph) the most - it has enough sub-bass rumble for bass heavy tracks, yet with decent extension in the upper end.


SOUND & TECHNICALITIES

The rest of this review will be done with the green graph configuration (rear silver, front gold nozzles installed).



On this setup, the P05 is sub-bass focused. There is moderate bass extension, but don't be expecting basshead quantity. In terms of quality, it is quite well done - bass has above average texturing, with a nimble speed and minimal mid-bass bleed.

The lower midrange is a tinge depressed, but not overly so. The mids are quite transparent without a big bass encroachment, and with just a 6 - 7 dB ear gain, the upper mids are pushed forwards without being overly shouty. Vocals are in front of instrumentation nevertheless, especially for female vocals.

The upper mids boost continues on with a moderately raised lower treble, and the treble rolls-off quite early thereafter. This IEM is sedate and smooth in the treble, with no fatigue or sibilance. Treble-sensitive peeps will like the sonics, though the lack of air and sparkle might be a con for trebleheads.



Timbral accuracy is quite organic for acoustic instruments. Listeners of jazz and classical for example, will have no complaints in this department.

In technicalities, the P05's soundstage is quite wide, landing just slightly outside the ears, due to the aforementioned open-backed design. Soundstage height and depth are above average too. Imaging can be a tinge fuzzy, and is perhaps not as tight as more expensive sets. Unfortunately, resolution and micro-detailing are bang average, which is partially due to the tamed treble. Despite the expansive soundstage, instrument separation can get muddy, and the P05 admittedly gets overwhelmed when complex riffs with competing instruments come out to play.

While not the most micro-detailed or technical single DD, the P05 has some technical aspects that are done well - such as the bass quality and soundstage - but all things considered, the P05 is probably more "musical" than analytical. It is a very "safe" IEM for chilling back and relaxing to, rather than for critical listening.


COMPARISONS

Comparisons were made against other budget tunable single DDs. Hybrids, planars, multi-DD and pure BA IEMs are omitted, as the different transducers have their own pros and cons.




Simgot EA500


Graphs of the Simgot EA500 via IEC711 coupler. 8 kHz is a coupler artefact peak.

The EA500 operates via one front tuning nozzle, to bestow two tuning options. With the black nozzle, the EA500 has a neutral bright lilt, whereas there's a warmer Harmanish tone on the red one.

The EA500 is less bassy, with a sub-bass roll-off. It is more zealous in the upper mids and treble, with more air and sparkle, though the EA500 may come across as fatiguing for treble-sensitive folk.

Though the EA500 has a smaller soundstage, it easily beats the P05 in imaging, micro-detailing and instrument separation.


Toneking Ninetails


Graphs of the Toneking Ninetails via IEC711 coupler. 8 kHz is a coupler artefact peak.

The Ninetails is named after a nine-tailed Asian Fox Spirit, which can metamorphize to various forms and even mimic humans. This IEM lives up to its namesake - with 9 tuning signatures, via 2 tuning nozzles per housing - 1 on the rear, and 1 on the front. And unlike the P05's tuning nozzles, the rear and front ones are interchangeable as they are of the same size.

Thus, in terms of versatility, the 9 tuning options of the Ninetails handily eclipses the 4 on offer in the P05 - the former can be tuned from neutralish to basshead to V-shaped rather than just a Harmanish tone.

Both sets have a natural timbre, though the Ninetails loses to the P05 in technical chops. The Ninetails has a copious mid-bass bleed, which isn't as tight or clean. Though it has better soundstage, when it comes to imaging, micro-details and instrument separation, the P05 is superior.

Lastly, the Ninetails has a weird gourd-like shell, which may be more uncomfortable to wear than the more ergonomic bullet-shaped P05.


CONCLUSIONS

I was pleasantly surprised by the P05 as an overall package.

Accessories are second-to-none at this price bracket, and the comfort is solid, especially since the bullet-shaped P05 can be worn cable down or over-ears. There are 4 different tuning options available, providing versatility. Soundstage is a highlight, in addition to an organic timbre and good bass quality. The fatigue-free soundscape will also be a sight (or rather, sound) for sore ears that are treble-sensitive, though trebleheads might need to look elsewhere.

The aforementioned spacious soundstage is partially due to the open-backed design, though this results in sub-par isolation. Additionally, the P05 may not be the sharpest tool in the shed when it comes to technicalities, and this IEM is not suitable for analytical-heads. Sadly, the use of MMCX may also be a deal-breaker for some, with questions raised about its long-term durability (best not to cable roll too often here!).

By and large, if one is looking for a tunable budget single DD which is pleasantly tuned with nary an ounce of fatigue - coupled with an expansive soundstage and natural timbre - the P05 fits the bill, and its tonal versatility is a feather in its cap - think of it as getting 4 IEMs with 1 purchase as such.

DISCLAIMER

I would like to thank Kinera for furnishing this unit.

INTRODUCTION

The Wyvern - AKA Feilong or Huanglong in Chinese mythology - is a 9-headed dragon, which wields control of the elements.

Do note that there are 2 versions of the Kinera Wyvern to choose from. The Pro version is $4 pricier, but comes with a boom mic for gaming, in addition to having more accessories and a different stock cable.



We will be reviewing the Pro version today.


SPECIFICATIONS

• Driver configuration: 10 mm LCP diaphragm dynamic driver
• Impedance: 32 Ohms
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 105 dB
• Cable: 2-pin, 0.78 mm, 2- core silver-plated; 3.5 mm

ACCESSORIES



Other than the IEM, these are included:
- 3 pairs of Celest C-07 silicone eartips (S/M/L)
- 3 pairs of Celest 221 silicone eartips (S/M/L)
- Cable
- Cardoid mic
- Wyvern metal bookmark
- 2 x mic mufflers

Pretty generous fare for the $20ish entry fee, perhaps other than the lack of a case.




While foam tips are omitted, there are 2 types of silicone eartips on offer. The White Celest 221 tips boost treble and air, expanding soundstage, whereas the coloured Celest C-07 tips increase bass, though with some compression in staging.




The 2- core silver-plated cable is well-braided, though it is slightly tangly, with microphonics. It doesn't have a chin cinch too, but is quite serviceable otherwise.




The Cardoid boom mic is meant for gaming, and attaches via a MMCX connector to the stock cable. Apologies as I do not game, so I can't verify its usefulness in this arena. But FWIW, using this mic for calls and online meetings, the feedback garnered from other participants was that vocals were intelligible and quite clear. Thus, the Wyvern Pro might be a useful tool for work calls or meetings, in addition to gaming.

This mic comes with 2 sets of sponge mufflers, which are meant to reduce wind noise pick-up.

Last but not least, we have a cool metal wyvern bookmark, which ties in nicely with this IEM's namesake.

The rest of this review was done with the stock cable and stock Celest C-07 tips. No aftermarket accessories were used, so as not to add any confounders to the sound.


BUILD/COMFORT



The Wyvern Pro's housing is fashioned from an off-white 3D-printed resin. The shells are really a looker, reinforced by the elegant aesthetics of the packaging and the wyvern bookmark.

The shells are on the larger side, but are surprisingly comfortable for extended usage. There is a concha protrusion for added grip.



2-pin connectors are my favoured port, as they tend to be more resilient than budget MMCX ones, especially with cable rolling.

Despite being vented, isolation on this IEM is above average, aided by the larger shells to cover the ear canal. One negative was that there was slight driver flex noted during insertion (this can be mitigated with eartip rolling, and is partially dependent on ear anatomy too).


DRIVABILITY

I tested the Wyvern Pro with the following sources:
- Apple dongle
- Cayin RU7
- Colorfly CDA M1 DAC/AMP dongle
- Creative Sound Blaster X5
- E1DA DAC/AMP dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Khadas Tone Board -> Topping L30 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% essential.


SOUND & TECHNICALITIES


Graph of the Wyvern Pro via IEC711 coupler. 8 kHz area is a coupler artefact peak.

Tonally, the Wyvern Pro sports a Harmanish tuning, which is pretty consumer friendly.

This IEM is sub-bass focused. Bass is north of neutral and there is moderate sub-bass extension and slight rumble, though this IEM is not for bassheads. Bass speed is okay, with texturing being slightly above average; thankfully there is minimal mid-bass bleed too.

The lower mids are recessed, which may be a con for mid-lovers. With about 7 - 8 dB ear gain, the upper midrange is at the border of shoutiness on some tracks. Vocals are definitely forward in the mix. However, upper mids perception depends on ear anatomy (pinna gain), eartips, hearing health and volume played at (Fletcher Munson curve). Having said that, since the Wyvern Pro may be utilized as a gaming IEM, the boosted upper mids will definitely aid in clarity and resolution.

The Wyvern Pro has a darkish treble. The upper treble rolls off early, and this isn't a sparkly or airy set. Sibilance is minimal, and treble sensitive folk should be quite at home with the tuning (on the flip side, trebleheads might want to look elsewhere).

In keeping with its single DD roots, timbre is very natural for acoustic instruments. No complaints on this front.

In terms of technicalities, the Wyvern Pro is bang average. Soundstage is average in all 3 dimensions. Instrument separation and imaging is on the fuzzier side, and micro-details are a bit obscured by the dark treble.


COMPARISONS

Comparisons were made with other sub $30 USD budget single DDs. Planars, hybrids, and pure BA types were left out of the equation as the different transducers have their pros and cons.


Truthear HOLA

Graph of the Wyvern Pro versus Truthear HOLA via IEC711 coupler. 8 kHz area is a coupler artefact peak.

The Hola is an L-shaped set that is more sedate in the upper mids. The Hola has a thicker note weight, though its bass isn't as tight and bleeds.

The Hola is inferior in technicalities. Other than soundstage, the Hola loses in imaging, micro-detailing and instrument separation. The Hola is a hair better in timbre.


Salnotes Zero


Graph of the Wyvern Pro versus Salnotes Zero via IEC711 coupler. 8 kHz area is a coupler artefact peak.

The Salnotes Zero is a neutral bright IEM with less bass, though the bass is tighter. The Zero is brighter (and harsher) in the treble, with sibilance. The Zero also has a less natural timbre, with a thinner note weight.

In technical chops, the Zero is ahead, with better micro-detailing, imaging and instrument separation, though it has a smaller soundstage.

Due to the perpendicular edges of the shells, the Zero may be more uncomfortable during use.


CONCLUSIONS



Considering that the Wyvern Pro costs as much as a restaurant meal, this set has good price-to-performance ratio, and the accessory line-up is arguably one of the best at this price-point. The Wyvern Pro will also make for a fine gaming device, in addition to an option for calls and online meetings, with the provision of the boom mic.

In terms of externals, the build and aesthetics are great, with decent ergonomics and above average isolation. I encountered instances of driver flex, but this can be mitigated with eartip rolling to some extent.

The Wyvern Pro is Harman tuned, and boasts a very natural timbre. However, folks sensitive to upper midrange glare might take an issue with this region, and it also might not be a treblehead's cup of tea. Treble-sensitive brethren will like the safe treble, and by-and-large, this IEM is a solid entrant to the cut-throat ultra-budget table. Non-audiophiles might also appreciate its gaming and call utility, and the Wyvern Pro may even make a decent gift with the nice aesthetics.

DISCLAIMER

I would like to thank KZ/CCA for furnishing this unit. The Duo can be gotten here (no affiliate links): https://www.kztws.com/products/cca-duo

SPECIFICATIONS

• Driver configuration: 7 mm + 7 mm dual dynamic drivers (no info on diaphragm materials)
• Impedance: 18 ohm
• Frequency response: 20 Hz - 40 kHz
• Sensitivity: 106 dB
• Cable: 2-pin, 0.75 mm, silver-plated cable
• Tested at $29 USD (non-mic version); $30 USD (mic version)

ACCESSORIES

Other than the IEM, the following are included:
- 3 pairs of KZ "Starline" silicone tips (S/M/L)
- 1 pair of foam tips
- Cable

The accessories are pretty lacking, with no case provided. But I guess as it is a budget IEM, costs have to be cut somewhere.




The KZ Starline silicone tips are one of the most ubiquitous tips, and most CHIFI aficionados would have encountered them in their IEM journey. The foamies tame treble and increase isolation, and they synergize well with the bright Duo (we will talk more about its sound signature later); albeit foam tips are not be so durable and may also compress the soundstage.

The stock silver-plated cable, though on the thinner side, is surprisingly quite microphonic-resistant. Unfortunately, it does not come with a chin cinch, and is a bit tangly.

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



BUILD/COMFORT



The triangular face-plates are fashioned from 3D-printed metal. They are mirror-like and shiny, but may be fingerprint or scratch magnets. The inner aspects of the earpieces seem to be made of a resin/plastic material, and the shells are light and relatively well-fitting - I have no complaints on the ergonomics.



Isolation is bang average, in view of the vented shells. I did not encounter any driver flex, though this is partially dependent on ear anatomy and type of tips used.


DRIVABILITY

I tested the Duo with the following sources:
- Apple dongle
- Cayin RU7
- Colorfly CDA M1 DAC/AMP dongle
- Creative Sound Blaster X5
- E1DA DAC/AMP dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Khadas Tone Board -> Topping L30 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, though it scales slightly with amplification.


SOUND & TECHNICALITIES

Graph of the CCA Duo, via IEC711 coupler. 8 kHz is a coupler artefact peak.

Tonally, the Duo can be described as having a bright U-shaped profile.

The Duo is sub-bass focused. The sub-bass extends quite deep with authority and decent rumble, though it is just slightly north of neutral in quantity, and is not for bassheads. In terms of quality, bass texturing is above average with moderate speed, with just a sprinkle of mid-bass bleed.

As per the U-shaped tuning, the lower mids are slightly pulled back. This area is still quite transparent, with no big bad bass to bite into this frequency band. The upper midrange has a 6 dB ear gain, and with no copious bass to balance out this region, female vocals are forwards and just at the edge of shoutiness.

The Duo is a treble-emphasized IEM, and this region has good air and extension. This gives a lot of clarity and resolution, though on the flip-side, sibilance rears it ugly head, and there are over-emphasized cymbals and high-hats heard. Indeed, treble-sensitive folk should stay away, but trebleheads might fall in love with the tuning.



Technicalities-wise, I would class the Duo as above average at its price point. As per the boosted upper frequencies, this brings a lot of resolution and clarity to the mix. Micro-detailing is acceptable, and imaging and instrument separation are quite decent. Soundstage is average in width, but above average in height and depth.

Timbre is sadly a tinge metallic, with an anemic and thin note weight. Vocals can hence sound unnaturally nasal and scrawny as such.


COMPARISONS

Comparisons were made with other budget dual DD sets. Planars, single DDs, hybrids and pure BA types were left out of the equation as the different transducers have their pros and cons.




TRI Star River


Graph of the TRI Star River via IEC711 coupler. 8 kHz is a coupler artefact peak.

The Star River is a dual DD set with 4 purported tuning options. However, on actual testing, there are only 2 distinct V-shaped old-school tonalities (ie switches are a gimmick). The Star River's QC is also a bit dodgy, with one side of the earpieces having stuck switches that require huge force to manipulate.

Compared to the Duo, the Star River is definitely more V-shaped, and has more bass and treble. It is shoutier as such in the upper midrange/lower treble, and is even more fatiguing than the Duo.

The Star River has worse soundstaging, but otherwise has improved imaging, micro-detailing and instrument separation.


Truthear Zero (Original)

The Zero is bassier in the sub-bass, though its bass isn't as tight and clean as the Duo's. Both sets are thin in the lower mids, but the Zero is shoutier in the upper midrange.

Technicalities are weaker on the Zero, it has worse separation, micro-details and imaging.


CONCLUSIONS



The CCA Duo is dual DD U-shaped pair, with above average technical chops. Build, ergonomics and drivability are plus points, though the lack of accessories is disappointing.

Unfortunately, the Duo has some tonal flaws, suffering from a thin note weight with metallic timbre. It is also not for treble-sensitive brethren, due to a bright soundscape with sibilance in abundance. Bassheads may find the bass quantities wanting, but this set goes for quality over quantity in the bass.

In a nutshell, the Duo has some shortfalls (especially in treble and timbral accuracy), but otherwise does more things right than wrong. Actually, I would class it as an above average entrant to the dual DD game. Sadly, it might be forgotten in a few weeks' time, such is the competitiveness of the cut-throat budget CHIFI market, that being average (or even above average) is akin to a death sentence. Or a greater likelihood, is that a pro version of this KZ/CCA might come out mere days after this review is written!

DISCLAIMER

I would like to thank Linsoul for furnishing this unit. The Sonus can be gotten here (no affiliate links): https://www.linsoul.com/products/7hz-sonus




SPECIFICATIONS

• Driver configuration: 1 x dynamic driver + 1 x balanced armature driver (no info on brand/material)
• Impedance: 30 Ohms
• Frequency response: 10 Hz - 20 kHz
• Sensitivity: 109 dB/V
• Cable: 0.78 mm 2-pin, 4-core silver-plated OCC
• Tested at $59.99 USD

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of narrow-bore silicone eartips
- 5 pairs of wide-bore silicone eartips
- Cable
- Leatherette carrying case
- Spare nozzle filters




Considering this is a sub $100 USD IEM, the included accessories are pretty generous, and everything is quite serviceable out-of-the-box.




While no foam tips are provided, we have 2 variants of silicone tips - a wide-bore and a narrow-bore one - with the former bestowing improved soundstaging and better treble extension, while the latter boosts bass, though with some compression of the soundstage.




The stock 2-pin, 4-core silver-plated OCC cable looks like a tapeworm, but jokes aside, it is well braided with a chin cinch. Unfortunately, it is quite microphonic, and is slightly tangly. I'm not a fan of MMCX connectors at the budget segment, due to their longevity with frequent cable swaps, so 2-pin ones like this cable are always welcome in my book.

The leatherette carrying case fastens via a button. It is quite elegant, though personally I would have preferred a semi-rigid or hard case to protect the contents better.

It is really nice that 7Hz has provided some spare nozzle filters, as these may get damaged or inundated with moisture, and sourcing for the same replacement nozzle filters is literally searching for a needle in a haystack, such are the many aftermarket variations out there.

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


BUILD/COMFORT



The earpieces have decent build. The inner aspects of the housing are fashioned from medical-grade resin, while the face-plate is composed of aviation-grade aluminum. During ordering, one can opt for a black, red or grey-hued shell.

7Hz markets that the earpieces were designed after precision molding of amassed ear anatomies. Indeed, the shells are light with a concha protrusion, and ergonomics are quite good. For my average-sized ears, I did not encounter any discomfort despite using the Sonus for hour long sessions.



Being a vented IEM, isolation is bang average, though the Sonus should still be usable on-the-go. Occasional mild driver flex was noted during insertion - though this is partially dependent on ear anatomy and type of tips used - and it can be mitigated with trying other types of tips (be it foam or silicone).




DRIVABILITY

I tested the Sonus with the following sources:
- Apple dongle
- Cayin RU7
- Colorfly CDA M1 DAC/AMP dongle
- Creative Sound Blaster X5
- E1DA DAC/AMP dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Khadas Tone Board -> Topping L30 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is easily driven even off the weakest of sources, though it might scale slightly with amplification.


SOUND & TECHNICALITIES


Graph of the 7Hz Sonus via IEC711 coupler. 8 kHz is a coupler artefact peak

Tonally, the Sonus sports a balanced U-shaped tonality, which is quite all-rounded for most music genres.

The bass is slightly north of neutral. The Sonus is sub-bass focused, with some rumble heard down to 20 Hz if a proper eartip seal is obtained. As it is not a mid-bass predominant IEM, one wouldn't hear a big bass thump in acoustic or electric bass notes, so this IEM is not for bassheads. In terms of bass quality, texturing is good, with a fast bass heard, with minimal mid-bass bleeding.

As per the U-shaped profile, there is just a slight depression in the lower midrange. Listeners will appreciate the clear and transparent midrange in view of no big bass encroaching into this frequency band. Coupled with the solid technical chops, this allows instruments and vocals to be layered nicely on a dark background. Upper mids are forwards without being shouty, with just a 6 - 7 dB ear gain. Indeed, the mids are my favourite part of this IEM's tuning.

Treble has moderate extension, and the Sonus is not an extremely airy or sparkly set. However, the treble is quite well-dosed, and balances the line very finely, in bringing decent resolution to the table, without veering to an overly-fatiguing soundscape. Sibilance is mild, and cymbals and highhats are not splashy.




In technicalities, the Sonus holds its own in the sub $100 USD realm when compared against similarly-priced hybrids. Instrument separation, layering and imaging are quite well-done, with an above average soundstage width (though it is about average in height/depth). Music never sounds congested, even on complex tracks with competing riffs. Micro-detailing and clarity are well portrayed as alluded to.

When it comes to timbral accuracy, there is a slight metallic BA timbre heard when acoustic instruments like brasses and woodwinds come out to play. Vocals have a hint of nasality, but by and large, the Sonus isn't the worst offender in timbre, when compared against some other rival hybrids.


COMPARISONS

Comparisons were made with other hybrids below $100 USD. Planars, single DDs and pure BA types were left out of the equation as the different transducers have their pros and cons.




Tangzu Fu Du

The Fu Du is a bassier IEM, though the bass isn't as tight and bleeds, with worse texturing. The Fu Du is also not as extended in the treble, with less air.

The Fu Du loses in technicalities, sounding claustrophobic in comparison, with worse soundstaging, imaging and micro-detailing.

The Fu Du has a thicker note weight and a more natural timbre, though the Fu Du's shell feels a bit plasticky in comparison.


CVJ Mei

Graphs of the CVJ Mei on various switch settings, via IEC711 coupler. 8 kHz is a coupler artefact peak

The Mei is a hybrid with 2 tuning switches, to give 4 different tunings on offer; it is more versatile as such. Utilizing the most resolving setting (with both switches activated), this converts the Mei to a neutral bright setup.

On this configuration, the Mei is much brighter and airier, though it is very sibilant and harsh in the treble, compared to the Sonus' better tuned treble. Cymbals and highhats are very splashy on this version of the Mei, and there is an artificial metallic timbre to notes. It is quite aggressive and in-your-face, and treble-sensitive folk probably cannot tolerate this arrangement for more than a few minutes.

However, with this neutral bright profile, the Mei is a bit more resolving, furnishing better soundstaging, micro-detailing and imaging. The Sonus may be a bit more sedate, but tonally it is more balanced, with less fatigue.

The Mei has a bad hiss with some sources with poor noise control, which can be obvious during quieter parts of music tracks.


Truthear HEXA

The HEXA is tuned neutralish with a sub-bass boost. It is less bassy than the Sonus, though the HEXA is a bit grainier in the treble.

Both sets have BA timbre. The HEXA has better imaging and slightly improved micro-details, but suffers from a smaller soundstage.

Of note, the HEXA is substantially harder to drive.

Considering the HEXA is about $20 USD more expensive than the Sonus, the latter arguably has superior price-to-performance, and I would consider the Sonus to be a more cost-effective IEM.




CONCLUSIONS

The Sonus is a well-balanced U-shaped hybrid, which should be agreeable tonally with most consumers, other than for diehard bassheads who like a thumping mid-bass. This IEM also has good technicalities for the coin, and a clean and fast bass with a transparent midrange. Additionally, accessories and ergonomics are very polished, and it is easily driven.




Some nitpicks are mild driver flex during insertion - this can be mitigated with tip-rolling - and BA timbre, though there are definitely hybrids out there with way worse timbral accuracy.

Boasting good price-to-performance ratio, the Sonus is quite competitive against some pricier benchmark hybrids like the Truthear HEXA. Verily, there are not many well-tuned budget hybrids below $100 USD, with compromises in some form or other in most current day releases. The Sonus does most departments well, and I would recommend this IEM to newcomers who are looking to dive into the budget hybrid game.

DISCLAIMER

I would like to thank Hidizs for furnishing this unit.

The MP145 can be obtained here: https://www.hidizs.net/products/hid...ear-monitors-for-audiophiles-and-music-lovers

Of note, Hidizs has partnered with the Whale and Dolphin Conservation (WDC) for this project, and further information on this can be found on their Kickstarter page: https://www.kickstarter.com/project...en-ultra-large-planar-hifi-iems-9-sound-types. Hidizs will be supporting WDC’s Green Whale work, and it really warms the heart to see manufacturers contributing back to charitable causes, so kudos to Hidizs.




SPECIFICATIONS

• Driver configuration: 14.5 mm planar magnetic driver
• Impedance: 30 Ohms
• Frequency response: 20 Hz - 40 kHz
• Sensitivity: 104 dB
• Cable: 2-pin, 0.78 mm. 4 strand silver-plated single-crystal copper cable; 3.5 mm or 4.4 mm termination available
• Tested at $109 USD (Kickstarter pricing); usual pricing $199 USD

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of "balanced" silicone ear tips (S/M/L)
- 3 pairs of "bass" silicone ear tips (S/M/L)
- 3 pairs of "vocal" silicone ear tips (S/M/L)
- Leatherette storage pouch
- Plastic box case
- Cable
- 3 pairs of tuning nozzles



Other than perhaps the lack of a modular cable and foam tips, the accessories are really generous at this price point. I've definitely seen pricier competitors with way less goodies. It is a nice touch that the accessories come in a large plastic casing.




3 variants of silicone eartips are included. The "bass" tips have the narrowest bore, and increase bass the most, as per its namesake, though at the expense of soundstage. The "vocal" tips lie on the other extreme, with the widest bore, and they increase air, sparkle and soundstage. Last but not least, we have the "balanced" tips, which as their name suggest, are a midpoint between the above two tips in sonics.




The stock cable is one of the better ones. This is a 4 strand silver-plated single-crystal copper cable that is well braided with minimal tangling. There is a chin cinch for added grip, with negligible microphonics. When placing an order, one can opt for a 4.4 mm or 3.5 mm termination, depending on your source.




Three tuning nozzles are included, and they come in their own transparent case. We will talk more about the nozzles below.

Lastly, we have a leatherette storage pouch. It operates via a clasp, and the innards are lined by a velvety material. Honestly, I would have preferred a hard or semi-rigid carrying case to protect the MP145, but this is just nitpicking.

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

Fashioned from aviation-grade aluminum alloy, via 5-axis CNC machining, the MP145 is built like a tank. No complaints on this front. When placing an order, one can opt amongst a silver, blue or titanium-hued shell. There seems to be a pricier gold version too.

As alluded to above, with Hidizs' support of the WDC, the MP145's housing takes a book out of a whale's tail and pectoral flippers. There are 3 separate triangles of 12 tapered layers, giving it an extremely unique aesthetic.



Unfortunately, the shells are literally whale-sized, and they are actually one of the largest IEMs I've encountered in my IEM journey. Well, this is no surprise, with the need to fit a 14.5 mm planar driver inside, but surprisingly ergonomics are very decent for my average sized ears. Weighing in at 9.5 g apiece, the shells are light, with no rough protrusions on the inner aspects to poke the ears. I can wear the MP145 for hours without any issues.




This IEM contains multiple vents - one on the inner aspects, and two lateral vents that are "hidden" along the whale's tail face plate. The vents probably contribute to the tuning and soundstaging, but are a double-edge sword, as isolation is sub-par.



Despite being heavily vented, I did detect instances of driver flex during IEM insertion, but this can be mitigated with eartip choice. Driver flex is also partially dependent on ear anatomy, so YMMV.


DRIVABILITY

I tested the MP145 with the following sources:
- Apple dongle
- Cayin RU7
- Colorfly CDA M1 DAC/AMP dongle
- Creative Sound Blaster X5
- E1DA DAC/AMP dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Khadas Tone Board -> Topping L30 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 can power the MP145, amplification will help it to scale better, in terms of dynamics, bass tightness and soundstage.


INTERNALS/TUNING SWITCHES

The MP145 packs a 14.5 mm planar driver, with 7 N52H magnets sandwiching it on the front, and 7 more on the back; these are marketed to decrease distortion and provide a more efficient magnetic circuit, with the MP145 advertised to hit close to 1 Tesla flux.




The MP145's selling point is the 3 tuning nozzles, which do bestow some differences in the frequency response:

Graph of the various nozzles of the MP145, via an IEC711 coupler. 8 kHz is a coupler artefact peak.

The nozzles change the sound from 1.5 kHz and above, and ain't gimmicks. As the ears take the entire frequency spectrum as a whole, an increase in upper mids/treble will be perceived as a lighter bass, and vice versa.

Here are the sound impressions with the various nozzles:


SOUND & TECHNICALITIES

The rest of this review will be done with the MP145 on the balanced (gold) nozzles.

The U-shaped tonality on this setup is quite all-rounded for most music genres. I would consider it very balanced compared to planar rivals such as the Letshuoer S12 Pro or Tangzu Zetian Wu, which are bright and bassy respectively.

The MP145 is mid-bass focused, with the bass just slightly north of neutral. Sub-bass extends quite well, with a nice rumble. There's just a tinge of sub-bass roll-off, but the MP145 is the bee's knees when it comes to quality. The bass is very fast and clean, with no mid-bass bleed; texturing is top-notch.

The midrange is just slightly recessed with this U-shaped profile, and the lower mids are very transparent, without a big bad bleeding bass to encroach here. With a 5 - 6 dB ear gain, the upper mids are not too shouty or fatiguing (many planars end up overly boosting this region for clarity, which isn't the case with the MP145).

The treble is nicely dosed, we have very mild sibilance but decent air and sparkle. Cymbals and high hats are not overly splashy, and ample resolution is heard (without needing to artificially boost this region for "fake" clarity).

Timbral accuracy is surprisingly organic, considering this is a pure planar IEM. It has to be said that most planar IEMs fail at timbre, and though the MP145 still has a whiff of planar timbre for acoustic instruments, it is probably one of the best planar IEMs in this department.

Like most IEMs in the planar pantheon, the MP145 does technicalities very well. Micro-detailing is solid (without needing to resort to fake clarity), and imaging is quite accurate, with commendable instrument separation. When well amplified, soundstage width is above average, but there is cavernous height and depth on display.


COMPARISONS

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

Once again, comparisons will be done with the MP145 on the balanced (gold) nozzles.




Letshuoer S12 Pro


Graph of the MP145 (gold nozzle) versus Letshuoer S12 Pro, via IEC711 coupler. 8 kHz is a coupler artefact peak.

The S12 Pro is a more V-shaped set, with more treble and upper mids. It is more fatiguing and sibilant as such.

The S12 Pro has an artificial planar sheen to the timbre, and the MP145 sounds much more organic in this area, especially when acoustic instruments come out to play.

In technicalities, the S12 Pro has a smaller soundstage, but slightly better micro-detailing and imaging.

The S12 Pro has a modular cable, and does not have driver flex.


Tangzu Zetian Wu


Graph of the MP145 (gold nozzle) versus Tangzu Zetian Wu, via IEC711 coupler. 8 kHz is a coupler artefact peak.

The Zetian Wu is a bassier IEM, though the bass isn't as tight, and smears quite a bit. The Zetian Wu is also a bit darker in the treble.

The Zetian Wu's timbre is not bad for a planar IEM, though the MP145 is still better in this area.

In technicalities, the Zetian Wu is a step behind, with inferior micro-detailing, soundstage, imaging and instrument separation.

There have been QC complaints on forums of the Zetian Wu's nozzle breaking off, and it does feel plasticky compared to the solid heft of the MP145's earpieces.


NiceHCK F1


Graph of the MP145 (gold nozzle) versus NiceHCK F1, via IEC711 coupler. 8 kHz is a coupler artefact peak.

Unbeknownst to most, there was an under-the-radar tunable-nozzle planar IEM released last year during the height of the planar craze. The F1 wasn't as well-received as contemporaries like the Timeless and S12 due to its price and less refined technical chops, but the F1 has more marked changes with the tuning nozzles than the MP145.

To compare oranges to oranges, we will do A/B testing with the F1 on the silver filters, which is similar to the gold nozzles on the MP145 in tonality (ie both are the most "balanced" with these nozzles installed).

The F1 is not in the same ballpark as the MP145 when it comes to technicalities. The F1 is quite lowFI sounding in comparison, with fuzzier imaging, weaker micro-detailing and instrument separation. Soundstage is also poorer on the F1.

The F1 has round shells with a stubby nozzle, and it has poorer fit compared to the whale-sized shells of the MP145.


CONCLUSIONS



I had a whale of a time listening to the MP145, and am happy to recommend it as one of the standout planar releases of 2023. At the Kickstarter pricing of $109 USD, it is really a no-brainer.

The build is solid, with surprisingly good ergonomics, and an attractive accessory packaging. Since we are on externals, just to get it out of the way, most of my complaints have to do with aspects such as driver flex, sub-par isolation and the large shell size, rather than the tuning itself.

The MP145 has great versatility, with 3 tuning nozzles on tap to vary sonics - from a more trebleheaded bright tone, to something more bassy and warmish, to a balanced U-shaped profile. Thus, most listeners other than diehard bassheads should find something to like about the MP145, and it is kind of getting 3 IEMs with one purchase.

Like most planar IEMs, the MP145 has up-to-scratch technicalities, with soundstage a highlight. However, the difference is that it has a natural timbre, which cannot be said for most planar rivals. When compared to benchmarks like the S12 Pro, the MP145 only slightly loses to the former in technicalities, but tonally and timbrically, the MP145 handily beats the S12 Pro, with less fatigue and sibilance on the MP145's balanced nozzle. Compared to a more bassy and natural-sounding planar IEM like the Zetian Wu, the MP145 is leagues ahead in technicalities, with a faster and cleaner bass to boot.

Thus, in the MP145, we are minimizing compromises of planar timbre and tonality, yet keeping their raison d'etre, which is exemplary technicalities. Think of something close to DD timbre, yet with a high standard of technicalities - musicality meeting technicalities in a nutshell. Add in the 3 tuning nozzles, and that's the feather on this IEM's cap!

Having said all that, arguably the most praiseworthy part, is Hidizs' charitable act of helping whale and dolphin conservation with the proceeds - that is indeed the most heartening aspect of the MP145's journey.

DISCLAIMER

I would like to thank Penon for furnishing this unit. The H30 can be gotten here (no affiliate links): https://penonaudio.com/isn-audio-h30.html




SPECIFICATIONS

• Driver configuration: 1 x 9.2 mm beryllium diaphragm DD, 1 x Sonion BA, 1 x Knowles BA
• Impedance: 18 Ohms
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 112 dB
• Cable: MMCX, no information on cable material
• Tested at $129 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)
- 2 pairs of foam tips (S/L)
- Leatherette semi-rigid case
- Cleaning brush
- Shirt clip
- Cable



The accessories are outstanding for the coin, perhaps other than the omission of a modular cable, but that is nitpicking. Everything is quite serviceable out of the box.




The foam tips tame treble and provide the best isolation. Of the 2 variants of silicone tips, the narrow-bore ones boost bass and compress soundstage somewhat, whereas the wide-bore ones increase treble and soundstaging. Do tip roll to see what suits you sonically, isolation-wise and fit-wise.




While there are no marketing information on the cable materials, this MMCX cable is quite well-braided and tangle-free with minimal microphonics. There's a chin cinch for added grip. During ordering, one can opt for a 2.5 mm, 3.5 mm or 4.4 mm termination, depending on your source. This cable is quite solid haptically, no complaints on this front.

The blue leatherette semi-rigid case operates via a magnetic clasp, with the innards lined by a velvety material to cushion the contents. Pretty elegant yet functional, it can survive a drop or compressive forces. The shirt clip and cleaning brush are nice additions that complete the accessory line-up.

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


BUILD/COMFORT



The housings are fashioned from 3D-printed medical grade resin. The faceplate panel utilizes
stabilized blue-violet wood, and is quite a looker. ISN's logo graces the front in gold, on a backdrop of a purple palette.

The resin shells are pretty solid too. While the shells lie on the larger side with a long nozzle, they are surprisingly light with decent comfort for my average sized ears. There's a concha protrusion to add grip.



Personally, I'm not a fan of MMCX connectors for budget gear, but the H30's MMCX seems well-implemented, and they lock satisfyingly without being too loose or too tight.

Unfortunately, I experienced a bit of driver flex during insertion of the IEM, but this can be mitigated with different ear tip choice, and is also partially dependent on ear anatomy.

Despite being vented, this IEM has good isolation, and can easily block outside noise in subways or traffic.


INTERNALS

The H30 packs some choice drivers:
- 1 x 9.2 mm beryllium diaphragm DD handles the bass frequencies
- 1 x Sonion BA settles the midrange
- 1 x Knowles BA takes care of the treble

Usually gear at the H30's selling price doesn't contain premium drivers such as Sonions, so it is nice that Penon has managed to price it as such.


DRIVABILITY

I tested the H30 with the following sources:
- Apple dongle
- Cayin RU7
- Colorfly CDA M1 DAC/AMP dongle
- Creative Sound Blaster X5
- E1DA DAC/AMP dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Khadas Tone Board -> Topping L30 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 H30 is easily driven, and amplification is not 100% required.


SOUND & TECHNICALITIES

Graph of the ISN H30 via IEC711 coupler. 8 kHz is a coupler artefact peak

The H30 can be described tonally as having a mild U-shaped signature, approaching neutral.

The H30 has slight prominence in the mid-bass, and the bass is just a hair north of neutral. Sub-bass has a tickle of rumble on bass heavy tracks and isn't the most extended: this is not a bona fide basshead set as such. In terms of quality, the bass has good texturing and moderate speed, with minimal mid-bass bleed, so it eschews quantity but gives top-notch quality.

Without a big bass to eat into the midrange, the lower mids are relatively clean, but still of decent heft in note weight. This region isn't very depressed, in keeping with the U-shaped profile. The upper mids are extremely safe, with a 6 dB ear gain - no shoutiness or fatigue is noted here, though sometimes vocals may be slightly behind in the mix.

The H30 has a peak in the lower treble at the 5 kHz region, which adds some resolution to the mix. However, the upper treble rolls-off thereafter, and this IEM isn't sparkly or airy, and may even be borderline darkish in the upper treble. As such, the H30 is quite sibilant-free and smooth, and is a suitable IEM for our treble-sensitive brethren. Cymbals and high-hats are not splashy, though trebleheads might find it not to be their cup of tea.

Despite packing 2 BAs, the H30 has acceptable timbral accuracy for acoustic instruments. Admittedly, there is a tinge of BA timbre noted in the upper frequencies, but the H30 is surely not the worst offender in this region, with other BA-containing hybrids doing a way worse job in this department.

While talking about technicalities, the H30 is probably above average when compared against similarly priced hybrid rivals. There is dampened edges of notes, and though micro-detailing is decent, it isn't a clarity focused IEM. Soundstage is average in all 3 dimensions, with adequate imaging and layering. On a continuum between a "musical" and "analytical" signature, the H30 lies more to the "musical" side, but nevertheless keeps sufficient technical chops in its pocket.


COMPARISONS

Comparisons were made with other budget hybrids near the $100 USD mark. Planars, single DDs and pure BA types were left out of the equation as the different transducers have their pros and cons.

Simgot EM6L


Graph of the ISN H30 versus Simgot EM6L via IEC711 coupler. 8 kHz is a coupler artefact peak.

Tonally, the Simgot EM6L is a mild V-shaped set. It has more upper mids and can be a tinge shoutier than the H30, though both are quite sedate in the upper treble, and are not basshead IEMs.

The EM6L has a more expansive soundstage, but slightly weaker instrument separation. Micro-detailing and imaging are similar, though not class-leading.

The EM6L comes with disappointingly poor accessories, and a tangly thin cable, though it does not have driver flex. The EM6L is also more difficult to drive.


Tangzu Fu Du


Graph of the ISN H30 versus Tangzu Fu Du via IEC711 coupler. 8 kHz is a coupler artefact peak.

Tonally, the Fu Du and H30 are pretty similar. The Fu Du has slightly more bass quantity, but loses in bass quality - listeners hear a one-noted textureless bass, with mid-bass bleed in spades on the Fu Du.

Technically, the Fu Du is a step behind, with inferior soundstaging, micro-detailing, imaging and instrument separation.

The Fu Du has a plasticky build that is quite worrisome, with a sub-par stock cable that is thin, tangly and microphonic. Unfortunately, both IEMs have driver flex. The Fu Du is slightly harder to drive.


CONCLUSIONS

The H30 is a solid hybrid offering in the competitive $100ish market. It brings to the table robust build, splendid accessories, good isolation and easy drivability. Additionally, its balanced and smooth fatigue-free sonics should be a sight for sore eyes - or rather a balm for sore ears. Timbre is more than decent, considering this IEM packs 2 BAs in the midrange and treble.

The H30 unfortunately has driver flex, though this can be mitigated with eartip choices. The soundstage is average too, and the U-shaped tonality might not be a basshead's or treblehead's first choice (though most other consumers should find the H30's pleasant soundscape to be very welcome).

As of the time of writing, the H30 is almost a year old, but it surprisingly holds its own against some newer $100ish hybrid releases of 2023, and that is nothing to sniff at, considering the ton of weekly CHIFI sidegrade releases we encounter nowadays. In essence, the H30 is a musical IEM that contains a fair amount of technical chops, with up-to-scratch timbre and a balanced U-shaped soundscape. Definitely a hybrid to be considered in the conversation, and still competitive against some new upstarts.

DISCLAIMER

The Gryphon is a loaner from iFi. It will be returned after this review.
It can be gotten here: https://ifi-audio.com/products/xdsd-gryphon/ (no affiliate links).




SPECIFICATIONS/COMPATIBILITY




The Gryphon's engine is a Burr Brown DAC, and this gadget can function as a DAC, amp, pre-amp and Bluetooth device, increasing its versatility tremendously.

It is compatible with multiple music formats, including DSD, PCM, DXD and MQA. PCM can be played up to 32-bit/768kHz via USB (or 192kHz via optical/coaxial), with native playback up to DSD512, and full MQA decoding (up to 384kHz).

The Gryphon is also compatible with myriad Bluetooth codecs, which should please our brethren who use wireless gear. The Gryphon has balanced and single-ended outputs, with the former providing more power. This may be useful for demanding transducers if more headroom is required.


ACCESSORIES

Other than the Gryphon, these are included:
- 1 x USB-A to USB-C cable
- 1 x USB-C to USB-C cable
- 1 x lightning to USB-C cable
- 1 x carrying pouch



The accessories are pretty serviceable, and users of both Android and Apple devices should be covered with the spread. Perhaps only legacy type devices that utilize micro-USB ports or older ports may face an issue, but no biggie getting an aftermarket adapter I guess.

The velvet carrying pouch should prevent scratches on the Gryphon, but it won't prevent drops or knocks, so perhaps a hard carrying case would have been desirable, but this is just nitpicking.


DESIGN/FUNCTION

Fashioned from aluminum chassis with an OLED display, the Gryphon is industrial looking but functional. The build is solid and tough. Measuring 123 x 75 x19 mm and weighing in at 215 g, this device is quite portable on-the-go, with no excessive weight or bulkiness.



A rectangular OLED screen on the top of the DAC/Amp displays audio format, sampling rates, volume, input mode, battery levels and whether the XSpace/XBass II functions are enabled.


The Gryphon has a ton-load of connectors and ports, and these are what they do:



On the front, we have the single-ended (3.5 mm) and balanced (4.4 mm) output ports, with the latter reinforced with gold-plating. No 2.5 mm or 6.35 mm ports are present, but once again, one can easily source for an aftermarket adapter if your cables are in these terminations.



We also have the XSpace and XBass II buttons, volume knob and the input selector buttons on the front. The input selector buttons will switch between USB, Bluetooth, Line-out and S/PDIF options.

The XBass II boosts bass for our basshead friends, whereas the XSpace function is kind of a spatialiser to open up the soundstage. Do explore these functions and see if they are your cup of tea.



The volume knob functions as a power on/off button, an analogue volume control, a mute/unmute control and even accesses the menu setting:


Inside the settings menu, we can select stuff like USB-C port charging/input, screen brightness, BT voice prompting and digital filters. Basically the usual she-bangs that any audiophile would require is included here.

These are the 3 filters included with the Gryphon. Do explore to see what suits your needs, thought the differences in sound are quite subtle to my ears.



This device flashes a different LED colour on the front panel, depending on the audio format/sampling:


The input and volume levels also showcase different LED colours, which is quite useful at a glance:



On the base of this device, we have the serial number and a built-in iEMatch. There are rubberized feet to add grip during usage.



The iEMatch (https://ifi-audio.com/faqs/what-is-the-iematch/) is a nifty tool to match the Gryphon to transducers that have very low impedance (based on the audiophile rule of eights). And the best part is that unlike other impedance adapters, the iEMatch doesn't skew the frequency response of the IEM attached. Thus, this is a very important tool that increases the Gryphon's compatibility with fussy gear eg Campfire Andromeda.

There is some hiss with very sensitive IEMs on this device, so toggling the iEMatch also gets rid of the hiss!


At the back of the Gryphon, we have a bass/presence toggle switch. This affects what the XBass switch at the front changes in the frequency response. Also at the back are the input and digital ports, in addition to the USB-C and charging connectors.




I am glad to report that the Gryphon gets just slightly warm with usage, but nothing very hot or scalding, unlike some competitor devices.

For those that are interested, the Gryphon utilizes many choice components, as detailed in the photos below:




BLUETOOTH



The Gryphon contains a Bluetooth 5.1 module with QCCS100 chipset, supporting 96 kHz HD BT formats including aptXHD, aptX Adaptive, LDAC and HWA/LHDC! During my field tests, the Gryphon was easily recognized by multiple Windows and Android devices, including DAPs (I'm sorry but I do not use Apple devices, so can't comment on this aspect).

Bluetooth range is about 10 metres without obstructions, and 5 metres with obstructions. Sadly, there was some stuttering and occasional drop outs with longer distances or larger obstructions.


BATTERY

On balanced, I can hit about 7 - 8 hours on the Gryphon thru wired connection, using FLAC/WAV files at moderate volumes, which is okayish in my book. Do bear in mind though that with repeated charge cycles, the battery life is expected to go down.

Sadly, the Gryphon takes a whopping 5 hours or so to be fully charged, which is a bit disappointing. That's like a big fraction of the actual play time!

While the Gryphon can be used to play music while charging, it does get slightly hot with this combination, and will also take longer to charge too.


SOUND

The Gryphon bestows a warm-neutral tuning. Perhaps it isn't as warm and analoguish as some other iFi gear, but it still lies on the warmer side, with a thicker note weight than neutral sources. Timbral accuracy is very natural and timbre freaks should have no complaints here.

Indeed, nothing sounds artificial unlike some treble-boosted DAC/Amp rivals, and it is very musical with sibilant-free sonics. The treble and upper midrange are quite restrained. Bass is emphasized, but nevertheless has good texturing with solid sub-bass extension. As alluded to above, bassheads can activate the XBass switch to increase the bass quantity even further.

In technicalities, the Gryphon has an expansive soundstage with superb layering and instrument separation. While it isn't the most micro-detailed compared to some steroid infused competitors that boost the high-end frequencies, there is still decent clarity and resolution available. The keyword to describe this device is "natural". Everything sounds as it should, with a musical signature meeting good technicalities.

Due to the tuning, the Gryphon is an excellent pairing with so-called shoutier or harsher gear - such as the AKG N5005 for example - in taming the upper end. This DAC/Amp can be used for hours on end for a chill and relaxing session, without too many compromises in resolution.

On the balanced output, the Gryphon can provide 1000 mW at 32 ohms and 74 mW at 600 ohm. Thus, it can drive most gear out there, perhaps other than some planar headphones or extreme outliers. Unsurprisingly, this DAC/Amp has more power on the balanced (4.4 mm) port when compared to the single-ended (3.5 mm port), with increased dynamics and headroom heard on balanced, especially for harder to drive gear.

These are my usual acid tests when testing out a new source:
- Final Audio E5000 (low sensitivity at 93dB/mW)
- Sennheiser HD650 (high impedance at 300ohm)
- Yinman 600 ohm (600 ohm impedance and 87db/mW sensitivity)



If the Final E5000 is underpowered, it sounds bloated and untextured in the bass, with one-noted boomy basslines heard. The Gryphon easily aces this tests on its 4.4 mm port, with no smudging in the bass, even with complex bass tracks.



The HD650 sounds boring and undynamic if not juiced well. The Gryphon adequately powers the HD650 to fine dynamics and bass tightness, though unsurprisingly, some desktop level amps might probably do a slightly better job.



The final boss, the Yinman 600 ohm earbuds, has very low sensitivity with a high 600 ohm impedance. The bass can be very nebulous and fuzzy when it is not driven well. The Gryphon can power this behemoth on the 4.4 mm port, though the bass does smear somewhat on complex tracks, with a slight lack of dynamics. Having said that, it is no shame to be unable to juice this earbud, most of my portable sources can't even drive it adequately, and the Yinman 600 ohm probably needs desktop amps with larger power on tap to do justice to the sonics.

The Gryphon has <1.0 ohm output impedance both output ports, allowing it to be paired with fussy sensitive IEMs like the Campfire Andromeda (based on audiophile rule of eights) without skewing the frequency response. As described above, there is hiss with some sensitive IEMs, but toggling the iEMatch easily fixes this.

I did not encounter any EMI with the Android phones and DAPs that I paired the Gryphon with (I'm not an Apple user so I can't test it on those devices though).


COMPARISONS

The Chord Mojo 2 is more neutral and slightly more technical, with better soundstage and imaging.

However, the Mojo 2 has EMI with some phones, and has no Bluetooth function. Importantly, it does not have a balanced output! So for folks who have gear that are primarily terminated in balanced, that might be a bummer. Lay consumers who want convenience with Bluetooth gear might also have to look elsewhere from the Mojo 2. From a versatility and practicality standpoint the Gryphon is a better device IMHO.


CONCLUSIONS



Be it as a DAC, amplifier, pre-amp or Bluetooth device, the Gryphon is a literal swiss army knife portable source that can do most departments to a high level. Build and battery are more than adequate, with decent power on tap to deal with transducers other than demanding tough customer outliers. The Gryphon supports various Bluetooth and music formats, in addition to having filters and bass/soundstage boost options.

I quite appreciate that this device does not get hot during listening, and it has a low output impedance and an in-built iEMatch to cope with finicky low impedance/high sensitivity gear, thus increasing compatibility. Listeners will be greeted with a lush warm-neutral pleasant sound, with great imaging and layering, and top-notch timbre. The Gryphon synergizes well with bright headphones and IEMs, letting one chill to music for hours on end!

There are some areas for improvement, namely, the snail's pace for charging, occasional Bluetooth stuttering and drop-outs, and perhaps very demanding transducers may not be adequately juiced. Additionally, this DAC/Amp is coloured, so folks wanting a dead neutral or brighter source might need to consider alternatives.

Those are small nitpicks in the big scheme of things, and the Gryphon is an excellent all-in-one equipment that audiophiles and lay consumers should consider getting. I am quite sad sending this loan unit back after the review, perhaps I might purchase this baby at the next sale!

DISCLAIMER

I would like to thank Tangzu for furnishing this unit. The Fu Du can be gotten here: https://www.aliexpress.com/item/1005005935589924.html (no affiliate links)




INTRODUCTION

As per Tangzu's convention of naming IEMs after historical Tang Dynasty figures, Du Fu (https://en.wikipedia.org/wiki/Du_Fu) was one of the eminent poets of that era; indeed, after his death, his poetry continued to influence future writers even from outside China.

Divinus is a boutique Korean brand, and they have done a collaboration with Tangzu for this Fu Du IEM, which we will be reviewing today.


SPECIFICATIONS

• Driver configuration: 1 x 10 mm dynamic driver (DD) + 2 x custom balanced armature (BA) drivers
• Impedance: 16 ohm
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 106 dB
• Cable: 2-pin, 0.78 mm, Oxygen-free copper silver-plated cable. Choice of 4.4 mm or 3.5 mm termination
• Tested at $89 USD

ACCESSORIES



Other than the IEM, the following are included:
- 3 pairs of Tang Sancai balanced silicone tips (S/M/L)
- 3 pairs of Divinus velvet silicone tips (S/M/L)
- Cable
- Leatherette carrying pouch

The accessories are pretty decent for a sub-$100 USD set, and everything is serviceable.




While no foam tips are included, we have 2 variants of silicone tips. The Tang Sancai balanced tips have a narrower bore and boost bass with some compression in soundstage. The Divinus ones have a wider bore and increase the upper frequencies and furnish a more expansive soundstage.




The stock oxygen-free copper silver-plated cable is quite thin, with microphonics in abundance. It is tangly too, though there is a chin cinch for added stability. Honestly, I've seen better cables included in other budget IEM packaging, but it is no biggie swapping an aftermarket cable in should you wish to do so. When placing an order, one can opt for a 4.4 mm or 3.5 mm termination, depending on your source requirements. The 4.4 mm/3.5 mm terminal is gold-plated, which is a nice touch.




Unlike the run of the mill semi-rigid cases we see in CHIFI packaging, Tangzu has decided to provide a black leatherette zipper pouch. It has a lychee skin pattern, with compartments inside this pouch, though it might not withstand compressive forces or a drop. Nevertheless, this elegant addition is quite appreciated.

The rest of this review was done with the stock cable and stock Divinus 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 using resin, with a black CNC aluminum alloy panel faceplate- this has a matte frosted finish in a pyramidal design, which Tangzu says is inspired by Zen minimalism. However, they do feel a tinge cheap and not too robust.




The inner aspects are smooth with no awkward protrusions to poke the ears. The shells are ergonomic and light, with no discomfort during usage.

For budget IEMs, 2-pin connectors are always a plus in my book, as they tend to be less fragile than MMCX ones with frequent cable changes.



There is a slight driver flex during insertion, but this is partially dependent on type of eartips used and ear anatomy, so YMMV. Isolation is average in view of the dual vents on each housing.


DRIVABILITY

I tested the Fu Du with the following sources:
- Apple dongle
- Cayin RU7
- Colorfly CDA M1 DAC/AMP dongle
- Creative Sound Blaster X5
- E1DA DAC/AMP dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Khadas Tone Board -> Topping L30 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, amplification is not truly required.


SOUND & TECHNICALITIES


Graph of the Tangzu Fu Du via IEC711 coupler. 8 kHz is a coupler artefact peak.

Tonally, the Fu Du sports a U-shaped balanced tuning that lies on the warmer side. This tuning choice is quite pleasant and consumer-friendly, and should suit most genres out there.

This IEM is sub-bass focused, with the bass north of neutral but not at outright basshead levels. There is quite deep sub-bass extension with a husky rumble. Bass has moderate speed, though there is mid-bass bleed and poor texturing - the low-end can sound a bit one-noted at times.

The mid-bass does meld a bit into the lower midrange, adding heft and warmth, though there is some loss of transparency. This region isn't too depressed, and is quite euphonic and lush. The upper mids are safe with a 5 dB ear gain, and there is no shoutiness or fatigue here.

The lower treble peaks at about 4 kHz, adding some resolution and clarity to this frequency band. Thereafter, the treble rolls-off, and the Fu Du isn't very airy or sparkly - it is generally quite safe for treble sensitive folk. Sibilance is mild, with not much splashiness in high-hats or cymbals. Having said this, the choice of eartip will influence a lot on treble perception, in addition to volume played at (Fletcher Munson curve) and hearing health.




In terms of timbral accuracy, there's a very small hint of BA timbre (which isn't unexpected for a BA containing set), but the Fu Du nevertheless has surprisingly authentic timbre for acoustic instruments, and there are way worst offenders in other BA containing hybrid rivals.

While discussing technicalities, the Fu Du is arguably bang average, and this department is nothing to write home about. Micro-details, clarity and instrument separation is middle-of-the-road for a sub-$100 USD hybrid. Soundstage width is average, though there is decent height and depth.

With the unexceptional technical chops and laid-back tonality, the Fu Du is definitely a "musical" IEM, rather than an analytical set for critical listening.


COMPARISONS

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




Truthear HEXA

The HEXA is a neutral hybrid with a sub-bass boost. The HEXA has less mid-bass, though the bass is tighter and cleaner. The HEXA also has a more extended treble and can be more fatiguing. It is much thinner in note weight, and sounds more anemic than the Fu Du.

The HEXA has a less natural timbre, and is harder to drive. However, in technicalities, the HEXA is ahead, with better micro-detailing, clarity, imaging and instrument separation. The HEXA has a smaller soundstage though.


Simgot EM6L

Graph of the Simgot EM6L versus Tangzu Fu Du, via IEC711 coupler. 8 kHz is a coupler artefact peak.

Tonally, both IEMs are on the smoother side, though the EM6L has a bit more upper mids, and vocals are more boosted in this region, especially at louder volumes (Fletcher Munson curve). The EM6L has a bit more upper treble and air.

In timbral accuracy, the EM6L is a step behind, and sounds more artificial for acoustic instruments.

The EM6L has a more expansive soundstage, but slightly weaker instrument separation. Micro-detailing and imaging are similar, and not class-leading.

TLDR: The Fu Du and Simgot EM6L are sidegrades.


7Hz Sonus


Graph of the 7Hz Sonus versus Tangzu Fu Du, via IEC711 coupler. 8 kHz is a coupler artefact peak.

The Sonus is a U-shaped hybrid. It has less bass, though the bass is more textured and clean. Upper treble is also more extended on the Sonus, though it is a bit more sibilant.

The Sonus has a more artificial BA timbre and thinner note weight. In technicalities, the Sonus is superior, with better soundstage, imaging, micro-detailing and instrument separation.


CONCLUSIONS

The Fu Du is a decent entrant to the ultra-competitive budget hybrid market. It brings to the table a sedate U-shaped sonic profile that is smooth and fatigue-free, with outstanding timbre for a BA containing set.

Comfort, ergonomics and accessories are superb, and the Fu Du is easily driven, with no stringent amplification requirements.

Unfortunately, the Fu Du loses marks in my book for its middling technicalities and an untextured bass. But by-and-large, the Fu Du's organic timbre and consumer friendly tonality does vindicate the overall tuning, and not many sub-$100 USD hybrids can ace timbre. The Fu Du should be in the conversation for folks searching for a "musical" budget hybrid, but probably not if you are looking for something analytical or technical.

DISLCAIMER

I would like to thank Fiio for providing this unit. The JW1 can be gotten here (no affiliate links): https://www.aliexpress.us/item/1005005878785023.html




SPECIFICATIONS

• Driver configuration: 14.2 mm dynamic driver
• Weight: 9.5 g for each earpiece; 85 g with TWS and case combined
• Case dimensions: 91.6 mm x 55.6 mm x 28.6 mm
• Battery: 65 mAh for TWS, 25 mAh for charging case
• Battery life: single charge 6 hours, with charging case 18 hours
• Charging time: 1.5 hours for TWS, 1.5 hours for charging case
• Charging plug: USB type-C
• Water-resistant (no IPT rating available)
• Standby charge: 3 months
• Bluetooth version: 5.3
• Bluetooth codec: SBC/AAC
• Bluetooth range: 10 m
• Tested at $26 USD

ACCESSORIES

In addition to the TWS buds, the following are included:
- USB type-C charging cable
- Pouch
- Charging case



The accessories are pretty decent fare for the $20ish USD entrance fee.





The charging case charges via a USB type-C cable, and operates via a plastic sliding cover. The JW1 earpieces are stored on the back and front respectively via a magnetic clasp, allowing it to even be held upside down against gravity!



The carrying case is quite unique for a TWS set, albeit it is on the larger side, with measurements of 91.6 mm x 55.6 mm x 28.6 mm. With the JW1 packed inside the case, the total weight is about 85 g, which is quite portable.



Taking out or putting the JW1 into the charging case will power it on or off automatically. Alternatively, pressing the touch button for 5 seconds will also switch it on or off.

As the plastic casing is potentially scratchable, the drawstring pouch is a nifty addition to store the JW1 and the case for protection.


BUILD/UTILITY

The JW1 is solidly fashioned from plastic, and I've no complaints on the build front. When ordering, one can opt between a black or a white version.



It is meant to be worn over-ear (with the earhook behind the ears), and is akin to a earbud, with the transducer placed outside the ear canal. This open-backed design thus provides an expansive soundstage and allows situational awareness, though on the flip-side, passive isolation is zero and some sound may leak out in quiet environments.



This open-backed concept makes the JW1 a useful tool for sports, outdoor activities, or even for exercising, though it may not be the best option for usage in a noisy place, and there is also some loss of sub-bass, which we will discuss later.

For my average sized ears (and as a spectacles user), the comfort is commendable. Each earpiece weighs in at 9.5 g, and it is not too noticeable once hooked on the ears. For the three weeks I've been putting the JW through its paces, I did not encounter any discomfort. The earhooks - though not adjustable - provide a very snug fit, and even when running or shaking the head, the JW1 is very secure with no droppages. However, those with bigger ears might potentially find the non-adjustable earhooks to be an issue.



Speaking about exercise, the JW1 is advertised to be water resistant (though I could not find any info on IPX rating). I've used it for a few weeks with gym work or even jogging in light rain, and it has held up!


FUNCTION

The touch button is located at the end of the JW1's earhook. The buttons work as per below:





The touch button is quite small and requires one to place a finger behind the ears to manipulate them - those with larger fingers may have an issue. Occasionally, due to the awkward angle where the small touch button are placed, inputs are not registered sometimes.



Sadly, the JW1 does not have independent volume controls, and one needs to control the volume at the source (eg DAP, phone, computer).

I'm glad to report that this TWS set can be used as a mono or paired mode, which is pretty useful.

These are what the flashing lights on the JW1 indicate:



BATTERY

Fiio advertises that the JW1 can hit 6 hours on a single charge, or 18 hours if the charges contained in the charging case are added. That's quite decent for a budget TWS set, and on my field tests, the rated battery values are thereabouts (at moderate listening volumes).

Bear in mind that as per most electronics, battery life is expected to decrease with repeated charge cycles, but with the charging case, the JW1 should comfortably get most users through the day (or even a few days!).

Charging time is about 1.5 hours for the JW1, and an additional 1.5 hours for the case.

These are what the lights indicate on the charging case:



CONNECTIVITY/USAGE

I had no issues pairing the JW1 with multiple Bluetooth devices (eg windows, android and apple based, and even some DAPs), they recognized the JW1 immediately without fuss.

The JW1 supports BT 5.3, but only has AAC and SBC codecs. Sadly, LDAC, aptX Adaptive and aptX are not supported codecs.

Thankfully, Bluetooth connectivity is good. The BT range is about 15 metres with no obstructions, or 10 metres with obstructions. I had minimal drop outs utilizing the JW1 for the past few weeks. There's also just a very slight lag during music or videos, which is quite acceptable in my book.

Unfortunately, there is no EQ or app available, and the touch buttons are not customizable. The JW1 does support various voice assistants, for those that use these.


SOUND



Tonally, the JW1 is a midcentric TWS. There's some loss of low bass and higher treble, which is not unexpected due to the open-backed design. However, this open-backed concept confers a satisfyingly large soundstage, in depth, height and width, and this expansive soundscape is really unexpected for the coin.

With this midcentric profile, we have the mid-bass at neutral, with a roll-off in the sub-bass. This TWS is definitely not for bassheads, but thankfully, the bass quality is fast and clean. We have no mid-bass bleed, with acceptable texturing and rapid bass speed. No smearing of basslines are heard even on complex bass solos.

The midrange is very clean and transparent, with no big bass to encroach here. When used at low to moderate volumes (and assuming one is not jacking up the volume to overcome outside noise from the lack of isolation), the upper mids are forwards without being shouty.

The treble is quite well-dosed, with decent extension. This TWS is not the most extended sparkly or airy, with a higher treble roll-off, though it should be safe for treble sensitive folk. Sibilance is kept minimal.

Timbre is very natural for acoustic instruments and vocals. Technically, the JW1 is probably more for lay consumers than dyed-in-the-wool audiophiles. We won't be expecting pinpoint imaging and top-notch instrument separation and micro-detailing, but the JW1 should be good enough for most on-the-go usage where critical listening is not required. As alluded to, the huge soundstage is a big feather in the cap of this TWS, with music never sounding compressed.

Other than for music, this TWS will be a great companion for calls, videos, online meetings, and podcasts. Using them for these purposes, I could hear voices clearly with no issues, with the midcentric tuning pushing vocals through in the mix.


COMPARISONS

The Moondrop Nekocake has better passive isolation, with ANC also available. In stock tuning, the Nekocake preserves more bass frequencies, though the bass isn't as tight and bleeds, compared to the JW1. The Nekocake also has a Moondrop Link App, which allows configuration of touch buttons and 5 preset EQ settings.

The Nekocake has weaker technical performance, with inferior soundstage, instrument separation and imaging. The Nekocake sounds claustrophobic in comparison. The Nekocake also has inferior battery, with 4 hours on a single charge (or 12 hours with the charging case). Bluetooth connectivity and range is about similar.


CONCLUSIONS

The JW1 is a solid introductory TWS for newcomers to the audio hobby, or even for lay consumers who want something for online meetings, podcasts, or calls. Boasting decent price-to-performance ratio, the JW1 has a nice accessory spread with a secure fit and comfortable ergonomics.

Battery life is quite creditable, with very stable Bluetooth connectivity and range. The JW1's open backed design bestows a superb soundstage, and also allows users to have situational awareness on-the-go. Thus, the JW1 can be used for sports, or even outdoors as such.

However, this is a double-edge sword - the lack of passive isolation contributes to some sound leakage and a sub-bass roll-off. Thus, bassheads might want to look elsewhere for their bass kicks. In terms of sonic fidelity, the midcentric tonality is quite nicely done, with timbre a particular highlight.

There are some minor quirks to nitpick, such as no independent volume controls, insensitive touch buttons, lack of support for some higher res BT codecs, and no EQ/app/customizable buttons available. However, considering the JW1's affordable price, it definitely does more things right than wrong, and would be a functional and useful gadget for myriad indoor and outdoor activities.

DISCLAIMER

I would like to thank Linsoul for furnishing this unit.
The Kailua can be obtained here (no affiliate links): https://www.linsoul.com/products/tripowin-x-hbb-kailua




SPECIFICATIONS

• Driver configuration: 1 x 10 mm DLC titanium-coated DD + 1 x 6 mm titanium-coated DD
• Impedance: 19 ohm
• Frequency response: 12 Hz - 36 kHz
• Sensitivity: 106 dB/mW
• Cable: 2-pin, 0.78 mm, OCC copper cable, 3.5 mm termination
• Tested at $79 USD

ACCESSORIES



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

The accessories are kinda meh for the price, with no case or foam tips provided.




We have 2 variants of silicone tips included. The wide-bore ones boost treble and soundstage, whereas the narrow-bore ones increase bass but compromise slightly on staging.




The stock 2-pin OCC copper cable is quite thin and on the tangly side. It is surprisingly microphonic-free with a chin cinch.

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


BUILD/COMFORT

Fashioned from plastic, with a bean-shaped design, ergonomics are decent for my average sized ears, with no weird protrusions to poke the ears. Additional, the housings are light. During ordering, one can opt for a black, white or blue shelled variant.




Isolation is average as per most vented sets. I did not encounter any driver flex on my pair.



2-pin connectors are always welcome in my book, as they are generally more robust compared to MMCX with frequent cable swaps.


DRIVABILITY

I tested the Kailua with the following sources:
- Apple dongle
- Cayin RU7
- Colorfly CDA M1 DAC/AMP dongle
- Creative Sound Blaster X5
- E1DA DAC/AMP dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Khadas Tone Board -> Topping L30 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, though it does scale with amplification.

Due to its high sensitivity, the Kailua unfortunately has hiss on some sources with a poor noise floor control. Though once music starts playing, this hiss is generally not noticeable.


INTERNALS

In Hawaiian jargon, the term "Kailua" refers to "two seas" - kai means "sea", and 'elua means "two". This IEM is aptly named in view of it housing two dynamic drivers - a 1 x 10 mm DLC titanium-coated DD + 1 x 6 mm titanium-coated DD.


SOUND & TECHNICALITIES


Graph of the Tripowin Kailua via IEC711 coupler.

Tonally, the Kailua is V-shaped, which is generally quite consumer-friendly for most music genres.

The Kailua is mid-bass focused, with just a tickle of sub-bass rumble on bass heavy tracks. Bass texturing is actually very decent, with moderate speed. There's just a tinge of mid-bass bleed with slight smearing noted on complex bass tracks.

As a consequence of the V-shaped profile, the lower midrange is depressed, so perhaps mid-lovers might want to look elsewhere. With a 7 - 8 dB ear gain, the upper midrange is thankfully forwards without veering to shouty territory, which is not an easy line to balance.

There's a small peak near the 5 kHz region to add some clarity and resolution to the lower treble. Thereafter the upper treble rolls off quite early, and the Kailua is not a very sparkly beast. Thus, sibilance is mild with no splashiness of cymbals or high-hats.



Timbre is decent as per most DD containing sets, and this IEM does fine in this department.

Technically, the Kailua is nothing to write home about. The soundstage and instrument separation is average. Micro-details are okay but not class-leading. Thankfully, imaging is quite well done.


COMPARISONS

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




TRI Star River


Graph of the TRI Star River via IEC711 coupler.

The Star River is a tunable dual DD with 2 tuning switches. However, the tuning switches are gimmicks, with only 2 truly different graphs out of the promised 4 tuning options. Even so, these 2 graphs are a very old-school shouty V-shaped profile, and the Star River comes across as shrill and fatiguing.

Timbral wise, the Star River is quite artificial and metallic sounding. In terms of technicalities, the Star River has better resolution and clarity (a function of its boosted treble/upper mids), but it loses to the Kailua in soundstage, imaging and instrument separation.


CCA Duo


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

The CCA Duo is a U-shaped set. The Duo has less bass than the Kailua. The Duo is a bit more fatiguing and sibilant in the treble region.

The Duo has a metallic timbre and a thinner note weight. The Duo has a slightly wider soundstage and a bit more micro-details, though it has weaker imaging and instrument separation.


CONCLUSIONS

The Kailua - or "two seas" - is a dual DD IEM with good build and decent ergonomics, with easy drivability. The consumer-friendly V-shaped soundscape is quite pleasant, with minimal sibilance and harshness in the upper treble. Not many budget sets tune upper mids well (they mostly are overzealously boosted), and this region on the Kailua is forwards without much shoutiness. Timbre is quite well portrayed for acoustic instruments, and the bass is unexpectedly well-textured for the coin.



As per V-shaped tunings, the Kailua will not be for midrange lovers, and this IEM eschews outright technicalities for a more "musical" signature, so analytical-heads best look elsewhere. In addition, some hiss with sources with a poor noise floor control and the sparse accessories are also blights.

In the big scheme of things, the Kailua does more things right than wrong, and is probably an above average pair in the pantheon of budget dual DDs. This IEM might be a suitable option for consumers looking for something to chil back and relax to.

DISCLAIMER

I would like to thank CVJ for furnishing this unit. The Nami can be gotten here: https://www.aliexpress.us/item/3256805666915862.html (no affiliate links).




SPECIFICATIONS

• Driver configuration: 1 x 10 mm aluminum magnesium alloy DD + 1 x custom BA
• Impedance: 22 Ω
• Frequency response: 10 Hz - 40 kHz
• Sensitivity: 114dB/mW
• Cable: 0.75 mm, 2-pin S config; 3.5 mm; oxygen-free copper silver-plated cable
• Tested at $29 USD (non-mic version); $30 USD (mic version)

ACCESSORIES

Fun fact: The Nami refers to "浪里" in Chinese, which roughly translates to "within the waves".

Other than the IEM, the following are included:

• 3 pairs of silicone ear tips
• Tuning switch card pin
• Cable

There's no mincing it. The accessories are spartan, and even though this IEM is priced at sub $30 USD, I've seen similarly priced rivals packing way more goodies. A wider ear tip selection, or perhaps a case/carrying bag would have been expected.

Customers only have one variation of silicone tips to choose from, with no foam tips or other silicone variants included. These stock tips are thankfully serviceable in terms of fit and sonics.



The cable is an oxygen-free copper silver-plated cable. It is surprisingly decent haptically, and seems well-braided with no tangles. There's a chin cinch for added grip, though microphonics are present in abundance.

To not add aftermarket confounders, which may affect the sound, I completed the following review with the stock tips and stock cable.


BUILD/COMFORT



The Nami's housings are fashioned from CNC-machined resin. The inner aspects are transparent, allowing users to visualize the drivers in the belly of the IEM, while there is a silvery seashell motif on the faceplates.



Ergonomics are well designed, with the inner aspects smooth to the touch, without poking edges.

The Nami is one of the least isolating IEMs, and using this IEM in a noisy place may not be the best idea. I did not find any driver flex on my set.


INTERNALS/TUNING SWITCHES

The Nami is a hybrid, incorporating one 10 mm aluminum magnesium alloy DD for the bass and one custom BA for the rest of the frequencies. There are no marketing materials on the brand of BA used.



The tuning switches are one of the selling points of this IEM. The switch board is located at the side of the shells, and they flick easily with the provided card pin.




Graph of the CVJ Nami with various switch configurations, via an IEC711 coupler. 8 kHz is a coupler artefact peak.

Across all switch configurations, the Nami has a spectrum of V-shaped profiles. With both switches up, this confers the brightest tone, with the best resolution and soundstage. Unfortunately, this configuration may be fatiguing and harsh in the upper frequencies for our treble sensitive brethren.

On the other extreme, with both switches down, this provides a warm V-shaped signature, which is pretty smooth in the treble (though with the weakest technicalities). The other 2 tonalities lie in between these 2 signatures.


DRIVABILITY

I tested the CVJ Nami with the following sources:
- Apple dongle
- Cayin RU7
- Colorfly CDA M1 DAC/AMP dongle
- Creative Sound Blaster X5
- E1DA DAC/AMP dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Khadas Tone Board -> Topping L30 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

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


SOUND & TECHNICALITIES



The impressions below are made with the Nami with both switches up (ie brightest config with best technicalities). As alluded to, this converts the Nami to a bright V-shaped profile.

On this setting, technicalities are okay for the $30 asking price, and resolution is decent. Soundstage is above average in all 3 dimensions. The boosted upper frequencies do provide high clarity. Unfortunately, some of the resolution may be "fake", as when complex and rapid tracks come out to play, music can get congested with sub-par layering/separation, and not all micro-details can be heard in tracks I'm familiar with.

Sadly, BA timbre rears its ugly head, and vocals and acoustic instruments have a hollow and metallic overtone. The timbre does improve with both switches deactivated (though at the expense of technical chops).

This IEM is sub-bass focused, with a deep extension and rumble. Bass is north of neutral. Bass quality however, is bang average, with a somewhat one-noted texturing heard, with speed on the slower side. When very fast bass riffs are tested, the bass DD driver does have some trouble keeping up with the faster BAs. Mid-bass bleed is moderate.

As per the V-shaped tuning, the lower midrange is recessed, and the slow bleeding bass does encroach here, making this region not too transparent. The upper mids have a 10 dB ear gain, and female vocals can get shouty, especially at louder volumes.

The lower treble continues on from the upper mids boost, and this IEM has decent air and sparkle. However, there is sibilance and fatigue present, with some splashiness in cymbals and high hats. Treble sensitive folk best opt for the 2 switches down config as such.


COMPARISONS

Comparisons were made against other ultra budget tunable sets. Once again, the comparisons below are made with the Nami with both switches up (ie brightest config with best technicalities).




KZ D-Fi


Graphs of the KZ D-Fi via IEC711 coupler. 8 kHz is a coupler artefact peak.

On paper, the KZ D-Fi has 16 tuning switches, but they just give a 4 dB difference in bass amongst the most extreme tunings, and mostly endow a warm neutral tonality. As such, the Nami has better versatility, even though it has only 4 tuning configurations.

The D-Fi has less bass but is smoother in the upper mids/treble region, with less fatigue and shoutiness noted.

Timbre is more natural, with a thicker note weight noted on the D-Fi. Technicalities are easily won by the Nami though, with the D-Fi having a claustrophobic soundstage and inferior micro-detailing and imaging.


KZ Krila

Yes, the self-proclaimed kilobuck killer that purportedly kills all IEMs under $1000 USD makes an esteemed appearance.


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

Once again, even though the Krila has 16 promised tuning options, on actual field tests, there is just a 5 dB difference in the bass amongst the most extreme of tuning switches. Thus, the Krila mostly fields a neutralish soundscape across all 16 switch configurations, with the Nami being more versatile.

The Krila has a thinner note weight and less bass. However, the Krila's bass is tighter and cleaner. The Krila has more treble air and sparkle, though it is more fatiguing and sibilant.

Both sets are not paragons of timbral accuracy, but even so, timbre is more metallic and artificial on the Krila.

In technicalities, the Krila has a smaller soundstage, but better micro-detailing, imaging and instrument separation.


CONCLUSIONS



The Nami is a forgettable entrant in the cut-throat ultra budget CHIFI market. While it is easy to drive, boasts decent build and ergonomics, with tuning switches to increase versatility, the Nami doesn't stand out from the tough competition.

The accessories are disappointing, and BA timbre and harshness appears once the more resolving tuning switches are activated. The DD bass is notably incoherent, and cannot keep up with the faster BA drivers handling the top end. I would advise to top up a little bit more to get the CVJ Mei, which is a better tunable IEM in CVJ's stable.

Sadly, I think the Nami might be forgotten after a few weeks post launch. As per its namesake of "within the waves", this IEM might be inundated and drowned by a tsunami of other CHIFI releases. It will be swept away by the current of other hypetrains and won't be talked about in a few weeks' time.

DISCLAIMER

I would like to thank Linsoul for furnishing this unit.
The Yanyin Canon II can be obtained here (no affiliate links): https://www.linsoul.com/products/yanyin-canon-ii





SPECIFICATIONS

• Driver configuration: 1 x biological diaphragm DD and 4 x BA drivers
• Impedance: 27 - 40 Ohms (depending on tuning switch)
• Frequency response: 5 Hz - 25 kHz
• Sensitivity: 112 dB
• Cable: 2-pin, 0.78 mm, graphene single crystal copper silver-plated cable; option for 2.5 mm, 3.5 mm or 4.4 mm termination
• Tested at $379 USD

ACCESSORIES

Other than the IEM, these are included:
- 4 pairs of silicone eartips
- Case
- Cable
- Tuning switch card-pin



The accessories are very spartan for a midFI priced IEM, and this is disappointing. Gear at this price usually comes loaded with a variety of foam and silicone tips, in addition to cleaning brushes or even modular cables, with all these being absent here.

The included silicone tips are serviceable from a comfort and sonic perspective. They come in a little plastic case, which is a nice touch. The brown leatherette rectangular case is hard on the outside, with internal webbing and a soft material, to cushion its contents.

The included cable is a graphene single crystal copper silver-plated cable. This is very well-braided with good heft. Microphonics are minimal and it comes with a chin cinch to assist stability. It is one of the better stock cables I've encountered in my IEM journey, in addition to having a 2-pin connector (which should be theoretically more robust than MMCX with frequent cable swaps). When placing an order, one can opt for a 2.5 mm or 3.5 mm or 4.4 mm termination.

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 medical-grade resin, and each shell is individually handcrafted. The faceplates showcase a unique starry/space theme motif, and this is a breath of fresh air amongst the hackneyed black or silver-shelled IEMs.



Each housing has an individualized serial number!

Comfort and ergonomics are excellent. The shells are light with no awkward protrusions on the inner aspects. I faced no discomfort despite using the Canon II for extended listening sessions.




I did not encounter any driver flex on my pair. Isolation is average, in view of the vented DDs, though this IEM is still usable in noisy environments.




This IEM's selling point are the tuning switches. We will discuss about their sonic changes in further detail below, but I'm glad to report that the switches are easily manipulated, and lock with a satisfying click.


DRIVABILITY

I tested the Canon II with the following sources:
- Apple dongle
- Cayin RU7
- Colorfly CDA M1 DAC/AMP dongle
- Creative Sound Blaster X5
- E1DA DAC/AMP dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Khadas Tone Board -> Topping L30 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 across all tuning switches. It does scale slightly with amplification, but this is not truly essential.


INTERNALS/TUNING SWITCHES

The Canon II is a hybrid with the following drivers:
- 1 x biological diaphragm DD handles the bass
- 2 x BA drivers settle the midrange
- the remaining 2 BA drivers take care of the treble

There is no publicized information on the BA brand/type, but these drivers are housed within a dual-chamber acoustic design, with a crossover implemented.

This IEM has 2 tuning switches, to give 4 potential sound signatures:

Graph of the Yanyin Canon II across various switch configurations. 8 khz is a coupler artefact peak.

As per the graphs above, the tuning switches are very subtle, giving about 2 dB difference across the most of extreme of switches, and they mostly act from 400 Hz and below (ie switches only affect the lower mids and bass frequencies).


SOUND & TECHNICALITIES

The rest of this review will be done with the Canon II on the all switches up configuration (ie most bassy config).

Tonally, when used at moderate volume levels (Fletcher Munson curve), the Canon II can be described as a warm U-shaped set, with a sub-bass boost. This is quite pleasant and inoffensive. Perhaps only bonafide bassheads and trebleheads may quibble about the tuning, and most others should find it acceptable.

This IEM is sub-bass focused. Bass extension is deep with a good rumble felt. In terms of bass quality, it is fast and clean, with very good texturing. Mid-bass bleed is absent as there is a slight mid-bass scoop out.

The lower midrange continues on from the aforementioned scoop out, and is a bit thin as a result. However, this area is very transparent and clear due to no big bass encroachment. This allows instruments to be easily showcased on a dark background, with the Canon II having top-notch imaging and layering. The upper mids are safely tuned, with a 5 - 6 dB ear gain. No shoutiness is heard at all - unless folks pump up the volume to high levels (Fletcher Munson curve) - and vocals may be slightly behind the instruments in the mix.

The treble is quite smooth, with no sibilance. It rolls off early and we do not get much sparkle or air in this IEM, but as a result, the Canon II can be used for hours on end without any fatigue. Micro-details are still acceptable despite the toned-down treble. Indeed, the Canon II doesn't need to cheat to artificially boost this area to give "fake" details, and we can still hear fine nuances in the music.

Timbre is surprisingly well done, despite this IEM packing 4 BAs. There's not much BA timbre heard in acoustic instruments like strings, brasses and woodwinds, and most BA containing hybrids flop in this department. Coherency is good with the DD bass driver keeping up well with the BAs in timbre and speed.

On to the technicalities department. As alluded to previously, the Canon II has superb imaging and layering. Micro-details are still present, but perhaps there will be other steroid infused hybrid rivals that have boosted treble with greater clarity. Soundstage is above average in all 3 dimensions, and music does not sound congested at all, due to the good instrument separation and layering on hand.


COMPARISONS

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




AFUL Performer 5

The Performer 5 is a U-shaped set. The Performer 5's bass isn't as textured or tight, and it has way worse BA timbre, sounding very artificial in the higher frequencies handled by the BAs.

Technically, the Performer 5 is also a step behind, with inferior imaging, soundstage and instrument separation. The Performer 5 is quite incoherent with the slower DD bass unable to keep up with the faster BAs in speed.


Sony XBA-N3

The N3 is a bullet shaped IEM with worse isolation and driver flex.

Tonally, the N3 has a way bigger mid-bass, though the bass isn't as tight and bleeds. The N3 also has less treble extension. The N3 has a bigger soundstage, but loses to the Canon II in other technical areas such as micro-details, imaging and instrument separation.


CONCLUSIONS

The Yanyin Canon II is a beautifully crafted hybrid, with solid ergonomics and easy drivability. It features a warm U-shaped tonality that should be a crowd-pleaser, with perhaps only diehard bassheads and trebleheads finding this IEM tonally not to be their cup of tea.

Surprisingly for a BA containing hybrid, the timbre is organic, and the imaging and layering is a highlight, in addition to the tight and fast bass on show. This IEM also does well in coherency, which cannot be said of some competitor hybrids.

Sadly, for a midFI priced IEM, the accessories are sparse, and the tuning switches are not too substantially different from each other. Personally, I would have preferred to have seen a "tunable" IEM with more light-or-day differences in tonality, so as to bestow greater versatility in the frequency response.

Nevertheless, for folks wanting to get a well-balanced IEM that does most departments well, the Canon II is definitely something to consider in the conversation. Additionally, its excellent ergonomics, not too coloured tonality and solid technical chops will make it suitable as a stage monitor or audio tool for musicians or mixing work.

DISCLAIMER

I would like to thank Shenzhen Audio for furnishing this unit.
The Truthear Hola can be gotten here (no affiliate links): https://shenzhenaudio.com/products/...gh-performance-dynamic-driver-in-ear-monitors



“Hola” (ho·la), Spanish for “hello,” is an interjection used to attract attention or to shout encouragement or exultation. The term 赫, the Japanese name for these IEMs found on the packaging, has connotations of “brightening, illumination, or sparkling.”


SPECIFICATIONS

• Driver configuration: 1 x 11 mm polyurethane suspension + LCP (liquid crystal polymer) dome composite diaphragm dynamic driver
• Impedance: 28 Ohms
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 120 dB/Vrms
• Cable: 0.78 mm, 2-pin, 3.5 mm, oxygen-free copper cable
• Tested at $19.99 USD

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of narrow-bore silicone ear tips (S, M, L)
- 4 pairs of wide-bore silicone ear tips (S, M, L)
- Leatherette soft carry case
- Anime waifu card

Considering the HOLA retails below USD$20, the accessories are quite decent. There’s even an anime waifu mascot - her name is "Shiroi," which means "White" in Japanese. The waifu card has other in-depth and salacious details on it!




Two types of silicone tips are provided. Unfortunately, there are no foamies included, but I can close one eye considering the HOLA retails for such little coin. The narrow-bore silicone tips boost bass quantity but compress the soundstage, whereas the wide-bore ones increase the upper frequencies and open up the soundstage.



The tips come in a nice little tray, and personally, I prefer the wide-bore tips to add some spice and openness to the treble and help offset this IEM's unadventurous tuning.




A stock oxygen-free copper cable is included, which is quite serviceable. It has a moderate thickness and is tangle-free, though microphonics are present. There’s a chin cinch for added stability during usage. I am happy it is a 2-pin connector, as I faced longevity issues with MMCX cables especially with frequent cable swaps.




There are many budget challengers that do not include a case in the accessory line-up, so it is a nice touch from Truthear to have one included. The leatherette case has a nifty magnetic clasp instead of a traditional button. It is quite elegant but might not withstand a crushing force. It may focus more on looks over functionality, as the storage space isn’t too large either.

The following review was completed with the stock wide-bore silicone ear tips and stock cable. Aftermarket accessories were not used so as not to add confounders to the sound.


BUILD/COMFORT

The housings feature a half-moon shape, with a hexagonal/star-like motif gracing the face plate. CNC (computer numerical control) anodized sand-blasted aluminum alloy is used to manufacture the shells. The HOLA’s acoustic cavity is DLP (digital light processing) 3D printed from HeyGears. This is pressure-casted, hand-grinded, and then spray-painted externally. After that, it is glued onto the face plate.




The HOLA is very light, and ergonomics are top-notch. A small concha protrusion adds some grip during usage. The inner aspect of the shells are smooth without any awkward protrusions. I did not experience any discomfort during longer listening sessions.

Despite being vented, isolation is above average. I did not encounter any driver flex, but YMMV, this may be dependent on ear anatomy and the type of ear tips used.


INTERNALS

The HOLA utilizes an 11mm polyurethane suspension composite liquid crystal dome diaphragm dynamic driver, with dual-cavity magnetic circuit N52 magnets.


DRIVABILITY

I tested the Hola with the following sources:
- Apple dongle
- Cayin RU7
- Colorfly CDA M1 DAC/AMP dongle
- Creative Sound Blaster X5
- E1DA DAC/AMP dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Khadas Tone Board -> Topping L30 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 HOLA is moderately easy to drive, though it will scale with amplification in terms of dynamics, soundstage, and bass tightness.


SOUND & TECHNICALITIES


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

Tonally, the HOLA has an L-shaped signature, with the bass having a boost compared to the higher frequencies.

Timbre is pretty natural, with vocals and acoustic instruments sounding unadulterated. Aerophones have a nice vibration at the tail-end, and percussion instruments incorporate membranous rumble. Note weight is on the thicker side.

When compared against other ultra-budget single DD rivals, the HOLA is mediocre in technicalities. Soundstage has good depth, though it does not have great height or width. Imaging is decent enough, but instrument separation, clarity, and micro-details are weak. Edge definition and transients are blunted. The HOLA embraces an analogue and pleasant signature over an outright analytical soundscape.



The HOLA is sub-bass focused, and the quantity is north of neutral but not at bonafide basshead levels. Sub-bass extends moderately, with some rumble. The mid-bass isn’t the most emphasized, so the HOLA does not fair that well with mid-bass focused genres such as EDM and hip-hop.

In terms of quality, bass texturing is below average, and can sound one-noted and undefined. Bass speed is moderate, with minimal mid-bass bleed.

The lower midrange is a tinge recessed. Thankfully, this region is relatively transparent due to no marked mid-bass bleed impinging on it. With a 6 dB pinna gain, the upper mids are not zealous, to say the least. In the mix, vocals lie in the background, so vocal lovers may want to consider an alternative set unless EQ is up your alley.

The HOLA is diametrically opposite from their Japanese name of 赫 (meaning bright or sparkling) and the upper treble borders on dark. The lower treble continues on from the small upper midrange mound, but the upper treble drops off after that. The HOLA is smooth as silk, and sibilance is absent. Our treble-sensitive brethren will like the tuning on offer, but treble-heads will likely grumble at the lack of pizazz and flair.


COMPARISONS

Comparisons were made against other ultra-budget single DDs. Pure BAs, planars, multi-driver types, and hybrids are left out, as the different transducers have their own pros and cons.




Kiwi Ears Cadenza

The Cadenza features a warm Harman tuning. The Cadenza has more upper mids and lower treble, and vocals sound more forward.

These two adversaries are well accessorized and comfortable, with natural timbre. Both are not technical tour de forces but the Cadenza takes the lead in imaging, micro-details, and instrument separation, albeit the HOLA has a more expansive soundstage.

I consider them sidegrades, as the Cadenza weighs in at almost double the retail price, and the HOLA has arguably a better price-to-performance ratio.



7Hz Salnotes Zero

The Salnotes Zero is tuned neutral bright. It is more sterile and analytical, with a thinner note weight. The Zero has a more extended treble and is brighter in tone.

The Zero is harsher, more sibilant, and not as smooth as the HOLA. The Zero has less bass quantity, but the bass is tighter and faster.

Edge definition, layering, imaging, micro-detailing, and transients are superior on the Zero, though the HOLA has a deeper soundstage.

Timbre is less organic on the Zero, and the Zero is less comfortable due to perpendicular edges in the shells. In contrast, the HOLA is a cut above in timbral accuracy and fit.



Tangzu Wan’er

The Wan’er is a warm neutral set. It has marginally less bass and slightly more upper mids and treble than the HOLA.

Both IEMs have natural timbre, in keeping with their single DD roots, though the Wan’er is a hair better in technicalities.

They are both well accessorized and have good comfort, and I consider them sidegrades.



CONCLUSIONS



The HOLA is relatively well-accessorized, with a quality build and above-average isolation. The conservative tuning, coupled with a snug fit, renders the HOLA suitable for long listening sessions, with nary an ounce of fatigue. Ironically, the HOLA’s namesake is a misnomer - it is not bright nor sparkly. In fact, this IEM veers towards the boring side of the spectrum, and treble-heads or micro-detail seekers best be seeking something else to ignite sparks of excitement.

Indeed, there may even be a cri de coeur for the HOLA lacking the technical panache to punch above its weight. Although the soundstage is quite expansive compared to other ultra-budget entrants, the HOLA has middling technicalities and fails to usurp higher-tier single DD contenders.

The HOLA is more suited for beginners new to the ChiFI circuit. It falls in the category of being a decent sub-USD$20 daily beater but is no market disruptor. In essence, it is a jack(rabbit) of all trades but master of none.

For recalcitrant ChiFI consumers who have been around the block and back, I would advise you to keep your powder dry and save the twenty bucks for a more substantial upgrade down the line.

DISCLAIMER

I would like to thank KZ for furnishing this unit. It can be gotten here: https://kz-audio.com/kz-d-fi.html (no affliate links).




SPECIFICATIONS

• Driver configuration: 10 mm dual-magnet dynamic driver
• Impedance: 23.5 Ω (standard version), 29 Ω - 48 Ω (tuning switch version)
• Frequency response: 7 Hz - 45 kHz
• Sensitivity: 110
• Cable: 3.5 mm, 0.75 mm 2-pin high-purity silver-plated cable

Two variants of the D-Fi are available during ordering - a cheaper non-tunable version (~ USD$25-30) and one with tuning switches for about $5 more. One can also opt for a mic or non-mic version.


ACCESSORIES



Other than the IEM, the following are included:

• 1 pair of foam tips
• 3 pairs of wide-bore silicone ear tips
• 3 pairs of narrow-bore silicone ear tips
• Cable
• Card pin

The accessories are acceptable for a budget-priced set, and I won’t nitpick on the lack of a carrying case.



KZ's QC curse has come home to roost, with an odd number of silicone tips provided! The white narrow-bore tips boost bass at the expense of a compressed soundstage, whereas the wide-bore gray ones increase the higher-end and expand the soundstage. The foam tips give the best passive isolation, though these tame the treble.

Don’t lose the included card pin! It is essential for flicking the switches on the tunable D-Fi!




The silver-plated stock cable is tangly and thin, with microphonics in abundance. It doesn’t even have a chin cinch! I guess this is expected for something this cheap, and it is no biggie sourcing aftermarket cables. The D-Fi utilize a 2-pin 0.75 mm connector instead of the more common 0.78 mm terminal, but these 0.78 mm aftermarket cables should still fit it.

To not add aftermarket confounders, which may affect the sound, I completed the following review with the stock wide-bore ear tips and stock cable.


BUILD/COMFORT

The housings are teardrop shaped, with an elegant asymmetrical pattern on the faceplate, and are tasteful compared to the usual run-of-the-mill budget gear. We have the tuning switch board found on the sides of the IEM.




Despite looking chunky, the D-Fi has superb ergonomics coupled with a light weight, without awkward protrusions. I have no issues using it for longer listening sessions.




I did not find driver flex, but this may depend on the ear tips used and your ear anatomy. Isolation is below average because of the vented housing.


INTERNALS

The D-Fi employs a 10mm dual magnetic DD setup. KZ advertises that this generates a magnetic field of two magnets instead of the regular one, thus improving transients. A Zobel network circuit - only available in the tunable model of the D-Fi - is installed to nullify the effects of inductance and capacitance via a hub of resistor-capacitor networks.



The tuning switches are the selling point of this IEM. The first three switches modify the bass, whereas the fourth handles the upper frequencies. Manipulating the switches is as easy as pie with the provided card pin; they lock with a satisfying click.


DRIVABILITY

I tested the KZ D-Fi with the following sources:
- Apple dongle
- Cayin RU7
- Colorfly CDA M1 DAC/AMP dongle
- Creative Sound Blaster X5
- E1DA DAC/AMP dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Khadas Tone Board -> Topping L30 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

Depending on which switch setting is in play, the impedance changes. In general, the D-Fi is moderately easy to drive even on the higher impedance settings, though amplification is useful to scale. Due to its high sensitivity, the D-Fi may hiss with sources with poor noise floor control.


SOUND & TECHNICALITIES

Graphs of the KZ D-Fi on various tuning switch settings. 8 kHz is a coupler artefact peak.

The D-Fi has a tonality that is warm neutral with a sub-bass boost. It is more akin to a Moondrop FR - it is truly the antithesis of a run-of-the-mill KZ set! KZ enthusiasts may find the D-Fi undynamic and dull compared to the usual head-banging fun they are familiar with.

KZ’s marketing materials trumpet that the four tuning switches can provide sixteen contrasting permutations. The tuning switches make subtle differences at best, with only a 4 dB difference in bass between the most extreme of presentations and the rest of the profiles falling in between. The cheaper non-tunable version of the D-Fi corresponds to the “all switches down config” - i.e., the least bassy setting of the above graphs.

Timbral accuracy is very natural for vocals and acoustic instruments, in keeping with the D-Fi’s single DD roots.

The D-Fi is subpar when it comes to technical chops. Micro-detailing, instrument separation, imaging, and clarity are below average. The soundstage is intimate in all three dimensions, and music sounds congested and veiled when complex riffs come out to play. Thus, the D-Fi is for chilling and relaxing to music rather than critical listening.

The D-Fi is sub-bass focused, with moderate bass extension. Bass quantity is just north of neutral, depending on whether the bassiest or least bassy profile is activated. Having said that, the D-Fi is not a bona fide basshead IEM even with all switches flicked up. Bass is quite agile and textured on the bass-lite variations. On the flip side (no pun intended), once the bassiest configuration is in place, the bass becomes muddy and ponderous.

The lower midrange is neutral. This region is pretty transparent on the least bassy switch, though the bassier options add mid-bass bleed, which may encroach into the mids. The upper mids are just a tinge forwards, with a 9 dB pinna gain ensuring vocals are in front without being overly shouty.

Treble rolls off early in the D-Fi, even on the least bassy permutation. This is a far cry from the garden variety KZ steroid-infused treble, and treble-sensitive folk should be quite at home with this tuning choice. Sibilance is minimal, with a smooth higher end. This is a double-edged sword, as there is a lack of air, clarity, and sparkle, which may not be a treblehead’s cup of tea.


COMPARISONS

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

The comparisons below are made with the D-Fi on the least bassy switch setting.





Simgot EA500


Graph of the Simgot EA500 on various nozzles. 8 kHz is a coupler peak.

The EA500 operates via two screw-on tuning nozzles instead of switches. With the black nozzle installed, the EA500 has a neutral bright lilt, whereas there's a warmer Harman-like tone on the red one.

The EA500 has a slightly thinner note weight and sound more metallic in timbre. The EA500 has more air and sparkle, with a greater treble extension on both tuning nozzles.

The EA500 boasts superior technicalities, with a wider soundstage, better imaging, micro-detailing, instrument separation, and micro-details.



TRI Star River


Graph of the TRI Star River on various nozzles. 8 kHz is a coupler peak.

The Star River also incorporates tuning switches. Like the D-Fi, these switches are somewhat duplicitous - out of four promised signatures, there are only two on independent graphs, with both sporting an old-school V-shaped profile. I also encountered QC defects on my Star River - one side’s switches were stuck, requiring considerable force just to toggle them.

The Star River is shoutier and more fatiguing, sounding quite unrefined in the upper midrange and treble. Timbre is also less natural, with a thinner note weight. The Star River has slightly better technical prowess, with improved soundstage, micro-detailing, clarity, instrument separation, and imaging. However, the bar is low, as other DD-type transducers easily beat the Star River in this department.


CONCLUSIONS

The D-Fi defies expectations of KZ tuning. No pun intended.



It is a different kettle of fish from KZ’s customary V-shaped beasts, sounding refined and neutral with a sub-bass boost. Indeed, the D-Fi would not be out-of-place if packaged in a Tanchjim or Moondrop box with a waifu gracing the front.

The D-Fi is non-fatiguing, smooth, and laid-back, with a natural timbre. Ergonomics, build, and accessories are acceptable for an IEM retailing at around USD$30.

Regrettably, the sixteen potential tuning permutations are more marketing than reality, with only a 4 dB difference in bass amongst these configurations. As such, you can probably save a few bucks to get the non-tunable variant of the D-Fi.

The D-Fi is glaringly lackluster in technicalities, and its tuning lies on the dark side of the equation - detail freaks best consider other options. Additionally, there is hiss with some sources.

KZ has markedly revamped its tuning philosophy in recent times, with tonally solid IEMs such as this, the Krila and Ling Long. Perhaps for its next release, the engineers could consider implementing a set with more audible differences with the tuning switches to bestow legitimate versatility. And now that the tonality is down, perhaps they can focus on getting good technical chops in.

All things considered, the D-Fi is cheap as chips and can claim a stellar price-to-performance ratio. It is a suitable IEM for those new to the hobby, though, for ChiFI collectors who already have more IEMs than ears, it might be wiser to save up for a more substantial upgrade down the line.

DISCLAIMER

I would like to thank Kinera/HIFIGO for furnishing this unit.
The Celest Phoenix Call can be gotten here (no affiliate links): https://www.amazon.com/dp/B0CDGLZKKK/kinera+celest+phoenixcall/ or https://hifigo.com/products/kinera-celest-phoenixcall




SPECIFICATIONS

• Driver configuration: 1 x 7 mm DD + 2 x 10021 and 10012 BA + 2 x 6 mm flat panel driver (FPD)
• Impedance: 32 Ohms
• Frequency response: 20 Hz - 40 kHz
• Sensitivity: 103
• Cable: 0.78 mm, 2-pin, 3.5 mm or 4.4 mm termination available. 8-core 5N copper silver-plated cable
• Tested at $129.99 USD

ACCESSORIES


Other than the IEM, these are included:
- 3 pairs of white Celest 221 "vocal" silicone ear tips (S/M/L)
- 3 pairs of grey Celest C-07 silicone ear tips (S/M/L)
- cable
- semi-rigid carrying case
- metal bookmark and poem





The packaging is really polished and elegant. We have some poetry, and even a metal bookmark of phoenixes. Waifus are so yesterday!!



The Phoenix Call takes its inspiration from an ancient Chinese folklore book titled the "Classic of Mountains and Seas" (https://en.wikipedia.org/wiki/Classic_of_Mountains_and_Seas). In one of the stories inside this tome, there is a scene where hundreds of mythical birds flocked together to fly home.

Indeed, we see this avian motif on the packaging and bookmark, within the poetry, and even on the shell of the IEMs.




Back on point, the array of accessories are pretty generous, perhaps other than the lack of foam tips or a modular cable, but that is nitpicking.



We have 2 variants of silicone tips. The Celest 221 "vocal" tips - in white - boost treble and upper mids. The C-07 grey tips are more balanced, with less treble emphasis and a bigger and deeper bass. Do tip-roll to see what suits your sonic preferences.




A psychedelically coloured 8-core 5N copper silver-plated cable is included. During ordering, one can opt for a 3.5 mm or 4.4 mm termination. This cable is not just a pretty thing, it is very practical - being well-braided with minimal microphonics. There's a chin cinch for added grip. 2-pin cables are always favoured in my book, as MMCX ones may fail with repeated cable swaps.

Lastly, we have a round semi-rigid zipper case. It is quite tough externally, but lined internally with a soft material and some webbing, to protect the contents.

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


BUILD/COMFORT



Fashioned from resin, the left earpiece is coloured blue, whereas the right side is coloured red. The faceplates feature the aforementioned flock of birds motif flying back to their nest. They are a real looker, and my wife who usually hates IEMs actually came to take a look, and said she "wouldn't mind trying it". Actually, after she did, I had difficulty claiming the IEM back to do this review haha.



The shells are quite light and the inner aspects of the chassis do not have any weird protrusions to poke the ears. Initially, I had a bit of discomfort due to the longer nozzle with smaller eartips, but once I used a size larger tip, ergonomics seemed quite decent for longer listening sessions. So tip-rolling is once again essential for fit.

I did not find any driver flex on my pair. As per most vented IEMs, isolation is average, but this IEM should still be usable outdoors.


INTERNALS

The Phoenix Call sports an uncommon 1 DD + 2 BA + 2 FPD setup.

One can see the various drivers in all their glory through the transparent resin shells. I'm also glad to report that the BAs are not just dumped in the nozzle, but Kinera has specially designed them to be linked to the nozzles via acoustic tubes. This definitely aids in the sonics, and as we will read later below, this IEM is quite good in soundstage for this reason.



The 7 mm DD settles the bass, while the 2 BAs handle the midrange and lower treble respectively. Lastly, we have a FPD (flat planar driver) for the upper treble. This FPD is similar in concept to a microplanar driver, but is not a real larger planar driver.


DRIVABILITY

I tested the Phoenix Call with the following sources:
- Apple dongle
- Cayin RU7
- Colorfly CDA M1 DAC/AMP dongle
- Creative Sound Blaster X5
- E1DA DAC/AMP dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Khadas Tone Board -> Topping L30 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. Amplification is not 100% required, but it will scale better with juice.


SOUND & TECHNICALITIES


Graph of the Celest Phoenix Call via IEC711 coupler. 8 kHz is a coupler artefact peak.

Tonally, the Celest Phoenix Call is V-shaped, and this is quite consumer friendly in tuning.

This IEM is mid-bass focused. The mid-bass hits with a big thump in bassy tracks, and is just a level or two shy of true basshead badness. There's some sub-bass roll-off and just a slight tickle of rumble. In terms of quality, bass speed is fast, with good texturing. There's some slight mid-bass bleed, but this is inevitable with the huge bass on tap.

As per the V-shaped profile, the lower midrange is recessed and thin, mid-lovers might seek more heft in this region. The upper mids have about 8 - 9 dB ear gain, and vocals are definitely forwards in the mix. I am quite sensitive to this region, and I would say the upper mids are not too overzealous, but are at the edge of spiciness. At louder volumes (Fletcher Munson curve), this region can get hot, but at low to moderate volumes, it is quite okay. The upper mids can also be tamed with eartip rolling, in addition to different sources, not to mention hearing health/ear anatomy may play a part in how this region is perceived.

The Phoenix Call's lower treble continues on from the boosted upper midrange. Extension of treble is quite decent, with moderate air and sparkle. Sibilance is quite controlled, and nothing sounds splashy or majorly fatiguing here.



When it comes to technicalities, the Phoenix Call performs very well. Soundstage is deep and high, with above average width. We have good micro-detailing and resolution, with instrument separation and imaging done well.

Unfortunately, timbral accuracy is an area of weakness in the treble and midrange (probably the regions handled by the BAs and microplanar driver). Vocals are a bit thin, and acoustic instruments like brass and woodwinds lack heft and natural note weight - so this IEM may not be the best option for timbre freaks or those that listen to predominantly jazz or classical genres.


COMPARISONS

I currently only have a similar priced IEM in the TRI I3 that has a kindred config with a DD + BA + microplanar setup to the Phoenix Call.



The original TRI I3 is a 1 DD + 1 BA + 1 planar/microplanar, that has very huge shells. The shells are heavy and this may cause discomfort with longer listening sessions. It also has MMCX connectors, and on one side of my TRI I3, the MMCX is a bit loose. The I3 is also harder to drive.

The TRI I3 has a taller and deeper soundstage, but has inferior soundstage width. The I3 is also weaker in instrument separation and imaging. Tonally, the I3 has more sub-bass, but the bass isn't as tight as on the Phoenix Call. There is some sibilance and splashiness in the lower treble on the I3 too, though it has a tinge better timbre.


CONCLUSIONS



The Phoenix Call sports a unique DD + BA + microplanar/FPD configuration. The packaging and aesthetics are truly breathtaking, with robust build and decent fit. Additionally, this IEM is easy to drive, and amplification is not really required. In a sea of over-used waifus, Kinera has thoughtfully utilized a sophisticated bird motif packaging to reflect on its ancient Chinese roots, incorporating a fabled poem from ancient texts.

Tonally, the Phoenix Call has a V-shaped consumer friendly signature, with a huge mid-bass thump to bring a lot of "fun" to the table. Technically, this IEM is no slouch too, with soundstage and resolution being a highlight.

Nothing is perfect though, the timbre and midrange has flaws, and folks who prioritize these areas should look elsewhere. Having said that, this IEM does well in most other departments, and may even make a nice gift in view of the alluring design and consumer friendly signature.

DISCLAIMER

I would like to thank Simgot for furnishing this unit. It can be gotten here (no affiliate links): https://www.linsoul.com/products/simgot-em6l




SPECIFICATIONS

• Driver configuration: 1 x 8 mm high-polymer diaphragm dual-cavity dynamic driver, 4 x balanced armature drivers
• Impedance: 26 Ohms
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 119dB/Vrms
• Cable: 0.78 mm, 2-pin, 3.5 mm termination. Silver-plated OFC cable
• Tested at $109.99 USD

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of silicone ear tips
- cable
- semi-rigid carrying case



The accessories are honestly disappointing for a $100 set. We usually see a wider array of silicone tips (sometimes with foam tips), in addition to cleaning kits and even modular cables at this price segment. But oh well, I rather have a poorly accessorized IEM with great sound than the other way round, and some manufacturers make up for poor sound by spamming accessories.

The silicone tips are quite usable from a sonic and comfort perspective, but no biggie sourcing for aftermarket tips should it tickle your fancy.




The include silver-plated OFC cable is pretty well-braided, with just a smattering of microphonics. There's a chin cinch for added grip during usage.

Lastly, we have an ovoid semi-rigid carrying case, which should withstand a drop or compressive forces. It is lined internally with a soft material and some webbing, to protect the contents.

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


BUILD/COMFORT

The housings are fashioned from 3D-printed resin with CNC machining. There's a nifty polished face-plate with Simgot's logo and a Phoenix on each earpiece.

The earpieces are small and light, with no awkward protrusions. Comfort is top-notch even with marathon listening sessions.



I'm not a fan of MMCX connectors in general (due to their longevity with frequent cable swaps), and the 2-pin connector here is quite welcome in my book. However, do take note that the EM6L's housing incorporates protruding 2-pin connectors, and as such, some aftermarket 2-pin cables may not fit snuggly.

I didn't find any driver flex on my pair. Isolation is bang average, in view of the vents.


INTERNALS

This IEM is a 1 DD + 4 BA hybrid.

We have an 8 mm high-polymer diaphragm dual-cavity DD that takes care of the bass, and the quad BAs handle the rest of the frequencies. There is no published information on the type or brand of BAs, but as always, tuning and implementation trumps driver type/brand any day.


DRIVABILITY

I tested the Simgot EM6L with the following sources:
- Apple dongle
- Cayin RU7
- Colorfly CDA M1 DAC/AMP dongle
- Creative Sound Blaster X5
- E1DA DAC/AMP dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Khadas Tone Board -> Topping L30 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is relatively easy to drive, and amplification is not truly required.


SOUND & TECHNICALITIES

Graph of the Simgot EM6L via IEC711 coupler.

Tonally, the EM6L is a smooth and balanced mild V-shaped set. Most consumers should find the frequency response pleasing, perhaps other than diehard bassheads and trebleheads.

The EM6L is a sub-bass focused IEM. Bass is just north of neutral but not at basshead levels. There's moderate sub-bass extension with some rumble. In terms of quality, we hear a fast bass with minimal mid-bass bleed, though texturing is on the hazier side.

The lower midrange is just slightly depressed, but as the note weight lies on the thicker side with some smoothing of note edges, this area does sound quite lush. With an 8 - 9 dB ear gain, vocals are forwards in the mix, without veering to shoutiness.

The EM6L is a treble-sensitive listener's best friend. This area is as smooth as silk, with an early roll-off. We encounter no sibilance or splashiness, but on the other side of the coin, the treble isn't very airy or sparkly, and trebleheads will find this to be not their cup of tea.

Timbre-wise, in contrast to rival BA containing hybrids, the EM6L sounds quite natural, when acoustic instruments and vocals come out to play. There are surely other BA containing hybrids out there which are way worse in this area, and the EM6L sounds organic, with no metallic traces.

In technicalities, soundstage is average in width, but has decent depth and height. Imaging is quite accurate, in addition to respectable instrument separation. The EM6L isn't the most resolving or micro-detailed hybrid at this price bracket, but this is partially a function of the smoother treble of this IEM.

Coherency is excellent for a hybrid, and is one of the EM6L's strengths. Coherency is an area that many hybrids flounder at, and I'm glad to report that the DDs handling the bass can keep up with the fast BA drivers of the midrange and treble, with not much difference in speed or timbre.


COMPARISONS

Comparisons were made with other hybrids around the $100 USD mark. Planars, single DD and pure BA types were left out of the equation as the different transducers have their pros and cons.




Tanchjim Kara

The Kara is a warm midcentric IEM with thicker note weight and a more natural timbre than the EM6L. The Kara has a bigger bass, though it isn't as tight. The Kara is darker in the treble than the EM6L.

In terms of technical performance, the Kara has slightly better soundstage and imaging, but instrument separation and micro-details are better on the EM6L.

The Kara is much harder to drive, and requires amplification due to its low sensitivity. In contrast, the EM6L can be driven off weaker sources.


Tangzu Fu Du


Graph of the Simgot EM6L versus Tangu Fu Du via IEC711 coupler. 8 kHz is a coupler artefact peak.

The Fu Du is a U-shaped set, with slightly less upper mids/lower treble than the EM6L.

I would consider these 2 as sidegrades. They trade blows technically - the Fu Du has a smaller soundstage, but better instrument separation and imaging. Micro-detailing is similar. However, the Fu Du has a more artificial BA timbre than the EM6L.


Hidizs MS3

The MS3 has 3 potential signatures via tuning nozzles, so it is more versatile per se. On the two brighter configurations, the MS3 has a thinner note weight and a more metallic timbre. It is also more fatiguing and sibilant in the treble than the EM6L.

However, the MS3 on these setups is superior in micro-detailing, resolution, soundstage and instrument separation.


CONCLUSIONS

The $100ish bracket is an extremely tough price point to compete at, with many big boys residing here. How does the EM6L fare in the big scheme of things?

In my opinion, I think this IEM can hold its own, with the EM6L showcasing a very balanced, pleasant and fatigue-free V-shaped soundscape, with thick note weight and a natural timbre (for a hybrid). Coherency is exemplary, and this is one department that quite a lot of CHIFI hybrids fail. Additionally, the EM6L boasts of solid build, elegant aesthetics and comfortable ergonomics; it is also easily driven, with even a weak smartphone being a suitable source for this IEM.

Although the accessories are disappointing, and the EM6L is perhaps not the most technical shark in the ocean, this is an IEM that allows one to relax and enjoy the music for hours on end, what with the good comfort and sibilant-free sonics. Bona fide bassheads and trebleheads may perhaps quibble about the tonality, but most others should find it agreeable. Indeed, the EM6L is one of the more sound investments (no pun intended) for a relaxing hybrid at the $100 range!

DISCLAIMER

I would like to thank DUNU for furnishing this unit.

SPECIFICATIONS

• Driver configuration: diamond-like carbon (DLC) diaphragm dual-cavity dynamic driver
• Impedance: 32 Ohms
• Frequency response: 5 Hz - 40 kHz
• Sensitivity: 108 dB
• Cable: 0.78 mm, 2-pin, 3.5 mm termination. 4-strand single crystal copper silver-plated cable
• Tested at $109.99 USD

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of "vocal" black silicone ear tips
- 3 pairs of Candy silicone ear tips
- 3 pairs of S&S (Stage and Studio) silicone ear tips
- cable
- case
- cleaning cloth
- 3.5 mm to 6.35 mm adapter
- cleaning brush

What a superb spread of accessories! The packaging here surely beats most competitors at the $100 mark.




While there are no foam tips provided, 3 variants of silicone eartips are found here:
- The Candy eartips come in a colorful motif, and they give the deepest bass of the provided tips. Isolation is also the best of the 3, though soundstage is compressed when these are installed. These tips may be a good pairing for the bass inclined.
- The S&S (Stage and Studio) are cylindrical long tips that have a gel like material. They are very grippy and firm. To my ears they seem to be mid-centric focused, and boost vocals, with some decrease in bass.
- Lastly, the black tips - christened "vocal" - tips are the least isolating, but provide the largest soundstage and the best technicalities.

Do tip-roll to see what suits your preference in terms of fit, isolation and sonics.




The stock cable is a 4-strand single crystal copper silver-plated Litz braided cable. It is well-braided, but is a bit tangly, with microphonics. There's a chin cinch for added grip. It is non-modular, and only has a 3.5 mm termination, but no biggie sourcing for aftermarket cables should you wish to.




We have some other functional goodies, such as a 3.5 mm to 6.35 mm jack, a cleaning brush and a cleaning cloth. Last but not least, there's a practical orange semi-rigid zipper carrying case - it is quite huge, with inner webbing, and this can carry the Kima Classic with space to spare!

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


BUILD/COMFORT

The shells feature a grey-matte hue, and are fashioned from high-density metal alloy. During manufacturing, the chassis is melted and casted via molds, and finally, sandblasted to give an extremely smooth finish. The faceplates have a very distinctive angular motif, to breathe some air of distinction amongst the run-of-the-mill black and silver IEMs.

The earpieces are quite solid and should survive a drop!




Weighing in at 15 g apiece, the shells are very light and comfortable. There are no weird protrusions on the inner aspects to poke the ears, and I faced no discomfort despite using the Kima Classic for hour long sessions.




2-pin housings like in the Kima Classic are always welcome in my book, as I encountered a lot of MMCX failures with budget IEMs, especially with frequent cable swapping.

With two vents on each earpiece, isolation is still surprisingly decent, I would grade it just above average in this department, and the Kima Classic should be usable outdoors. I did not find any driver flex on my pair.


INTERNALS

This IEM houses a dual-cavity DLC DD, with an internal N52 magnet. These are placed inside a specially designed resonance chamber with a unique internal airflow architecture. Indeed, the absence of driver flex does allude to the success of this design!


DRIVABILITY

I tested the DUNU Kima Classic with the following sources:
- Apple dongle
- Cayin RU7
- Colorfly CDA M1 DAC/AMP dongle
- Creative Sound Blaster X5
- E1DA DAC/AMP dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Khadas Tone Board -> Topping L30 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 very easy to drive, amplification is not 100% required.


SOUND & TECHNICALITIES


Graph of the DUNU Kima Classic via IEC711 coupler. 8 kHz is a coupler artefact peak.

Tonally, the Kima Classic is V-shaped. This adds some "fun" to the soundscape and is pretty consumer friendly.

As per its single DD roots, timbre is very natural for vocals and acoustic instruments. No complaints on this front.

In technical chops, when compared against other single DD rivals at the $100 price point, the Kima Classic holds its own. Although soundstage is average in all 3 dimensions, it does have decent imaging and instrument separation. Micro-detailing is probably above average but not class-leading.



The Kima Classic is a sub-bass focused IEM, with bass just north of neutral. There's a slight rumble when the music calls for it, though this set is not a bona fide basshead IEM. The Kima Classic has excellent bass quality - with a rapid bass that is textured, with minimal mid-bass bleed.

As per the V-shaped profile, the lower mids are recessed. Mid-lovers might find this area a bit thin, though this region can probably be beefed up with a warmer source or perhaps with eartip-rolling. However, as a result of the lack of mid-bass impingement, the midrange is quite clear and transparent. With a 10 dB ear gain, the upper mids are at the edge, pushing vocals forwards in the mix. At low to moderate volumes, this region is quite contained, but at louder volumes (Fletcher Munson curve), there are slight instances of shoutiness.

Continuing on from the boosted upper midrange, the lower treble has a peak around the 5 - 6 kHz region, and it rolls off thereafter. This adds resolution and clarity, without much sibilance or fatigue. The upper treble is hence relatively smooth, with not much splashiness in cymbals and high-hats, but as a result, the Kima Classic isn't the most airy set.


COMPARISONS

Comparisons were made with other single DDs around the $100 USD mark. Planars, hybrids and pure BA types were left out of the equation as the different transducers have their pros and cons.




DUNU KIMA (original)


Graph of the DUNU Kima Classic versus original Kima via IEC711 coupler. 8 kHz is a coupler artefact peak.

We start off with an A/B comparison against the older brother: the original Kima. These two siblings have a similar shell shell and ergonomics, just that the OG Kima comes in a lighter grey.

Tonally, the OG Kima is less V-shaped, with weaker extension at both ends (ie OG Kima has less sub-bass and upper treble). Indeed, the OG Kima was slated for being too safe, and the Kima Classic now brings a deeper sub-bass rumble and a more pronounced treble to the table.

In technicalities, the older OG Kima is a tinge weaker, with a smaller soundstage and less defined imaging and micro-details. Instrument separation is similar. The OG Kima also sounds more boring, with less dynamics heard.


Tripowin Olina SE

The OIina SE is a more neutral than the V-shaped Kima Classic.

The Olina SE is slightly better in soundstage, micro-detailing and instrument separation, though it is less bassy and "fun" sounding.

Some consumers experienced a mesh moisture build up issue with the Olina SE, which may cause an intermittent sound cut-out, so caveat emptor.


Moondrop Aria 2021

The Aria 2021 is less V-shaped than the Dunu Kima, with the former sporting less bass and treble.

The Aria 2021 sounds a bit more metallic in timbre, and also has weaker technicalities - notably, imaging, micro-details, soundstage and instrument separation are a league behind the Kima Classic's.

The Aria 2021 also is infamous for paint peeling off the shell, and the build and accessories pale in contrast to the Kima Classic.


CONCLUSIONS

The Kima Classic builds upon feedback garnered from the original Kima, improving on dynamics and extension at both ends, in addition to providing better technicalities. This younger Kima sibling is extremely well accessorized, with solid build and comfort, as well as being easy to drive. The Kima Classic can also boast of an organic timbre, with quality bass and an all-rounder V-shaped tuning, to add some "fun" to the equation.

There are some small shortfalls, such as an average soundstage, and midlovers might find the V-shaped profile to be a bit too thin in the lower midrange.

Nevertheless, at the cut-throat $100 mark, despite the tough competition, this IEM does most areas well and is a solid choice for single DD lovers who want something more dynamic than the usual Harman suspects.

DISCLAIMER

I would like to thank Fiio for furnishing this unit. It can be gotten here: https://www.aliexpress.com/item/1005005895848979.html (no affliate links).




SPECIFICATIONS

• Driver configuration: 1 x 10 mm carbon diaphragm dynamic driver (DD) + 1 custom balanced armature (BA) driver
• Impedance: 24 Ohms
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 111 dB/Vrms
• Cable: 2-pin, 0.78 mm, oxygen free copper wire, 3.5 mm
• Tested at $49.99 USD

ACCESSORIES

Other than the IEM, the following are included:
- 3 pairs of "balanced" silicone tips (S/M/L)
- 3 pairs of "bass" silicone tips (S/M/L)
- Cable



The accessories are quite barebones, and are not the most generous at this price point. A carrying case or even foam tips would have been appreciated.




The black "balanced" tips increase soundstage and the treble frequencies, whereas the white "bass" tips boost bass as per their namesake, with some slight compression in soundstage.



The stock cable is a 4-strand oxygen-free copper wire - this is thin with some microphonics - and it sadly doesn't have a chin cinch. As per the predecessor Fiio FD11, the 2-pin connector on the FH11 features a recessed circular design, so the majority of aftermarket cables may not fit this IEM, unless if the cable has very long pins or one shaves away the sheath of the cable to accommodate the round recessed port. It only comes in a 3.5 mm (single-ended) termination, which is gold-plated.

Should you wish to, you can find a 4.4 mm (balanced) cable for this IEM here: https://www.aliexpress.us/item/1005005916729624.html or even get a MMCX-2-pin adapter for the FH11/FD11 here: https://www.aliexpress.us/item/1005005897984127.html

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


BUILD/COMFORT



The shells are fashioned from liquid die-casted zinc alloy with electroplating. The shells are literally built like a tank and should survive a drop! The mirror-like finish is very elegant, though it may smudge or scratch easily.

The earpieces are on the slightly heavier side, but I faced no comfort issues, with the smooth inner edges not having any awkward protrusions to stab the ear. The nozzle seems of decent length, though those with larger ears may perhaps need longer aftermarket eartips like Spinfits.




Being a vented IEM, isolation is average. I did not encounter any driver flex but this is partially dependent on ear anatomy and type of eartips used, so YMMV.




INTERNALS

The Fiio FH11 is a hybrid. A 10 mm carbon diaphragm DD handles the bass, while a custom BA settle the rest of the frequencies, and these are housed in a 3-chamber acoustic cavity.

This carbon diaphragm DD is also found in the higher-end FH15 and FF5, and this diaphragm is purportedly 9 times stronger than steel, with 1/4 the weight of an equivalent beryllium diaphragm.

Like the older FD11, the FH11 looks like a snail shell, which incorporates the "C-shaped acoustic flute" design. This is a creative acoustic labyrinth concept to lengthen the sound tubes so as to increase sub-bass quantity, because higher frequency sounds are dissipated first. As we will read below, the FH11 is near-basshead in terms of quantity, so the conch shell design is not hyperbole.


DRIVABILITY

I tested the FH11 with the following sources:
- Apple dongle
- Cayin RU7
- Colorfly CDA M1 DAC/AMP dongle
- Creative Sound Blaster X5
- E1DA DAC/AMP dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Khadas Tone Board -> Topping L30 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 Fiio FH11 is easy to drive, amplification is not truly required.


SOUND & TECHNICALITIES


Graph of the FH11 via IEC711 coupler. 8 kHz is a coupler artefact peak.

Tonally, the FH11 is an unashamed V-shaped set. This confers a very "fun" tuning, and this IEM should be quite consumer friendly, with a big bass to synergize with head-banging sessions.

Compared to other $50ish USD hybrid rivals, the FH11 is above average in technicalities. Imaging is quite well portrayed, with decent micro-detailing. Soundstage is wide, but perhaps average in depth and height.

Timbre is not too bad for a BA containing set, and isn't too metallic. There are definitely worse offenders out there when it comes to hybrids.

The FH11 almost hits basshead levels in quantity, and is probably just a level shy of jaw-rumbling headache inducing rumble. When fitted well with a good seal, sub-bass extends deep, with a visceral reverberation.

In terms of quality, texturing is above average, though speed is on the slightly ponderous side, with mid-bass bleed encountered. This is not surprising considering the huge bass on tap, and bassheads will rejoice with the tuning choice. For those who want a less obtrusive bass for genres like classical and jazz, you might need to look elsewhere though.

As per the V-shaped soundscape, the lower midrange is recessed, with the mid-bass bleed adding lots of warmth to this area. Transparency takes a hit in the lower mids as a result, though some folks will like the added warmth and heft to the tuning. The upper mids are boosted but are just at the edge, with the humongous bass balancing out this area and pulling it back from overt shoutiness.

The lower treble continues on from the uplifted upper mids, and this gives quite a lot of clarity and resolution at this frequency band. After the 4 kHz peak, the treble thereafter rolls-off gradually. Thus, sibilance is surprisingly very mild, and high-hats and cymbals are not overly emphasized. We get moderate sparkle and the FH11 is probably not the most airy set out there.


COMPARISONS

Comparisons were made with other budget hybrids around the $50 - 100 USD mark. Planars, single DDs and pure BA types were left out of the equation as the different transducers have their pros and cons.



CVJ Mei

The Mei is a hybrid that has 4 tuning options via tuning switches, so it is more versatile. With both switches up, this bestows a crisp neutral bright tuning with the best technicalities.

On this setup, the Mei is much brighter, with more air and treble sparkle. It is less bassy though, but the upper frequencies can get fatiguing and harsh for treble sensitive folk, and sibilance is quite jarring. Timbre is also more metallic, with a thinner note weight on this setting on the Mei.

With both switches up, the Mei has better micro-detailing and imaging, but soundstage still goes to the FH11. The Mei has bad hiss on sources with poor noise floor, which can be distracting during quieter parts of the music.


KBEAR Ormosia

The Ormosia is a U-shaped hybrid with less bass than the FH11. The Ormosia is inferior in technical prowess, with worse soundstaging, imaging and micro-detailing, compared to the FH11.


TRN Meteor

Like the Ormosia, the Meteor is another U-shaped hybrid with less bass than the FH11. In technicalities, the Meteor is the weakest of all these discussed hybrids, and is many leagues behind the FH11, with inferior soundstaging, imaging and micro-detailing.

The Meteor however, has a thicker midrange and slightly better timbre, though it has driver flex.


CONCLUSIONS

The FH11 incorporates Fiio's "C-shaped acoustic flute" snail-shell design, and this brings immense bass to the table. Sporting a "fun" V-shaped profile, this consumer friendly tuning is great for a head-banging time. The FH11 is easy to drive, and also has good build and comfort, in addition to decent timbre for a BA containing hybrid.

Compared to some pricier budget hybrids, the FH11 actually has above average technicalities, and fares quite competently in this metric.



With massive bass, there is some inevitable mid-bass bleed, with loss of bass tightness. Purists who want a less intrusive bass might also prefer a more tamed lower end. Sadly, like the previous FD11, the FH11 has a proprietary 2-pin housing, which may affect consumers who want to pair aftermarket cables with it.

Nevertheless, of the current crop of budget hybrids, most suffer major flaws in some form or the other. The FH11 fares well in most departments, and is a hybrid to consider for those searching for a "fun" bassy listening session.