Disclaimer:

None needed. Bought with my own money.



I am not an expert in this hobby nor claim to be an audiophile. I just love listening to music and am fond of writing articles.



Introduction:

These are quite the unknown headphone brand on head-fi. I only know three people that also own or have tried a product from the brand here on head-fi. Shini is mainly focused on clip-on headphones from the listings I’ve seen on Aliexpress, Shopee, and Lazada. There are at least four more models that they produce, other than the one in this review. The Shini S-520 is an all-plastic build, clip-on headphone available in multiple colorways. I bought these for 2 USD on Shopee but I’ve seen them on Aliexpress for as low as 1 USD. At a sensitivity of 123 dB and impedance of 16 ohms, these are hard to drive. I doubt that the specs listed is real. It maxes out my iPhone 5s, which is rated at 1 Vrms, and just barely reaches my listening volume (I would also like to mention that there is no distortion at max volume). Using the SD01 amplifier, I need 9 less clicks and there is a perceivable improvement on sound quality with very slight distortion at max volume.



First off, for those who might be thinking that all of the Shini headphones have the same driver, I can at least confirm that the S-520 (left) and the Q-140 (right) don’t use the same driver based on the pics I’ve seen. Not sure with the other models.

*credits to @xilon for the Q-140 pics



*Mine arrived with swapped drivers. Really easy to fix without soldering needed. Just open them up and literally switch them. Xilon posted pics of said procedure.



These were plugged to my iPhone 5s with the SD01 amplifier for the review.






Build and Comfort: These are my first foray into headphones, particularly clip-on style. Everything is made of plastic and feels alright, kind of like what is used in opaque MX500 shells. They’re small as well in a cute way at just 40 mm. Cable is garbage, and I suggest you recable them (which I did). Regarding comfort, these are the most comfortable (ridiculously light) and most secure (thanks to the hooks) audio gear I’ve put on my ears. But of course, YMMV.



I would like to point out that it is very hard to find replacement earpads for the Shini’s. They’re just too small for the 3rd party suppliers.



Now, onto sound:



For this review, the headphone was left in stock mode, without mods other than a cable change

*These might seem bright, bass-anemic, and shouty at first. But trust me, just give your brain time to adjust to the SS and you’ll be in for a rollercoaster ride.

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Bass – tight and textured. Fast as well and can keep up with all of my songs (particularly the faster-paced ones). Rolls-off starting 70 Hz and is slightly north of neutral. Sub-bass is basically non-existent. That might seem downright bad, but this is what surprised me - it is far from bass-anemic, which is what I expected what with the lack of seal and all. The quantity is enough to survive EDM/Mainstream Pop and not sound “weird” or “lacking.” With only the iPhone 5s, bass lacks impact. Connecting it to the SD01 amplifier and you get that nice thumping bass. Personally, I would have wanted better extension (down to ~40 Hz) which I think an earpad change would help. However, this would probably affect the midrange and treble, resulting in a darker presentation.

Midrange – musical. That’s the word that best describes it. Everything just sounds so sweet. Vocals are intimate and instruments are so realistic. There is this weight with the vocals that always makes me reach for the Shini’s when I listen to music. Acoustic guitars, in particular, have this refined characteristic that I can’t describe. BUT, it lacks the bite that one might hear from an IEM and may sound boring to some. Might be shouty as well due to the sound signature, especially with that bass, which further highlights the midrange and treble in the presentation.

Treble – sooo controlled. It’s the only gear I have which does highs so well. Even with multiple and continuous cymbal strikes, it reproduces each strike with distinction. Upon initial listen, I was hearing a few peaks, but after a few hours of burn-in, it lessened, which just might be my brain adjusting to the signature. There was no sibilance or pierce heard, as well.

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Timbre – Nothing sounds weird or wrong. No thinness as well, whatsoever. Heck, I dare say that these have the best timbre that I’ve heard so far. It’s just so realistic-sounding.

Soundstage – The most holographic experience I’ve had. It’s not particularly wide nor long nor tall, but it’s just so well done, giving this out-of-the-head experience. Partnered with the excellent imaging, it’s just awesome.

Imaging – Sound travelling from left-to-right is unmistakable and defined. It’s effortless to locate where sound is coming from, as well.

Separation – They just continue surprising me. Anything I throw at them, they handle like a pro. Math rock, guitar virtuosos, electro – nothing at all made these headphones muddy-sounding or become unlistenable. Instruments stay separated and don’t go over each other.

Detail-retrieval – The area written in bold letters that is a giveaway this is a 2 USD headphone. You hear detail, alright, but nothing like that of say, a $10 modded IEM that I have (apples-to-oranges, I know, but still…).



Comparisons:

*I currently do not have other headphones to appropriately compare them to SQ-wise.



Conclusion:

I need help hyping these up. Listening to them made me regret spending money on the buds/IEMs/TWS that I bought (SFR KP580 excluded). I’ve seen the Shini’s go for as low as 1 USD on Aliexpress and I highly recommend you guys buy them. There is nothing wrong with the headphones – tight and textured bass, clear and musical midrange, controlled highs, excellent separation and imaging that is just insane considering the price, and of course, the comfort it brings. IF they could just release one with better build quality/material and a cable you can actually use, I would immediately buy the whole stock, even if they sell for 10 USD. Something like a Shini to rule them all.



NOTE: I don’t advise to use the Shini’s outside as they have crazy sound leakage and non-existent noise isolation (they don’t look good on ear because they’re so small, personally speaking . I quite like the design, though). A quiet room is the way to go for this one.

Disclaimer:

I would like to thank Takstar for providing a review unit of the HE580. Rest assured that my impressions written in this review are my own personal thoughts and opinions and in no way influenced by outside parties.

Check out the Takstar HF580 on their website: LINK HERE

I am not an expert in this hobby nor claim to be an audiophile. I just love listening to music and am fond of writing articles.


Introduction:

The HF580 was released a few years back and received some hype due to it utilizing the same driver as a 600 USD planar wooden headphone. Everything matches – from the rated impedance and sensitivity, renders as well as the dimensions. Always seen at ~150 USD across multiple online platforms, does it offer off-the-charts value or is it a missed shot?


Asus X409 > KGUSS BH3 > Takstar HA101 > Transducer

It’s a planar, you need to amp the HF580 but it isn’t as bad as it seems and is relatively easy to drive.


Build and Comfort: Everything is metal except for the cups themselves. Really heavy but you get used to the weight after some use. Hifiman Deva and HE400se feel like toys after holding these.

Headband adjustment is of the sliding type, no scratchy feeling whatsoever, is very smooth and holds its place. The leather bit is acceptable enough and doesn’t feel cheap at all. Then this is where it goes leaning down – there’s not enough padding than what I would have liked for my head. Tolerable but I would have appreciated more. You start feeling it resting on your head after a few hours in. And the HF580 being particularly heavy doesn’t work with the light headband padding. The metal end bit at the end has a Takstar branding at the outside and L/R markings inside.

Cups themselves swivel a bit for that extra comfort adjustment (front-and-back). It’s in a piano black finish with the metal grill having a shiny silver outline. Personally speaking, it looks cheap and the cups are very fingerprint-prone.

Clamping force is of the stronger side.

Cable is attached – one each for L and R. I could have accepted every fault of the design if the cable was detachable, but alas, it isn’t. While it is usable, thick, long (at least 1.2 m), and has a metal jack (splitter is plastic), it just doesn’t sit well with me. It’s like I have two garden hoses attached to the headphone. Hit the cable near the cup and you hear the two wires moving around inside. Good thing that a pair of female MMCX only costs 2 USD so it will definitely be something I’ll do in the near future. It does have strain relief with L/R markings so I’ll give Takstar that.

Earpads are of the thinner side but I didn’t experience my ears touching the driver. I personally prefer the cloth over the leather as it is more comfortable and plays better with the HF580. Cloth – airier, less harsh; leather – more V-ish, harsher. Foam retains shape. Choose based on preference.

Surprisingly, isolation and sound leakage aren’t as bad as the two other open-backs I have but still undeniably open-back. Below average for both.




NOTE: Very easy to do modifications, be it as simple as adding foam, or complex like drilling new vents, because the HF580 is held by screws without any glue that allows for easy opening and access to the driver/PCB/grill/cup.


Package: ¼" adapter. Paperwork. Manual. Cloth earpads.



Now, onto sound:

For this review, the headphone was not all stock. I did mods as well as changed to the cloth earpads with a listening volume of low-medium to medium. The mods were adding foam to the cup cavities and a layer of cotton behind the driver. Without them, upper midrange sucked really bad, both figuratively and literally (scooped/cupped/hollow/honky/sLoWed and ReVErbED-sounding).

Of the three planar headphones I have tried, the HF580 exhibited the most recessed upper midrange of all and just sounded so weird without EQ.

The foam served as a sort of acoustic dampener (don’t know the right term lol) inside the cup. There are pockets/cavities in the outline of the cup themselves and I just inserted the same protective foam from the HF580 box to smoothen/lessen unwanted resonance/echoing inside the chamber. Layer of cotton is to reduce bass quantity and further remove unwanted resonance.

Another tip I have read that improves the HF580 is to change earpads to the SendyAudio Aiva ones, about 35 USD on Ali or to a fabric earpad made for the HM5 for 8 USD.

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Bass: slams you hard, like face-to-the-wall, physical-feeling hard. I just have a love affair with the few planar drivers I’ve tried, they do something magical with the bass. It sounds solid and dare I say, dynamic. Close-to-neutral tuning with a hint of warmth, then add in the planar capabilities and it brings that weighty, engaging and satisfying bass experience. It also does not have that unnaturally fast decay (still fast, nevertheless) and is not the most open-back design which in turn provides sub-bass rumble, which definitely surprised me– that, my friends, is exceptional considering it’s an open-back. You can use the HF580 with any genre because of the bass response. That extension is also the reason why the bass “feels” so solid and weighty. Texture is well-registered without sounding analytical due to the tonality and control is retained all throughout the musical experience. The HF580 renders the most detailed bass of all transducers I have on hand. Checking with a sine sweep and the HF580 reaches sub-bass frequencies effortlessly without any rattle/distortion.

Midrange: Majestic. It’s neutral without sounding cold because of the influence of the bass, but then the ethereal highs grant air. It’s good - like really, really, really good. The positioning is perfect – not too forward where it is in-your-face nor way recessed that it sounds drowned. Just right – you between the singer and the instruments, spending the best time of your lives. The midrange is highly resolving, delivering realism (THAT BITE AND CRUNCH WITH ELECTRIC GUITARS!) and subjective vocal emotion with every song. There is no bias towards male or female vocals and both sound natural. No roughness at all and just sounds effortlessly realistic. Highly textured vocals – I have now listened to female vocal bliss. If I haven’t mentioned it yet, this is endgame for me.

Treble: the brilliance, energy and air it brings without any fatigue and sharpness is my kind of treble heaven. This is possible because the lower treble is more relaxed compared to the further-up frequencies, avoiding said issues (including splash). But because of the planar driver, macrodetail, and microdetail in extension, is still registered and is resolving. Complimenting the warmer-than-neutral, weighty bass response and realistic midrange, it is just a very, very “musical” listening experience. Extension is endless (treble emphasis is on brilliance and air frequencies) and you will hear every nuance of the treble region, while maintaining articulation and control across the board. This is what I would describe as “ethereal” – treble perfection for my tastes. I don’t know why but there’s this lightness to it that just makes everything sound unbelievably airy. And my god do cymbals sound crisp.

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Timbre: with a little bit of modding, it sounds as natural and realistic as it can get, without any metallic/artificial tint.

Soundstage, Imaging, and Separation: Soundstage isn’t as “open” as I would have liked with the expectation that it’s an open-back (HF580 must be one of them semi-open backs). It’s more of an intimate and isosceles triangle-esque presentation where you are with the artists and their instruments compared to something more hall-like. This type of staging does work wonderfully with the signature. It has exceptional depth, height and layering considering it can be found for less than 150. That capability also lets it avoid being congested-sounding. There is nothing wrong with the imaging and spatial cues are focused and easily heard. Usual in this price bracket, the HF580 doesn’t experience any challenge keeping up with my playlist and lives in the penthouse – instruments are highly separated in presentation and everything is effortless to discern.

Detail-retrieval: Highly detailed pair but it doesn’t jump at you. You’re going to hear everything in the music without sharpness or fatigue. Benefits of a “TOTL” planar driver. Add in the resolution and OH BOY! This is like VR for your ears. The realism is exquisite.

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Conclusion:

IMO, just the fact that it shares the same driver as a 600 USD headphone makes it exceptionally worth-it for the price it sells for. Build, excluding the cups, is as premium as it can get for 150 or even less (excluding cup), and the tonality w/ mods is of the “balanced” side (using balanced because I don’t know how else to describe the signature). But, then again, you really need to do mods or EQ the upper midrange and increase it by a few decibels to be “correct-sounding.” Adding foam inside the cup cavities is optional but recommended. It also has attached cables, so there’s that. A positive view in that is that ALL of these “flaws” are fixable with relatively easy-to-do modifications. Think hard if you see the value in the Takstar HF580.

While others may see that the need to EQ and mod is a straight-up NO-NO, I see differently. The HF580 only needs a few dB more in the upper midrange frequencies (or lower the bass quantity) and
nothing else. After that, I don’t think anyone can say otherwise after listening to the HF580, MOST ESPECIALLY at the price it sells for.



NOTE: I have no idea if it was updated since its initial release. I asked Takstar but wasn’t able to get an answer (though I did ask a multitude of questions so maybe that one wasn’t noticed )



THIS IS CURRENTLY MY ENDGAME W/ MODS!



UPDATED MOD (8/8/21): Stock cloth pads. Still attached cable. Foams still in the cup cavities. Now with a layer of cotton to further lessen unwanted resonance and as a side effect, lessens bass quantity, which then brings up the midrange, particularly upper midrange. Now there is no need for EQ.

Disclaimer:

I would like to thank Smabat for providing a review unit of the M2s Pro. Rest assured that my impressions written in this review are my own personal thoughts and opinions and in no way influenced by outside parties.

I am not an expert in this hobby nor claim to be an audiophile. I just love listening to music and am fond of writing articles.



Introduction:

The Smabat M2s Pro is a modular, dynamic driver earbud currently selling for 64 USD (on sale at the time of this review). It improves from the company’s initial attempt at modular earbuds, tweaking the design to be more reliable and better implemented. The changing of the driver doesn’t require any soldering and is just as easy as removing the pin (?) and then connecting with the other drivers they sell separately, from 6 USD up to their flagship driver (Super One), at 38 USD. The M2s Pro utilizes a titanium-coated dynamic driver, with an impedance of 40 ohms and a sensitivity of 110 dB (MMCX connection). To “customize” more the signature, one can also acquire damping filters to alter the venting of the shell (sold separately).





Oppo Reno 4 > KGUSS BH3 > Takstar HA101 > Transducer

The stock driver of the M2s Pro is portable-friendly and easy-to-drive. A phone will do, though a more “hobby-oriented” source will bring improvements (varies).





Build and Comfort: Shell is all-metal, with the driver faceplate being an exception (plastic + silicone; mesh is metal). Regarding design, it is simple-yet-classy looking (lightweight, to note). There are sharp points near the female MMCX connection but I didn’t encounter any comfort problems with them.

The M2s Pro follows the design language of the company, when compared to their other models.

It fit me better than MX500 shells but not as perfect as the Zen LL shell (note: I have small ear canal). YMMV on this.

With how the driver attaches to the shell, it just holds there. No mechanism to lock it in place and depends on friction created by the plastic outline of the faceplate and the silicone ring around the shell opening. I didn’t experience the earbud itself falling apart with daily use so I guess the design works? Only time will tell how long that silicone will hold out.

Cable is four cores, in twisted fashion. Every component is made of metal, from the jack to the splitter, slider and male MMCX connector. Regarding the male MMCX connector, out of all my MMCX transducers, only Smabat has ever done this – the L/R markings are enlarged and by doing so, easy to notice and read. I can’t express in words how much I appreciate this design consideration from the company. Another way to determine L and R is to use different colored earbud foams, but as I don’t prefer mismatching colors, the connectors are a huge help. Cable is very light and on the thinner side, so it doesn’t introduce any issues with the earbud design. Twisting is decent and there are no inconsistencies that jump at you. While the cable is thin, I didn’t encounter tangling with casual use.

MMCX connectors don’t exhibit the “helicopter effect” that is common with poor quality ones.

Nonexistent isolation with minimal-to-none sound leakage (depends on listening volume).


NOTE: To easily close the shell, what I do is let the +/- cables to go around the modular system and twisting the driver itself into the shell. I think Smabat has a guide as well on YT.



Package: 1 pair of full foam. 1 pair of doughnut foam. Smabat-branded carrying pouch with a tight closing mechanism (nice touch and very functional when going out).



Now, onto sound:

For this review, the earbud was left in stock mode, without mods using the standard foams included with a listening volume of low-medium. I cannot use doughnut foams as they just slide off the earbud, not just on the Smabats but for all the few earbud shells I’ve tried.

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Bass: the only earbud that competes with the IEMs I’ve tried in this price bracket on bass quality. Out of the few earbuds I’ve listened to, I’ve been assessing them on the factor that they are earbuds, and earbuds in general have inferior bass quality to IEMs. The M2s Pro’s stock driver is way, way different – it goes sub-bass deep, is fast, well-textured, and very clean-sounding. It is still elevated, as usual with earbuds to compensate for the form factor, but still remains a very “mature” tuning with a bit of “fun” due to said elevation. Another thing different is the emphasis, or rather the lack of that mid-bass mountain common to earbuds. Don’t get me wrong, there is still mid-bass presence that provides overall weight, but it is not exaggerated to the point of sounding overly thick, going muddy. Regarding extension, this is the only earbud that I don’t find lacking with more bass-focused tracks, particularly those that utilize lower bass frequencies.

Midrange: if you’ve ever tried listening to an earbud foamless, you’ll notice how well-presented the midrange, particularly upper midrange, is. It can be described as “airy-sounding,” clear, balanced, and in some cases, neutral. Definitely, bass response suffers greatly with this wearing style. Now, what if I tell you that the M2s Pro achieves all of the good stuff even with full foams without the drawback? What this entails is that it provides foamless-esque midrange with its excellent bass quality. There is no bias in the forwardness between the two sexes and is very balanced in the mix, along with the bass and treble. No hollowness at all. Instrument and vocal texture is rendered and well-presented. Midrange peak is around 3 kHz, which works perfectly with my preference (YMMV). If you are sensitive in that region, you will definitely find the M2s Pro to be rather shouty.

Treble: Of the brighter side… but! Emphasis is on treble proper which I greatly appreciate with earbuds, as it helps the clarity and brilliance side of things. I say emphasized and of the brighter side but it isn’t necessarily so. The full foams tame down this tuning and results in a balanced signature. If you want more treble quantity, use doughnuts or better yet, thinner foams. Extension is surprising as heard in the overall presentation – there is a great sense of air with the music. Treble is clean and crisp.

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Timbre: natural. Nothing is lacking or in excess.

Soundstage, Imaging, and Separation: Oh, how I missed this earbud stage compared to the last one I’ve tried. It’s just magical – this sense of width, height, and of course the depth due to the bass extension. Add in the form factor and well, I can’t find anything bad to say about it. Imaging and separation are exceptionally good out of the 7 total earbuds I’ve tried, like IEM-of-this-price-bracket good.

Detail-retrieval: What surprised me the most. I never expected earbuds to render this much detail. Where does this unexpected experience come from? Well, a number of reasons: 1.) the tuning is usually of the more consumer and warmer kind, 2.) form factor doesn’t provide any seal, and lastly, 3.) the driver is just not technically-capable. The Smabat M2s Pro is the irregularity - you hear most, if not all, macrodetail and some microdetail without fatigue and harshness.

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Conclusion:
I’ve completed the trinity of the search for contentment (see account signature). I cannot express in words how good I feel with reaching this point in this hobby. With that, after finishing some pending reviews, I’ll be taking a long break from the audio world (I also have tertiary education to give importance to ). The Smabat M2s Pro is what I call a perfected modular design – easy to install/uninstall drivers without any soldering, MMCX connection, and the possibility of using a different damping filter to tweak the venting of the earbud, thereby changing the signature itself. Add in how technically capable the M2s Pro is with its neutral-with-a-bit-of-fun tuning, and I can definitely say it’s one of the best value transducers of the few I’ve tried. A perfect 5 out of 5. Nothing short of exceptional.




M0/M2s Pro Experiment…

So, I decided to swap out the drivers of the two earbuds and here are my short impressions:

> M0 driver in M2s Pro shell – suffocated, muffled midrange with the still bright treble tuning with a perceived increase in bass quantity, particularly mid-bass.

> M2s Pro driver in M0 shell – similar to the initial pair, midrange sounded muffled. Interestingly, it is also significantly bassier.

The changes in sound due to the shell swap is eerily similar. Now, does this mean that they use the same drivers only with a different impedance? Don’t know. There are also a lot of factors – the indicated impedance (20 vs. 40), how much space the chamber has (resonance and such, as well), how thin/thick the tuning cotton is, damping filter in the vent, as well as the venting itself among others. All of these can affect the sound one way or another. However, I am sure of one thing - the two earbuds are way better when they’re in their respective shells. How far the buds can go with some effort on tuning is something that is up to the wise ones (i.e., those knowledgeable in modding and stuff; awesome individuals).

Disclaimer:

I would like to thank KZ Official Store for providing a review unit of the DQ6. Check out their store on Lazada (Shop at KZ Official Store | lazada.com.ph). Rest assured that my impressions written in this review are my own personal thoughts and opinions and in no way influenced by outside parties.

I am not an expert in this hobby nor claim to be an audiophile. I just love listening to music and am fond of writing articles.


Introduction:

Knowledge Zenith – the man, the myth, the legend. Arguably one of the most important figures of the Chi-Fi world, at least one of the companies that brought it to its glorious state in present times. Straying from their usual offerings, but still sharing similarities with their other products, they release the KZ DQ6 – a 3-DD IEM that uses “XUN” drivers, all for under 20 USD, with a choice of either silver or black. This driver configuration is something that is rarely seen on budget offerings, often times only available for “mid-fi” and up. With a sensitivity of 112 dB and an impedance of 24 ohms, these will be fine with a phone. They have been critiqued by the community for their previous participation/s in the “driver nuclear race” and will the DQ6 just be another brick on the wall, or will it become the mythical KZ that made people love them in the past?



These were plugged to my iPhone 5s for the review.






Build and Comfort: Resin body with a metal faceplate in a matte finish. Quite an attractive shell if you ask me. It has a protrusion that allows for better hold but I can see this being an issue with other people. One concern I have is that the resin part is two-piece. Only time will tell how well it’ll hold up. The cable it comes with is the standard KZ biz – SPC cable, 3.5 jack and ends with a 0.75mm QDC connection. Usable, but it does tangle.




Now, onto sound:


For this review, the IEM was left in stock mode, without mods other than using the MH750 tips (fits nozzle perfectly) as the DQ6 stock tips don’t work for me.

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Bass – I LOVE IT. This is now my preferred “basshead” IEM, quality-wise. It isn’t bloated at all/doesn’t bleed, and leans more toward a sub-bass rather than mid-bass emphasis. Partnered with the excellent control, tightness and texture, even if quite elevated (still a V), it avoids drowning the midrange and treble. I rarely use this phrase, but I can say that the DQ6 plays in the same field as IEMs 6x more expensive.

Midrange – slightly recessed than what I would’ve liked (I prefer forward vocals) but it is still distinct, clear and doesn’t get lost in the mix. Not thick/warm sounding but may be slightly thin for some (particularly in male vocals). Personally speaking? quite natural, I would say. I like how they didn’t emphasize the upper midrange too much which tends to make IEMs aggressive/rough/grainy-sounding. I prefer this laid-back presentation of the vocals the DQ6 offers. Together with the excellent bass quality, the DQ6 gives a pleasant midrange that allows you to listen to music for hours on end. It’s a nice change from my previous IEMs which were more forward in the upper midrange. There are instances of sibilance to note on badly-recorded tracks.

Treble – It has peaks that can get you from time-to-time and has enough quantity to not become dark-sounding. One thing that stands out is the control and airyness of the treble region, not expeected in this ultra-budget range.

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Timbre – quite natural. No metallic timbre, whatsoever. KZ really did a great job with implementing the 3-DD setup (coherent-sounding also as I didn’t notice any difference from my single-DD IEMs).

Soundstage – closest to earbuds, width-wise that I’ve heard. I would’ve wanted more depth and better layering because it barely has enough to give a 3-D presentation.

Imaging – does its job. Won’t blow your mind but it’s decent.

Separation – sufficient. You’ll survive with any genre, IMO.

Detail-retrieval – surprising. I didn’t expect it to render detail due to the rather laid-back tuning (read: smooth-ish). Don’t get me wrong, it’s not distinct/defined, but it is nice to hear detail sometimes showing when listening to music.




Conclusion:

The DQ6 is a wonderful experience coming from the EDX. I was betting on these to save me from avoiding KZ products, and it did so with flying colors. It’s just more natural across the whole spectrum, with a better-looking and more upscale design and excellent fit for my ears. Granted, it’s 2-3 times the price of the EDX but I can say that the DQ6’s performance justifies that. If you want a tuning that you can relax to and one that offers quality bass, natural midrange, and airy treble, then this one’s for you. If KZ refines the tuning of the midrange and treble, utilize a better-fitting nozzle and more premium shell, then we might have ourselves a serious contender as the "best value IEM."

Disclaimer:

I would like to thank Radsone for providing a review unit of the HUD100 MK2. Rest assured that my impressions written in this review are my own personal thoughts and opinions and in no way influenced by outside parties.

I am not an expert in this hobby nor claim to be an audiophile. I just love listening to music and am fond of writing articles.


Introduction:

Korean-Fi. It’s a rarer term here on head-fi from what I noticed. Not a lot of talks regarding this wonderful segment. Radsone, short for Radical Sound, is a South Korea-based company that is “a full stack audio company with a vision to make everyone enjoy high-quality sound easier than before. Music that deeply moves one’s heart should be delivered with high quality.” For this review, we have the Radsone Earstudio HUD100 MK2, a portable DAC/Amp that currently sells for 119 USD with free DHL shipping in most countries at the time of this writing.


These were plugged to my Oppo Reno 4 and Asus X409 for the review.


Technology:

• Compact, yet high-performance / Plays up to PCM 32bit/384kHz and DSD128 / 45 x 32 x 8mm / 21.5g / USB Type C
• Jitter-Resilient / The first audio DAC to adopt ARM Cortex processor and MEMS oscillator to implement Radsone's proprietary algorithm and minimize jitter
• 2 Power x 3 Sound Processing Modes / 1.29Vp Standard, 3.20Vp High Power Output
• Bypass processing mode for pure sound enthusiasts / DCT processing mode for users searching for well-dithered analog-like sound / Radsone-tuned Dynamic processing mode for more powerful sound with balance
• Elaborate 8-layer circuit design to bring the best performance out from such a small size

Click to expand...

Package: HUD100 MK2. Protective case and Adhesive (2x). USB-C to USB-C, 10 cm. USB-C to USB-A, 12 cm. Paperwork. User Manual.

Design and build: It’s mind-boggling how impossibly small Radsone was able to create the HUD100 MK2. This is research & development in all it’s glory. The HUD100 MK2 is a highly portable DAC/Amp and I’d be surprised if there’s a dongle/stack more portable and practical to use than this one (I can think of only one – ddHifi. But, personally speaking, the design itself is a big point of failure concerning durability). Design choice is quite the curiosity – it’s a DAC/Amp that looks like a rectangularly shaped dongle but stacks on a smartphone. I attached a pic for you guys to get an idea of how small it is and the look when used with a phone using the included case. Build is metal and feels sturdy on hand. There’s a light indicator that changes color depending on what sampling rate is utilized. Jack (3.5mm, low power & high power) inserts don’t feel loose and are secure. DSP/Bypass switch satisfyingly clicks in place.

Connectivity: Plug and play. Everything you need is provided in the box, unless you have an iPhone with its determination and rock-solid stand to not adapt USB-C. I, however, had to turn on USB OTG manually for my Reno 4 so that the HUD100 MK2 can be detected in the overly buggy Hiby Music Player. With Poweramp, no further action is necessary to listen to music other than plugging in the HUD100 MK2. When used with my laptop, with first connection, it was automatically detected and finished setting up within seconds. Using MusicBee, there’s no jitter or problem with playing music and the listening experience is flawless.

I, however, wasn’t able to test it with an iPhone due to not having the necessary adapter (Lightning) but it should work based on advertised compatibility.


Now, onto sound:
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The Earstudio HUD100 MK2 is an analytical, neutral DAC/Amp. Bass is linear, tight and isn’t emphasized, providing an articulate reproduction of the region. Midrange is natural, textured and defined, though it might come off as cold for some individuals as there’s zero, zit, null, nada coloring of the sound happening. Treble is very clean and detailed, like I said before, is of the colder, analytical side. Note weight isn’t thin and the DAC/Amp won’t change the overall profile of the transducer used. Technicalities will depend on the drivability of the transducer, but generally - soundstage, imaging and separation improvements are minimal. If you want a pure, clean, clear, and transparent listening experience, then the Earstudio HUD100 MK2 is the DAC/Amp to get.

Regarding the sound modes of Bypass, DCT, and Dynamic, in most cases sonic change isn’t drastic. However, I have noticed that the degree of said change depends on the transducer used. Generally speaking - Bypass is bypass, DCT is more “analogue-ish,” while Dynamic sounds more fun, increasing sub-bass with a slight decrease in mid-bass. For what it’s worth, I prefer to use Bypass for like ~85% of my listening. I do have to note that it only works in 44.1 kHZ sampling rate.

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Low Power vs. High Power: The Earstudio utilizes an unconventional output set-up. When people would most of the time expect one balanced and one unbalanced port, the HUD100 MK2 uses two 3.5mm. The difference comes in power output. Low Power (LP) dishes out ~0.9 Vrms based on tests by other reviews while the High Power (HP) has a beastly ~2.2 Vrms in this bonkers tiny body. Impedance is less than <1 ohm in LP so it shouldn’t be a problem for sensitive transducers, particularly IEMs.

Hiss Amount:

KZ DQ6 (24 ohms, 112 dB) – no hiss on LP but noticeable hiss on HP. Preferred setup is DCT in low power.

Moondrop SSP (16 ohms, 94 dB) – no hiss on LP but that lacks power to drive the SSP. Switching to HP and the HUD100 MK2 doesn’t break a sweat driving the hard-to-drive SSP. No hiss at all. Preferred setup is bypass in high power.

Blon BL-Mini (16 ohms, 115 dB) – no hiss on LP but very slight hiss on HP. Preferred setup is bypass in high power.

Audiosense DT200 (14 ohms, 99 db) – no hiss on LP but very slight to none on HP. Dynamic works wonderfully with this pair in low power.

Click to expand...

Battery Drain: I wasn’t able to do a timed test with my laptop or phone on-the-go due to the COVID-19 situation here in my country. However, with the Oppo Reno 4 that has a 4015 mAh battery, drain isn’t noticeable at all and the HUD100 itself is very efficient while in LP using the KZ DQ6 (low-medium volume; Hiby Music bit-perfect mode). Using HP and noticeably faster drain is observable but what I would still consider negligible decrease in battery life. I don’t know about you guys, but for me, that’s more than enough to last me the whole day


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Conclusion:

The Earstudio HUD100 MK2 is a DAC/Amp made for the modern human living in the modern world of portability, minimalism, and practicality. If you can’t survive the “dongle” and find it as “detrimental for the development of mankind,” then having a more usual “audiophile” stack should be a workaround for you. If you want a clean and neutral DAC/Amp, with two Power Modes and three Sound Modes, coupled with the insane size for portability, then for the sale price 119.99 USD and free DHL shipping (for most countries) on Radsone’s online store, go ahead and grab the HUD100 MK2.

Disclaimer:

I would like to thank AUDIOSENSE for providing a review unit of the DT200. Check them out on AliExpress and Shopee! Rest assured that my impressions written in this review are my own personal thoughts and opinions and in no way influenced by outside parties.

I am not an expert in this hobby nor claim to be an audiophile. I just love listening to music and am fond of writing articles.


Introduction:

AUDIOSENSE. A fairly famous company with a very loyal fanbase. Through the years, they have proven to the market their sublime tuning and design capabilities. They offer IEMs that range from 30 USD up to 400 USD. What we have for this review is the AUDIOSENSE DT200, a 2-Knowles BA IEM in a 3D-printed resin shell, using MMCX connectors. It is rated with an impedance of 14 ohms at 99 dB. As of the writing of this review, there is no other color or cable option other than a carbon print faceplate and a 3.5mm jack. This is my first all-BA IEM, and spoiler alert – IT’s REALLY GOOD!

These were plugged to my iPhone 5s for the review.





Build and Comfort: 3D-printed resin shell, in pseudo-CIEM style. Hands-down the most comfortable and best-built IEM I currently have. It’s light enough to use for the whole day, yet is weighty to give that substantial feel. Nozzle’s metal, and is of average length. These fit my ears like it was specifically made for them and size shouldn’t be a problem as it’s standard and is actually on the sleeker side. As this is a pure-BA, ventless design, these isolate like crazy. Cable is 8 cores, tightly-braided, is light and supple. Splitter and holder are made of metal and feels high-quality. The jack and MMCX housing however are of plastic. I wish they went with a different type of earhook for a more “custom-like” fit of the cable on the ear.





Package: 3 pairs of silicone tips (S/M/L). 3 pairs of foam tips (one size). Paperwork. QC certificate. Apocalypse-certified case. Cleaning brush. 8-core MMCX cable advertised as SPC. Extra nozzle filters and application tool.


Now, onto sound:

For this review, the IEM was left in stock mode, without mods other than using the BQEYZ Summer clear tips in small. These tips are similar to the vocal tips of other IEMs in this price range. In my use case, I enjoyed the DT200 the most at medium listening volume. FWIW, I’m usually a low-medium volume listener.

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Bass: F1-like. Clean, fast, tight and controlled. A slight mid-bass boost but isn’t overly done to become a V. Attack and decay are quick, maybe even too quick. The difference between BA and DD bass is definitely noticeable, although the Knowles of the DT200 extends fairly well and doesn’t sound lacking in the sub-bass region for my non-basshead ears. It’s just that the Knowles BA doesn’t provide a lot of rumble and punch, as compared to DDs. Preference-wise, I love how the DT200 renders texture in bass lines. Minimal to zero bass bleed.

Midrange: most neutral I’ve listened to. Peaks closer to 3 kHz unlike usual tunings at 2-2.5 kHz. Not colored at all and the tonality is to-die-for. Due to the soundstage being in-your-head, vocals are presented in a more intimate fashion, but isn’t shouty or grainy at all. Very smooth midrange, without any sort of recession and some form of fatigue. This one’s for my fellow midrange-lovers. Male, and most especially female vocals which I live for, are the highlight of this IEM. The tuning of the DT200 allows for the highlighting of this region and at the same time complementing its presence.

Treble: delicate and very natural sounding without unpleasantries. Rolls-off early starting at 8 kHz so there’s not a lot of brilliance and is very fatigue-free. It’s not the most detailed nor fastest I’ve heard (piezo just hits different), but it’s up there and can keep up. Even if you turn up the volume above your usual listen, the DT200 wouldn’t pierce your ears. Controlled treble without any sibilance as well.

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Timbre: This is the first IEM I’ve listened to that is pure-BA. No metallic timbre whatsoever and is very organic-sounding. Quite DD-like if you ask me.

Soundstage, Imaging, and Separation: Decent separation and imaging bottlenecked by intimate soundstage. It has good layering capabilities. However, the width and height lead to a very intimate presentation. I’m assuming it’s because of design (ventless) and driver (only 2 balanced armatures) limitations. An acceptable trade-off, personally speaking because the tonality of the DT200 is the most pleasant thing I’ve listened to. It’s a perfect tonality in a sense for me – neutral with a slight bass boost. Basically what one might call an all-rounder tuning depending on the genres they listen to.

Detail-retrieval: If you’re looking for a critical pair, kindly look elsewhere. This is not the specialty of this IEM. As treble rolls-off quite early and isn’t emphasized relatively speaking, there isn’t a lot of detail heard.

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Conclusion:

Because of this IEM, I have now found my preferred sound signature. With excellent build, comfort, package, and tonality, the AUDIOSENSE DT200 is a wonderful deal at 150 USD. I feel like it’s just one more piece away, and then it’s game over for the rest of the competition!


****If you have other questions/concerns with the IEM mentioned, feel free to message me****

Disclaimer:

I would like to thank Mr. Wenbin and Sennheiser for providing a review unit of the IE 400 Pro. Rest assured that my impressions written in this review are my own personal thoughts and opinions and in no way influenced by outside parties.

I am not an expert in this hobby nor claim to be an audiophile. I just love listening to music and am fond of writing articles.



Introduction:

I guess there’s no need for an introduction with a brand as established as Sennheiser. Released in 2019, the IE 400 Pro was initially sold for 349.95 USD. It’s the embodiment of keeping things simple, with a single dynamic driver responsible for sound reproduction (123 dB, 16 ohms). Marketed for musicians to be used while performing on stage, does it fit this hobbyist’s taste?




These were plugged to my Oppo Reno 4/Asus X409 with the Earstudio HUD100 MK2 (bypass, high power). No need for external amplification or more power, as a phone will do.



Build and Comfort: While it is in no way made of premium feeling materials, it sure is built well (German-made). Shell is arguably the most ergonomic design for all ears I’ve tried, tied with the Moondrop SSP. Practical, small, light and functional – it disappears in your ears once you put them on. Only time will tell how long the plastic shell will hold up but considering that this was intended as a stage monitor, Sennheiser’s confident that it will be able to handle abuse without breaking.

Nozzle is of below average length and average width. Would fit most third-party tips but I won’t recommend it as the stock tips play a part in the overall tuning of this specific IEM.

Cable’s usable but isn’t the best. Jack, splitter, slider and connectors are all made of plastic. Earhooks is memory style, meaning that it will hold its shape. Slight microphonics are heard when turning your head. In using them, I found that widening the cable “opening”, then putting on the IEM, and pinching the part where the cable starts going over your ear provides the easiest, fastest and best fit for my ears. I can’t say I love the choice of memory earhooks. However, I do see the reason for this, as again, this is intended as a monitor, and it’s a given that plastic parts would last longer than metal on the stage. Memory earhooks would also be able to hold onto the musician’s ear better while performing than other designs. It also does used proprietary connectors designed for said purpose.

While the stock cable’s fine, there was something that I really wanted to do – make my own cable for the IE 400 Pro. With that, I started browsing for parts on Shopee and settled on a set of connectors and cable to start making my very first self-made custom cable. In the time of this review, I still have not made the cable, but it will surely be done in the future.

Average isolation. Slightly microphonic stock cable.


Package: 6.3mm adapter. 3 pairs of silicone tips (S/M/L). 3 pairs of foam tips (S/M/L). Cleaning tool. Stock cable. Carrying case. Paperwork.





Now, onto sound:

For this review, the IEM was left in stock mode, without mods, using the stock small silicone tip with a listening volume of low-medium to medium. As there is nothing offensive in the tuning, turning up the volume would cause no issues (i.e., harshness). FWIW, I mainly listened at medium loudness with the IE 400 Pro.


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Bass: Easily the best bass response I’ve heard in an IEM. It’s detailed, sufficiently fast, well-textured, and drops to the deepest sub-bass frequency. This is premium bass quality right here. It’s engaging and embraces wholeheartedly sought-after characteristics of a DD bass – weight and impact. While the driver size is of the smaller side for a dynamic at just 7mm, what surprises you is with how deep it can go effortlessly. It’s more of a sub-bass focused tuning but mid-bass doesn’t sound lacking/light, which I personally see allows for better transition to the midrange. I do have to warn that this has A LOT of bass. But while it is more-than-elevated, due to the quality, it doesn’t eat away the soundstage of the IEM nor smear across the spectrum (unlike a certain IEM I reviewed recently), staying focused and defined all throughout the listening session. Overall an engaging bass response that would play along with any genre. No bass bleed at all. Visceral.

Midrange: Neutral with a hint of warmth. The listener would need some time to get used to the rather low pinna gain of the IE 400 Pro, way different than the “Chi-Fi” tuning with the more than elevated upper midrange/lower treble. It would sound “muffled/veiled” at first due to said pinna gain. Once you get set and your ears have gotten used to it, it’s pure bliss. The naturalness of the midrange of the IE 400 Pro is something you’ll always be looking for, for the rest of your life. Vocals are rich, and while not the most transparent-sounding (tuning plays a role on this), does resolve well to not sound overly smooth. Male vocals exhibit a slight warmth which adds in the weight and richness of each line. Female vocals stay close to neutral without any coloration and is balanced in presentation with male vocals. No harshness or graininess heard in the IE 400 Pro. While it may sound vague, the tuning of the midrange is something that touches your heart and triggers several emotions in the music. There’s just this magic in IE 400 Pro.

Treble: On the brighter side, but very much welcome. With the conservative tuning of the midrange and the elevated bass, the treble compensates with a sparkly, crisp, airy, and brilliant presentation. That airiness also affects the midrange, giving this sense of “air,” especially with vocals (and in extension, soundstage). Echoing sounds run across the stage exceedingly well. No instances of excessive splash that leads to strident highs and pierce that causes fatigue. I did write that the treble is tuned brighter-than-neutral, but even in higher volumes, there is nothing offensive/harsh about it. Might be a different case for treble-sensitive folks.

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Timbre: Organic-sounding. Nothing sounds wrong at all. Also very cohesive, with it being a single-DD.

Soundstage, Imaging, and Separation: Considering that it’s a single DD and how tiny it is, soundstage is exceptional. With the way-more-than-neutral bass response and conservative midrange, one would have expected a more in-your-head presentation. But that is not the case at all due to the overall quality. This is the most realistic sounding soundstage in an IEM I’ve listened to where no dimension is favored than the other and height, width, and depth show remarkable performance. Imaging is sharp and you’ll be able to create a mental image of where instruments are located in a stage and where exactly sound is coming from. Separation is also impressive for a single-DD and no region goes over each other with every layer having a space of their own to operate, staying distinct throughout the listening session.

Detail-retrieval: Not the IEM for this. The upper midrange/lower treble, while resolving enough, is too “relaxed” of a tuning to highlight macrodetail. It does show, but doesn’t jump at you. Microdetail-retrieval, meanwhile, is a different story. As treble is shimmery and extends well, lots of them are perceived while listening, even with the elevated bass though not on the same level as say that of a piezoelectric.

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Conclusion:

Sonic-wise, I’d give it a 5/5. A 6 even, if possible. However, with the package you’re getting for 349.95 USD (base price), there are more premium options out there at a cheaper cost (though I haven't tried them, just read about them). But then again, is it German ? Good thing you won’t be looking at your IEM when you’re comfortably listening with the IE 400 Pro in your ears and it’s also now easier than ever to purchase aftermarket cables even with the proprietary connectors. With that, I give the Sennheiser IE 400 Pro a score of 4.5/5.

As this is a rather old IEM, wait for sales and grab it fast .

Disclaimer:

I would like to thank Ms. Cloris and Moondrop for providing a review unit of the SSP. Check out their store on AliExpress (MOONDROP SSP In Ear Earphones Super Spaceship Pulse Earbuds Dynamic Driver Headphones with Detachable Cable 0.78 2Pin Headset|Earphones| - AliExpress) Rest assured that my impressions written in this review are my own personal thoughts and opinions and in no way influenced by outside parties.

I am not an expert in this hobby nor claim to be an audiophile. I just love listening to music and am fond of writing articles.



Introduction:

Moondrop, a brand born in 2015, has consistently been on the rise ever since their creation, developing IEMs and Earbuds from “TOTL-fi” to “budget-fi.” One of their newer releases, the Moondrop SSP, is a single-DD IEM which utilizes a beryllium-plated driver, available for the masses at 40 USD. At the time of this review, there is only one colorway available – matte blue with a gold accent. It’s sibling, the SSR, is essentially the same with just a more neutral bass response. With a sensitivity of 115 dB/Vrms and an impedance of 16 ohms, these are really hard to drive. A typical phone will not be enough to drive these efficiently and amping is mandatory.



These were plugged to my iPhone 5s with the SD01 amplifier for the review. With only the iPhone 5s (1 Vrms), these have impactless bass, thin note weight (and vocals, as well), and splashy treble. Running them with an amplifier improves all of the aspects of the SSP’s sound quality.







Build and Comfort: Beautiful. If there is a universal more comfortable than these, I’d be surprised. In all honesty, it looks like those finger-hearts that Koreans made popular. These are ridiculously small and compact, as well. It’s a metal shell done in a matte blue finish with a gold screw as an accent. Wearing the SSP is different than other shells – they don’t sit on your ear, they hover like bullet-type IEMs. I do have to note that going up-a-size with tips allowed for a better seal and a more secure fit for my ears. Thank you, Moondrop R&D team for this shell! Regarding the stock cable, it feels nice and comfortable. Very “jelly-like.” It’s a 4-core SPC cable done in a 2-core fashion with a 0.78mm connector. Earhooks are very pliable and shouldn’t be a problem for most ears. Quite aesthetic as well together with the IEM itself, further highlighting the beauty of the shell. I do have to mention that regarding sound leakage and isolation, these are “earbud-like” which may be a pro or con, depending on your preference (a huge pro for me, personally speaking).



Now, onto sound:

For this review, the IEM was left in stock mode, without mods other than using white Starline tips (small) which I found worked best with the SSP.

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Bass – fast, tight, and textured. Has a mid-bass hump that isn’t overly done and just enough to give it body to not sound thin. If this is what Be-coating is capable of, I do wonder what a pure beryllium driver’s bass sounds like. Each part of a bass line is defined and will never muddle into one monotonous note. I do have one caveat, it’s not the most extended. Sub-bass quantity isn’t a lot, but it should be enough for non-bassheads. It might seem weird to say this, but the SSP does not have the “fun” bass one may expect from a V-shaped IEM.

Midrange – I do not find these shouty at all. I got confused at first listen because that was what I read online with user feedback. Doesn’t sound thin as well. I say they are pleasantly forward and natural-sounding. Guitar solos have the “bite” I always look for in an IEM. Very resolving midrange, due to that elevation in the upper midrange. No sibilance, to note. I do have to mention that I prefer listening to female vocals and have noticed that male vocals are noticeably recessed compared to the former.

Treble – clean and controlled. Not peaky at all which does help with avoiding fatiguing highs and to give a much smoother listening experience. It’s not the most defined and extended treble I’ve heard but it is up there with the few audio gears I’ve acquired. Very airy presentation. Might be too polite for some as it’s not the “energetic” highs.

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Timbre – it’s… a different experience? The timbre is not the problem (quite natural), but rather the tonality. It leans more toward the analytical side of things, even with the north-of-neutral bass response, and is very different from an IEM I recently reviewed. As an analogy, it’s like having the Tesla Model S go up against a 1973 Ford Mustang. This, of course, will be subjective to preference.

Soundstage – intimate. Quite in-your-head, especially with the forward female vocals. However, coupled with the excellent imaging and separation, you won’t find the stage congested at all. It has enough width and depth to provide a holographic-ish experience.

Imaging – magnificent. You can easily pinpoint where sound is coming from. It is the most focused I’ve heard.

Separation – brilliant. Handles everything like a champ. No matter the genre, instruments will never go over each other, forever staying separated.

Detail-retrieval – with the magnificent imaging and brilliant instrument separation, even if it’s not the most detailed, you easily hear whatever sprinkling detail it has.




Conclusion:

This is some cool stuff right here. Reminded me so much of Shikimori-san (IYKYK). If you want fast and tight bass, resolving midrange, and delicate treble, then this one’s for you. Add in the beautiful and comfortable shell (with the attractive matte blue finish), excellent imaging and separation, and we have ourselves a winner. The Moondrop SSP is one of the cheapest Beryllium-coated, single-DD IEM out there. If you have 40 USD to spend on an IEM and wish to get on the Beryllium hype train, I fully recommend these, if you have something that can provide it more than 1 Vrms of power.

Disclaimer:

I would like to thank Knowledge Zenith for providing a review unit of the AZ09. Rest assured that my impressions written in this review are my own personal thoughts and opinions and in no way influenced by outside parties.

I am not an expert in this hobby nor claim to be an "audiophile." I just love listening to music and am fond of writing articles.


Introduction:

They say that third time’s the charm, but what if in my second time was already amazing? EDX (nope. still don’t like it). DQ6 (awesome ultra-budget). And for this review, AZ09. The KZ AZ09 is an “upgrade” in a sense if you want to turn your wired IEM into a TWS. It’s only available in QDC, is AAC limited, charges via USB-C, and is currently on sale for 16 USD on Shopee/Lazada. This is KZ’s first ever product that delves into wired IEM-into-TWS conversion and hint, hint: it’s AWESOME! If you can get by the cons, that is.


These were connected to my Oppo Reno 4 for this review as it is the only device I currently have that has Bluetooth 5.1 (close to AZ09’s 5.2). I did test it with my laptop and it works as intended.


Technology:

• TWS high-definition Bluetooth upgrade earhooks, support AAC audio encoding transmission, professional sound quality comes from the dual protection of chip blessing and AAC advanced encoding capabilities. Adopt AAC advanced audio coding transmission technology to greatly improve the quality of hearing and bring natural and clear sound.
• The earhook battery capacity is 50mA, the charging compartment battery capacity is 800mA, the earhook can be used for about 6 hours when it is fully charged, and the charging compartment can last 7 times. Small body, multiple core functions.
• Using RTL8753 Bluetooth 5.2 chip, transmission is more stable, high-performance mode. Compared with the 5.0 version of the chip, the power consumption is lower and it brings longer battery life. 2PIN pluggable design, 0.75mm gold-plated pin, the earphone can be turned into a wireless earphone in seconds, getting rid of the wire shackles.
• Ergonomic design. The structure is optimized according to the contour of the outer ear, and the design is ergonomic. Reduce weight and improve wearing comfort. High-purity oxygen-free copper silver-plated wire is used inside the earhook to ensure the lossless transmission of audio signals.
• Eliminate conventional single host, dual-channel transmission, lower latency, two earhooks can be connected to the same mobile phone at the same time, earhooks can be used individually. When you are ready to enter the game, press the button on the earhook three times to enter the high-performance game mode. The sound signal is transmitted faster.

Click to expand...

Package: KZ AZ09. Charging Case. USB C to USB A cable. Paperwork. User Manual




Design, Build, and Fit:

For the charging case, it’s all plastic. Acceptable for the price it sells for. Size, meanwhile, while still pocketable, won’t go unnoticed when you start walking around. It has an indicator light that shows how much charge is left in the case itself (Red 0-30%; Yellow 30-70%; Green 70-100%). I have tested this feature and it did work… for the first day, that is. On the second day, I tried charging the case again but it didn’t light up anymore. At first, I was scared that it was the battery that had a problem. Upon further testing, I discovered it was the indicator light that was defective and the case still charged the Bluetooth module properly.

The AZ09 itself is reminiscent of the “first” TWSs released in the market and sports-oriented TWS, with the battery pack at the back and the over-ear design for stability. I wore them for ~6 hours straight daily and they remained snug, tight, and most important of all, comfortable over ear (it is light over-ear). Hook is shaped perfectly and should fit most ears. The battery pack itself is entirely plastic as well as the physical button for commands (not touch-operated). Button doesn’t wiggle and has a satisfying click when pressed. There’s also a mic located with each module and while it isn’t the clearest, it’s more than decent as I have used it for online class and my peers understood me easily at my usual speaking volume without raising any concern on mic quality.





Connectivity:

Opening the charging case automatically puts the AZ09 in pairing mode. Since the initial pairing, I have not experienced any sort of disconnection or random “unpairing” of the two modules to the source which I have experienced with my previous TWSs. The AZ09 is SBC and AAC capable, and while it can’t reach APTX, for the price it is selling for and what it offers, this is way more than acceptable. Nitpicking it for its lack of APTX support is just “hating.”

Now, for how far I can get from the source without losing connection, as context, our home is more than 200 square meters from front to back (floor area not sure), 2-stories high with walls built to support up to 3 floors. Long story short, I can walk all around our home and enter any room without losing Bluetooth connection, with the source and AZ09 on opposite ends.


Controls:

Play/pause, skip track, switching between the two modes. Those three are what I deemed as the most important controls here in the AZ09. Playing and pausing songs has a very, very slight delay, skipping track (forward & backward) is registered fast (even consecutive ones which is awesome) with a note playing to signify command recognition, and switching modes is seamless with a female voice prompt (in English). There’s no volume control which I personally do not find as an issue. I could just simply remove the IEM from my ear and let it dangle if I am talking to someone.

To activate voice assistant, you have to hold the button of either the left or right earpiece for ~two seconds. My voice is recognized immediately and is registered correctly all the time in sub-optimal conditions (i.e., relatively noisy environment). For example, with the command “play Sleeping in My Dreams,” my phone perfectly recognized it and went straight to Youtube, playing the video. A nifty function for those that use said assistant. To add, even Filipino and romanticized Japanese words (simple ones) are easily recognized [e.g., Tayo Lang Ang May Alam (Filipino song) and Zutomayo (Japanese artist)]. More complex words and the Google Assistant has a hard time correctly recognizing it (e.g., Yorushika).

The lack of volume control? The assistant is the fix for that and it worked in my experienced (command: “set volume to n” where n is a number from 0 to max volume step, or “volume set to n%” where n is a number from 0 to 100).



Now, onto sound:
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It does what it is meant to do – that is, to convert your wired IEMs into TWS. I didn’t notice any noticeable change across the spectrum with the T1 Plus and DQ6. If I might say, it elevates the bass just a bit but I’m not so sure how much of that is placebo and my brain playing tricks with me as I was specifically looking for any change/s. There also weren’t any observed improvements or the opposite in technicalities as far as my ears go. However, I have a feeling that this will depend on what transducer will be used, especially whether it is easy-to-drive or hard-to-drive, as the AZ09 doesn’t have a lot of power, nor the cleanest while we’re at it. Estimating its driving force, I’d say it’s on par with Qualcomm chips found in your typical midrange Snapdragon-equipped phone.
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Hiss Amount:
I was only able to test the AZ09 with two IEMs due to reasons that will further be discussed in the latter part of this review.

KZ DQ6 (112 dB at 24 ohms) – noticeable hiss on quiet parts of tracks but is still what I will consider fine; might be annoying for some.

Tinhifi T1 Plus (105 dB at 32 ohms) – no hiss at all

Click to expand...

Latency:

The AZ09 has two modes to choose from – high performance/low latency mode and standard mode. Switching between the two is straightforward – just three consecutive presses. For what it’s worth, I much prefer the former for media consumption as with the latter, delay is noticeable - tolerable for me but something I won’t prefer if there’s an available fix. If you’re only listening to music, then standard mode should be enough and will offer better battery efficiency. Wasn’t able to test it with games as I don’t play them.

For every connection of the AZ09 with your device, it is automatically set in standard mode.


Battery Efficiency and Charging:

100-0%

Low latency mode - ~6.5 hours

Standard mode - ~8 hours

Click to expand...

Results will vary depending on transducer used and listening volume. The recorded time was done with the KZ DQ6 on my preferred listening volume (low-medium). This can extend or decrease depending on said factors.

On charging the module from 0-100%, it took me about ~1.2 hours. As per the specs, the case contains an 800mA battery, which should theoretically fully charge the AZ09 8 times (50mA per module) but with the claims of KZ, the “charging box can last 8-10 times.” I wasn’t able to test this because I had a problem with the case that I’ll discuss in-depth in the next part. However, because my testing of battery life of the module matched with KZ’s claimed battery life, I am trusting them on this.

Low battery warning (every 30 seconds) for the AZ09 starts at ~25%. Prompts stop by ~20% and come back at around 10%.



Issues and Concerns:

1. It just doesn’t fit perfectly for two out of my three compatible IEMs. The QDC male housing/sleeve (?) fits “correctly”, tighter than what I prefer (this does make it so that the module and IEM do not separate/disconnect when moving around) with the DQ6. However, when I tested it with my TinHifi T1 Plus, it just wouldn’t go floor down. With the TRN STM, it doesn’t fit at all. I do wonder if KZ uses a different QDC housing compared to others, where they utilize something much thinner for their IEMs? Maybe this “fit” with other brands was intentionally done by KZ? Who knows, only KZ does.

Advice: Don’t force the AZ09 to connect with your IEM floor down if it doesn’t smoothly fit. Once it produces sound, even if not floor down, don’t push it down anymore. If you do that, you’ll be having a very, very hard time trying to remove the connection, which might result in damaging the AZ09, or worst, your IEM itself.

Fix: Filing the male connector to enlarge the hole should work. I, however, wasn’t able to test this because of lack of tools.


2. Red light, green light… go? The charging case features an indicator light that changes color depending on charge left. It’s a nice feature to have, I must admit. But with my unit, it only worked for an awesome one whole freakin’ day. The following morning? Didn’t light up anymore. The case still charges the module, though. Personally, I don’t see this as a deal breaker considering how "cheap" it sells for but it does make it hard to estimate how much battery life is left in the case.

Advice: Hope for the best with your ordered unit? And wait for more user/reviewer feedback, if you want.

Fix: Opening the case and changing the light? Or, if this happens to you, just contact the seller/store (what I would do).



Important Details in User Manual:

----------------

Conclusion:

It’s a wonderful product/accessory, if you can get by the “flaws” it comes with. It’s the cheapest adaptor by far that comes with a case and USB-C charging, and while it has limitations, it still does its job properly – that is, to make your wired IEMS into TWS. Wanting APTX support, wireless charging, blah, blah, blah, etc. and reasoning out that because it doesn’t have those then it’s a bad product is like asking for a Snapdragon 888 chip, glass front and back, aluminum housing, 590183325 MP main shooter in a phone under 200 USD.

It’s 16 USD on Shopee and Lazada. 23 for my Amazon brothers and sisters. In my most honest opinion, it’s a steal for that price. The next adapter you can find with a case and USB-C charging is worth ~4 times more than the AZ09. But of course, it still depends on what you have, what you want, and what you need right now.

Disclaimer:

I would like to thank Takstar for providing a review unit of the HA101. Rest assured that my impressions written in this review are my own personal thoughts and opinions and in no way influenced by outside parties.

Check out the Takstar HA101 on their website: LINK HERE

I am not an expert in this hobby nor claim to be an audiophile. I just love listening to music and am fond of writing articles.


Introduction:

Their only portable amplifier dedicated for headphone use, the Takstar HA101 is a powerful amp currently selling for 90 USD or even less (released in 2019). A tl;dr? It’s a really good addition for your portable set-up if you can get by with one quite big drawback depending on your view.






These were paired with the KGUSS BH3 (ES9038Q2M) via RCA for the review.





Description from page:

• Professional audio operational amplifier, high slew rate, low distortion to reproduce original sound

• High power output, sufficient headroom to easily drive headsets of various impedances

• Bass gain switch provides more warm and powerful bass

• Optimized analogue circuit design effectively decreases residual noise

• Hi-Fi chip for audio compensation, and greatly boosting audio density and sound field and dynamic range

• High-capacity Li-ion battery lasts for more than 12h operation continuously

• Al housing, anodic oxidation processing, exquisite dull polish, durable

• Compact design, velvet fabric bag for convenient carrying

Click to expand...

Specifications:

• Frequency Response: 20Hz-50KHz (-1dB)

• Dynamic Range: 110dB (THD≤1% 1KHz RL: 16Ω)

• Max Output Power: 1W (THD≤1% 1KHz RL: 16Ω)

• Suitable Headset Impedance: 16-300Ω

• Residual Noise: -97dBV (A weighted)

• Bass Gain: 80Hz+5dB

• THD: <0.005% (at 1KHz OUT=88mW RL16Ω)

• Input Impedance: > 5KΩ

• Dimension: 160×66×16.5mm (L*W*H)

• Net Weight: 180g

Battery Specification

• Battery Type: Li-ion battery

• Recharging: USB 5V (1-1.5A)

• Battery Capacity: 11.1V 880mAh

• Recharging Time: approx 4h (1.5A adapter)

• Operation Time: more than 12h(at normal volume)

• Standby Time: more than 15h

Connector Specification

• Audio Connector: AUX 3.5mm stereo input

• Headset Connector: 3.5mm stereo output

• Power Supply Connector: Micro USB interface

Click to expand...

Package: 3.5 to 3.5 cable (short, L-plug). Micro-USB cable. Fabric bag. Long cable tie (2 pcs.). Short cable tie (2 pcs.). Antiskid pad (1 pc.). Manual.




Design and build:

Built like a brick. Hard, cold metal everything. There is nothing I can see wrong with the design other than one quite major thing. Bass boost switch satisfyingly clicks in place and locks in. The volume control is smooth-turning. Literally no flex at all with the body when I try to bend it.

Size is portable which is quite obvious because the HA101 was designed to be a portable amplifier. Not too small to compromise battery life nor too large to hamper portability.

The only thing that is bad is the use of Micro-USB. Now, I do understand this as the product was released in 2019 where having Micro-USB in your device was not preferable, but still acceptable. I do hope that if they ever release an update, the next one should be using USB-C.


Connectivity:

The only way to connect HA101 to your source is with a line out. What I do with mine is I pair it with the KGUSS BH3, which has an ES9038Q2M as its DAC, via an RCA-to-3.5mm cable (disables amp function and becomes a pure DAC). This sets it as a hybrid portable/stationary setup, where it is rather large to bring with me when I go out of the house (not impossible, though impractical), but is small enough to be able to move easily when I decide to transfer to a different room.

You can use the HA101 with a device without a dedicated LO though I wouldn't advice it as you'd be double amping - usable but not recommended.

I won’t be using them portably as I see no need with my use case. I purely use the HA101 to power the planar headphones I have and only used IEMs/Earbuds in testing for this review.


Now, onto sound:
----------
So clean, so good. The HA101 is a neutral-sounding amplifier, without any sort of harshness in the treble region nor cold characteristic to its sound. It’s just there to provide amplification as much as it can to whatever you bring on the road. One improvement I noticed even with easy-to-drive transducers is that the music and its parts are more defined and separated, which in turn makes it easier to determine at which direction sound is coming from (imaging and such). They also got to have more space and depth to move around. I didn’t perceive any roll-off with both ends of the spectrum.

Bass hits deeper, harder, faster. Midrange doesn’t sound thin and is weightier and more textured (brought up by a notch). Treble exhibits more “air.” Transients don’t experience any adverse effect and is actually the opposite – everything just sounds livelier and more realistic. I also hear more detail and texture though this did depend as well on the raw capabilities of the transducer I plugged in.

----------

Bass Boost:

Works really well to provide that punchy and engaging bass response. As per specifications stated by Takstar, the switch increases 80 Hz by 5 dB. What this does with a more neutral transducer is help it make the signature more “mainstream” and “fun,” if ever you find a need for that (particular song, current mood and such). With a V-shaped transducer, and you get something akin to subwoofers. The increase in 80 Hz also adds more body to the overall signature especially in the midrange, without muddying the mix, though it does decrease perceived treble quantity.


Hiss Amount (no music playing):

None, be it from IEMs (except two of them), to earbuds, and planar headphones in my rotation, unless I go past 70% volume (ear-shattering level) using the HA101 knob control with everything in the chain maxed out (system, MusicBee) I only encounter noticeable hiss with the KZ DQ6 and Audiosense DT200 when I go past said volume level (KZ earlier). At my listening volume range of low-to-medium, none of the transducers I have exhibit hiss. I therefore conclude that the HA101 has a low noise floor, excellent for any type of transducer you have (unless you have those 8 ohm or abnormally high sensitivity ones).


Battery:

I get similar numbers with the indicated running time of the HA101 by Takstar. Charging from 0 to 100 takes me about 3.5 hours. The 12+ hours of operation is enough to last me a day or two at my listening volume of low-medium, powering Takstar HF580 (planar headphone). Using an easier-to-drive transducer would of course lengthen the battery life of the HA101, say for example it was used with an IEM.

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Conclusion:

For ~90 USD, the amount of amplification the HA101 can provide is more than enough - from easy-to-drive KZs, to the unassumingly hard-to-drive SSP, 150-ohm Zen LL, and any planar headphone not considered “nuclear power-requiring.” Everything is livelier, more textured, faster – basically just more realistic-sounding. the bass boost is also a nice feature when I have the urge to “feel the bass.” Only bummer is the Micro-USB in 2021.

Disclaimer:

I would like to thank sen hu audio/bangle.ph for providing a review unit of the KGUSS BH3. Check their store out on Lazada and Shopee. Rest assured that my impressions written in this review are my own personal thoughts and opinions and in no way influenced by outside parties.

I am not an expert in this hobby nor claim to be an audiophile. I just love listening to music and am fond of writing articles.


Introduction:

I have no idea what to put here. Before the BH3, I wasn’t even aware of KGUSS’ existence. They seemed like one of those unknown audio companies that focus on DAC/Amps. But that changed when I received the BH3 – IMO, they should be put on the map. Selling for around 40 USD, the BH3 is a Bluetooth desktop DAC/Amp, that uses an ES9038Q2M chip, CSR8675 for BT 5.0, and JRC 5532DD op-amps. I can stop here and say that these are a steal deal with a warmer-than-neutral signature, but do read on for more details.


These were connected to my Oppo Reno 4 and Asus X409 for the review.

Specification:

• Brand：KGUSS
• Model：BH3
• Chip combination：ES9038Q2M+CSR8675+JRC 5532DD*2
• Bluetooth version：BT5.0
• Support Bluetooth format：LDAC、APTX-HD、APTX-LL、APTX、AAC、SBC
• Transmission distance：About 10M
• Bluetooth input selection：Bluetooth priority, pause bluetooth automatically switch to USB audio source playback
• Bluetooth sampling rate：16-24Bit 44.1-96KHz
• COAX sampling rate：24Bit/96KHz
• USB DAC：16Bit/48KHz
• headphone matching impedance：16-300Ω
• USB powered：TYPE-C DC5V（DAC+ powered）
• Product Size：L：105mm W：85mm H：33mm
• Package dimensions：L：198mm W：155mm H：70mm
• Product color：Silver 、Black
• Weight：About 0.4kg (including packaging)

Click to expand...

Package: USB-C cable. Antenna. BH3 unit.


Design and build:

Not a lot to talk about. The KGUSS BH3 won’t win any design awards. Nothing special with it, though I do have to give them a round of applause for providing an all-metal build (even the volume knob), with included rubber feet OOTB, sub-50 USD. The BH3 itself feels pretty solid given the materials, roughly the size of an adult male palm, and about the weight of what you’d expect with said size and materials. Volume knob is satisfyingly smooth turning. Power switch also snaps. 3.5 mm output jack has no wiggle.

Powered by USB-C cable which is included in the box (5V)

Uses WIMA and Nichicon capacitors.


Connectivity:

It’s either Bluetooth 5.0 or wired via USB-C. I can’t see a reason to use the latter as it doesn’t have any advantage over Bluetooth. My phone detects it can transmit SBC/AAC/APTX/APTX-HD/LDAC. Latency is negligible in media consumption but I have not tested it with FPS games (only NBA 2K21 and no hampering delay observed, though 2K21 is not a decent game to test this ). Honestly speaking, it is pretty comparable to wired when just watching videos on YT.

The Bluetooth connection in LDAC mode is very stable – I didn’t get any disconnection throughout the time of my testing. Distance from source to DAC/Amp is also exceptional thanks to the external antenna. I can walk all around our house, phone in pocket, and still be connected to the BH3. As context, our home is 2-stories tall, with walls built to support 3 floors (about 200++ sq. m).

> Was not able to test APTX-LL due to device limitations.



Now, onto sound (using stock operational amplifier):
----------


The KGUSS BH3’s sound is characterized by a warm-neutral signature. There was a noticeable increase in bass quantity, particularly in mid-bass (warmer), added weight in the midrange (addicting “fullness”), and a smoother treble response. No observable decrease/increase in extension on both ends of the spectrum.

Find your midrange thin? Get the BH3. Too harsh treble? Get the BH3. Want a DAC/Amp that will take away upper frequency fatigue from your transducers? Get the BH3.

BUT, if you are chasing for that transparent and resolving listen, stay away from the BH3. Because of the effects of the DAC/Amp to the transducer, it does remove a bit of texture across the spectrum (especially in the bass department) and smoothens macrodetail. There’s also minute distortion around the edges which increases depending on listening volume and how sensitive the transducer is.

Audible soundstage depth increase due to the effect of the BH3 to the bass region (subjective).


----------

Bluetooth vs. USB:

I recommend to always go wireless. USB is also limited in sampling rate with Bluetooth having access to the max sampling rate of the ES9038Q2M DAC chip.


Hiss Amount:

Testing with all of my IEMs, at my listening volume range of low-to-medium, there was no hiss heard. Going past really high volumes, without music playing, and slight hiss starts to manifest with only one of my IEMs (KZ DQ6).


Battery Drain:

Not applicable with this product.


Distortion/Clipping:

Only observable with the two headphones I tested (HIFIMAN Deva and HE400se) at medium-high loudness [volume source (system and MusicBee) at max, adjusted via BH3 knob]. Understandable, as this is pushing the BH3 to its limits. As I am a low to low-medium listener, this was not a problem for me. YMMV.

To avoid this as well as to achieve better volume control with my IEMs, I have the source set at 50/100 and do the volume adjustments via the KGUSS BH3.



Volume Knob Position at listening volume (just estimates as there is no marking/s):

HIFIMAN HE400se - 9.8

HIFIMAN DEVA - ~8.5

KZ DQ6 - ~7 (exception as it is at medium volume)

Moondrop SSP - ~7.7

Click to expand...

* Interestingly, there is a noticeable big loudness jump from the lowest volume, ~6 o' clock and 7 o'clock when source volume is maxed out. Also, perceivable channel imbalance in that "gap" but disappears once you get past said gap. With the planar headphones, they do wake up the drivers to an extent, better than a phone, but as is obvious, is nothing compared to a “full-blown” amplifier.

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Conclusion:

Highly recommended if you are in the market for a warmish-sounding Bluetooth DAC/Amp. It’s not resolving nor transparent-sounding in any way at all, the design doesn’t look appealing (subjective), and it doesn’t have the blackest background. HOWEVER, you can find it for ~40 USD, has hot-swappable op-amps, build quality appears to be durable and should survive falls (not advisable, of course), and it also uses quality chips (ES9038Q2M & CSR8675) and components (WIMA and Nichicon capacitors). Very “bad recording” friendly. I, personally-speaking, will not be using the BH3 for my reviews. But for casual listen, it has usurped the HUD100 MK2.


** I am a firm believer that the DAC does not influence the sound in any way, but the amplifier does. The two terms, as I have observed, are usually interchanged by many which causes misconceptions to the people that read/see it.

*** Tested with my favorite gears. Please check my signature .

**** Back part gets very slightly warm with continuous use (>5 hours). Negligible.

Disclaimer:

I would like to thank Karina from iFi Audio for assisting me in acquiring a loan unit of the Zen Blue V2. I would also like to express my gratitude to Sir Rico of Egghead Audiohub Philippines (local distributor in the PH) with providing the unit. I am sincerely grateful for this opportunity.

I am not an expert in this hobby nor claim to be an audiophile. I just love listening to music and am fond of writing articles.



Introduction:
The iFi audio Zen Blue V2 is an update of the model with the same name (released 2020). Its purpose is to convert your Hi-Fi setup into one with wireless connectivity. It has both digital and analogue outputs, with only BT input. It can also output via a balanced cable if ever you have amplifiers that support as such. The iFi Zen Blue V2 is available for purchase at the price of 190 USD. TL;DR – it’s as advertised and everything works properly, but I have a few complaints.


These were connected to my phone (Realme GT Master) and laptop via Bluetooth (varying codec), to the Topping L50 through RCA with the transducers used for testing.


Specifications and Measurements (from iFi audio):



Package: Unit itself. 2x antennae. Power adapter. User manual. RCA cable. General accessory instruction card.


Design and build:

The Zen Blue V2 follows iFi audio’s iconic design language. It’s a full metal build with the faceplate done in a brushed finish while the dark grey main casing is matte-like, effectively avoiding any fingerprint mark. Being an aluminum case, it has weight which one usually associates with quality and the word “premium.”

At dead center is a circular cutout with a frosted cover. Behind that is the word “iFi” that changes color to represent what codec is currently in use and doubles as an indication that the device is active. At initial pairing, “iFi” will light up with said specific color (please refer to the product page of the Blue V2 under “Tech Lockdown). The smaller circular cutout at the right, meanwhile, is there to show the sample rate. Moving on to that “iFi,”, it is rather undesirable. I have a feeling this was due to the use of that frosted cover, which in turn made the lines of each letter really soft, blurry and unclear, making it look like a poorly printed legend. It looks like a low-res pic.

The only negative I found on the build quality of the Zen Blue V2 is the BT pairing button that also functions to turn off the two LEDs of the device. Design-wise, it fits the whole image of the Blue V2 – color, shape and all of that. But the button just feels so cheap to use – out-of-place, in a sense. It’s very wiggly and when pressed, feels extremely plasticky. I understand that this button would likely not be used all the time. Heck, I’ve only ever pressed it for less than ten times. However, this small detail would have made the Zen Blue V2 perfect, build and design-wise (subjective), excluding the two stuff I will be talking about next.

A subjective dislike I have with the Zen Blue V2 is the lack of an on/off switch as well as the color of the antenna. The former is just a personal need of mine while the latter I find to not fit the color palette of the unit (antenna’s white) *shrug*



Connectivity and Features:

Input is purely via Bluetooth. SBC, AAC, aptX, aptX HD, aptX Adaptive, aptX LL, LDAC, and LHDC – these are specifically what the Zen Blue V2 supports. The jump from SBC to aptX HD/Adaptive is significant while aptX HD/Adaptive to LDAC is less apparent though still noticeable if you go back and forth. If you don’t, I say either of the two will satisfy most ears. Choose based on your use case as well as compatibility.

There’s not a lot of features to talk about. It can function as a BT receiver for your setup via its digital output. There are also analogue outputs – the standard RCA and a 4.4mm balanced that puts out ~2x the amount of Vrms.

Oh, I forgot to mention – it has this neat feature wherein a voice prompt is heard as you pair your device with the Blue V2, also including what codec is currently in use.



Now, onto sound… wait, how do I go about this?
*reviewed as a BT DAC

While the BT chip that iFi opted to go with for the Blue V2 is considerably higher end, it serves one purpose only – receive BT signal and provide support for whatever codec your device uses. The one that converts the signal itself is an ESS Saber DAC. Now, what model exactly? I do not know. It isn’t disclosed and the pic of the “guts” of the Blue V2 has the model name blurred out. Why they did that I also have no idea. There are screws at the back that suggests the unit can be “opened up.” However, as this is a loan unit, I have to respect iFi audio as well as Egghead Audiohub Philippines and ultimately decided not to do so. I did read on the internet, however, that as per iFi audio themselves, it is a “specialized DAC chip from ESS Technology’s Saber family to convert the signal from digital to analogue.” It may be safe to assume that the DAC chip is a custom-made model to serve the needs of iFi for its use in the Blue V2.

Moving on, the Blue V2 was “stacked” with the Topping L50 via RCA. For those that are concerned with the numbers, third party measurements can easily be found online. Said data suggests that the DAC part of the Zen Blue V2 is decent at what it needs to do and is nothing exceptional. Now, how does this sound like with transducers I tested it with? If you’re curious, read the section marked as a spoiler. You see, there comes a point where with DACs, it is simply highly subjective, where the power of the mind comes into play. I do not trust myself in this situation unless I have equipment with me that can level match these DAC paired with the same amp and the same transducer with the help of another individual (there’s also the filter used which may actually be the biggest difference between these DACs as well as how much voltage it outputs). Even with that, whether I can “hear” a change and confirm that it is not merely imagination or confirmation bias cannot be determined at the current time of writing this review. I simply cannot state with certainty and confidence how a change in DAC can produce audible change/s on the bass, midrange, treble and technicalities of the transducer.



I am also on the table that as long as the DAC maintains a clean signal without objectively undesirable distortion (read: audibly bad measurement), it is more than enough. Also, I lean more towards the better measurements = better DAC table, most especially if one’s capacity does not allow them to possess several DACs of different “flavor.” If you need some change or want to tweak a frequency, there’s always EQ for that *wink*.


----------

Battery Drain:

Not applicable as the Zen Blue V2 has its own power supply. Battery drain of BT connection is also negligible in today’s gadgets. But, generally speaking, the higher quality the codec, the less battery efficient it is.


----------------

Gripes:

----------------

Conclusion:
The iFi audio Zen Blue V2 is a wonderful device – IF you desire that Bluetooth connection in your setup. It has an abundance of outputs that should cover everything (both digital and analogue), supports virtually every BT codec in the market, with a beautifully designed case (IMO) and decent DAC performance based on measurements available online. However, there are certain areas worth looking into before you decide to buy the Blue V2. And, there’s the Air Blue, so it would be better to wait for reviews for that product and see how the Blue V2 performs against its little brother.




Test Setup:
Phone/laptop -> Zen Blue V2 -> Topping L50 -> Hifiman Edition XS/Sundara, Sennheiser IE400 Pro, Moondrop SSP, KZ DQ6, Smabat M2s

Disclaimer:

I would like to thank Mr. Mark and HIFIMAN for providing a review unit of the Edition XS. Rest assured that my impressions written in this review are my own personal thoughts and opinions and in no way influenced by outside parties.

I am not an expert in this hobby nor claim to be an audiophile. I just love listening to music and am fond of writing articles.


Introduction:

The Edition XS was released to serve as the middle ground between the cheaper Sundara and the more expensive Ananda. It utilizes “Stealth Magnets” and a “NEO Supernano Diaphragm,” with the former becoming a shared characteristic across a few models in their headphone line. Sensitivity is at 92dB while impedance is rated at 18 ohms. The Edition XS is sold for 499 USD, which puts it in mid-tier or budget-tier price range, depending on who you ask.



Phone/laptop -> Zen Blue V2/HUD100 MK2 -> Topping L50 -> Edition XS

I am glad to say that the Edition XS does not require a desktop amplifier to be satisfactory to listen to. With slow music that does not utilize lower bass to sub-bass frequencies, there is no significant difference to warrant the need to “amp” the headphone, given that your listening volume is relatively close to mine. However, if the music you listen to is not as stated and your listening volume is higher, amping the Edition XS would result in modest improvements across the frequency region and its technicalities.

Topping L50 at high gain, between 8 and 9 o’clock (main amplifier used). HUD100 MK2 at 18/100 (for testing efficiency)



Build and Comfort: The cup is basically the same design as the Ananda, with the only difference being the headband used, similar to the Deva and HE400se. Everything except the grill and the cup holder that swivels thingy is plastic. There, my dear folks, is where I have a problem with the Edition XS. I’ve tried two other budget HIFIMAN models, namely the HE400se and the Deva (wired). Those are essentially built the same as the Edition XS, whilst being ~350/300 USD cheaper respectively. The Edition XS feels the same as the other two. When you shake the cans themselves, there are squeaks here and there, particularly in the part where it swivels.

However, while the build is rather mediocre for its price, it does allow for godly comfort, at least against the five total headphones that I’ve tried. The cup, and in extension the earpad, is egg-shaped. The earpad, when looked at directly, would appear flat. But, the front-end has a very subtle contour. Add that to the fact that the earpad hole does not touch my ears, and it’s like the headphone isn’t even there. The swivel is satisfactory to adjust to your head’s shape. The headband is well-padded and does not hurt the top of your head even with longer sessions (YMMV). Length can be adjusted in a multitude of steps. And lastly, it is surprisingly light for a rather big headphone. Clamping force is light though, so do take note.

Cable is dual 3.5mm to 3.5mm. Length is standard and is rubber-sheathed. It is very supple, does not tangle and no microphonic is heard. This is the best stock cable from the four total HIFIMANs I have/had.


Package: ¼" adapter. Paperwork. Stock cable.


Now, onto sound:

For this review, the headphone was left stock, without mods, with a listening volume of low-medium to medium.

----------

Bass: neutral. Extension bests the HF580 (same driver as Aiva), and while isn’t as abundant quantity-wise, is satisfactory for most music. With rap/hip-hop, it does leave you wanting for more physicality. The quality, meanwhile, is the most phenomenal of the headphones I’ve tried – IF you want to analyze every minute detail, reverb if present and change with the bass note. It reproduces bass in its purest form, laying it bare for your ears to critique. There is no “blur” along the edges nor does it struggle with control in fast/consecutive hits, thereby avoiding intruding into the succeeding frequency region. This basically just makes it sound like what a planar driver can do, for those that have tried a headphone with such LOL. I won’t deny, I remember using similar descriptive statements in my past planar headphone reviews. And while that is truly the case, with how the Edition XS articulates bass is how a neutral planar headphone sounds like, it does so in the most exquisite manner. Now, if you desire that engaging tuning, do stay away from the Edition XS. It cannot, in any way, provide that energetic and fun bass without any form of EQ.

Midrange: again, neutral. What is interesting, however, is that with every genre I have listened to using the Edition XS (I go from KPOP to Alternative and Electro; basically everything under the sun), it never sounded thin, even with the lack of midbass warmth to add body to the sound. With string instruments, every tiny detail is heard by the ear without specifically looking for it. I just have one gripe – it decays too fast for my liking. You know that feeling of getting hooked into the playing of Carlos Santana? That caressing touch? That, does not happen with the Edition XS for me. Notes just sound too abrupt in a sense, more so than the other planar headphones I have listened to. Now, I do understand it is all preference but I had to get this out for everyone reading this review. Regarding vocals, there is no bias with both genders so no problem there. It sounds like what a neutral pair of headphones should sound like. Not much to talk about. Both are placed comfortably – not too forward where it becomes shouty nor too far back and becomes difficult to hear. It is worth mentioning that the pre-to-upper midrange dip isn’t as apparent as what the graph suggests, even when compared to something like the Sundara. There is, however, an “almost there” sibilant voice as how I would describe it (read: gives out the start of the ssss but doesn’t go all the way), most present with poorly mixed tracks.

Treble: exhibits brightness but is relatively neutral. Couple that with the technical prowess of the planar driver, the neutral bass response, and the detailed midrange and we have ourselves a headphone made for analysis of music. To avoid an overly clinical or “sterile” presentation, what I would do is pair it with an amplifier that can be subjectively described as velvety or warm. However, at the time of writing this review, I only have the HUD100 MK2 and Topping L50, both of which have been described to be bright-neutral. The Edition XS reproduces the treble region with clarity, thanks in part to the previously mentioned tuning. All the characteristics of a planar headphone regarding treble still do apply with this headphone.

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Timbre: Like what I’ve mentioned, compared to the other four planar headphones I’ve tried, this noticeably has the fastest note decay of them all, making it sound less natural than it should be.

Soundstage, Imaging, and Separation: If you’ve tried the Deva or have read reviews of it, imagine if its soundstage was perfected. That, is how the Edition XS does staging. Exceedingly lifelike presentation, thanks in part to its tuning, imaging prowess and separation capabilities. Wherever any sound comes from, you will notice it in a very hyper-focused manner. I have never encountered any track that gave the Edition XS trouble with imaging and separation. It's a can't miss in terms of technicalities.

Detail-retrieval: Most detailed transducer I’ve listened to. The combination of the tuning and the technicalities bring out every macro and microdetail in the music, thus providing a hyper-realistic listening experience, excluding the occasional brightness of the headphone. It made me hear detail that I never have obviously noticed in songs I thought I knew by heart.

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Conclusion:

Transparent – that’s the word that best describes the HIFIMAN Edition XS. Is it the best headphone sub-500 USD? I cannot say as I have only tried four others apart from the Edition XS and all of them are at the very least a hundred USD cheaper. This is also the first transducer I’ve tried that crossed the 400 USD mark. However, if you really want a neutral headphone that is able to reproduce sound in a lifelike manner, albeit with the occasional brightness and almost sibilance, then the Edition XS is for you. Using the HIFIMAN Edition XS is like consuming music in a very discerning manner – you taste and appreciate all the good parts but at the same time perceive the undesirables.

Disclaimer:

I would like to thank Mr. Mark and HIFIMAN for providing a review unit of the Deva. Rest assured that my impressions written in this review are my own personal thoughts and opinions and in no way influenced by outside parties.

I am not an expert in this hobby nor claim to be an audiophile. I just love listening to music and am fond of writing articles.


Introduction:

Deva. A simple Google search tells me that it is a Sanskrit word related to Hinduism meaning “a divine being or a god.” I have here the wired version which sells for 219 USD, with an impedance of 18 ohms and a sensitivity of 93.5dB. There’s a BT version with an included BT DAC/Amp for 299 USD. As it is a HIFIMAN, it utilizes a full-sized, planar driver and follows in one way or another the neutral “line.”


Oppo Reno 4 > KGUSS BH3 > Kenwood KA-7300 > Transducer



It was possible to reach my listening volume using only my phone, with a bit of headroom. But, as this is a planar, amping is mandatory.





Build and Comfort: There’s something with the color scheme of the Deva that I just frickin’ adore. It oozes sophistication, luxury, and dare I say, “divinity.” As looks are subjective, it will of course depend on your preference. For me? I really, really love how the Deva exudes this delicate “air” around it, when on display.

As is typical of HIFIMAN, build is a mix of metal and plastic. Cup is made of plastic, but the grill and the “cup holder” thingy are all metal. No “wrong” moving part, whatsoever.

It also uses the new headband which fit comfortably on my head (same with HE400se, swivel’s front-and-back to an extent). YMMV.

The earpads are angled, aren’t circular, and are rather… elliptical? Hole is larger than the HE400se and should fit most ears. I do have to note that it was quite stiff OOTB, but a few days of leaving it “engaged” on the product box resulted in a softer feel on-ear (break-in).

Shaking the headphone itself, and you get some “wiggle” but nothing I would say unacceptable.

Now, for the cable… IT’S AWESOME!... coming from the HE400se, that is. It’s a 3.5mm TRS to 3.5mm TRRS cable, with the input source side being L-shaped. I’m not sure about the length, but it’s definitely more than 1 meter, which is very useful for me as I am always plugged into the amplifier, and a shorter cable would have been a hassle. This length is quite, personally speaking, impossible to use portably. But, then again, the Deva is an open-backed planar headphone and it’s generally not intended for portable use, no matter how it is advertised.

If you want to commission a custom cable if ever you need different connector types (balanced and such), cable material, or others, just send HIFIMAN a message on Facebook and they’ll send the pinout immediately.

Clamping force is on the lighter side and comfort would depend on the user’s head.


Package: ¼" adapter. Paperwork. Stock cable.



Now, onto sound:

For this review, the headphone was left in stock mode, without mods with a listening volume of low-medium to medium.

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Bass: it’s neutral-sounding but mid-bass is more noticeable in the mix due to the sub-bass roll-off, resulting in a warmer tonality. What this does is that while it retains the “flat” line, the listener is provided with a fuller and punchier bass response, compared to a more analytical bass, to a degree, that is. However, even if it easily extends lower than 40 Hz (quite amazing, if you think about it), as it is an open-back, the Deva doesn’t work well in providing that sub-bass rumble for tracks that utilize such frequency. I have only listened to two planar headphones currently, the HE400se and the Deva. The former’s bass response is significantly more analytical/linear than the latter. However, the latter sounds much more “organic.” One can interpret this statement as, “The HIFIMAN Deva actually sounds close to how a dynamic driver presents bass, with the DD being vaguely described as having that organic tonality.” That’s a huge advantage, in my opinion – the best of both worlds, tonality of a DD + technicalities of a planar. But, it is still quicker in decay than the usual DD. Detail/texture is perceived and because it is a planar, bass lines are controlled and articulate, although isn't the best I've heard, regardless of transducer type.

Midrange: still that pre-upper/upper midrange dip… but it’s not as bad as the HE400se! While it is essentially “neutral,” that very slight dip does make the Deva appear to have a more delicate midrange. It does come off as recessed with certain tracks if you listen carefully, but it is still very much present, nonetheless. Coming from the HE400se, I didn’t expect the Deva to sound so… organic. Vocals are presented satisfyingly weighty, definitely influenced by that mid-bass presence – lush and emotional. The dip allows for an “ethereal” display. That quality is so hard to explain in words without having listened to it, but if you’ve ever watched movies/shows with the “coming-from-the-heavens” voice, or one of the dryad or any mythical creature kind of stuff, its close to that. Very, very preference-dependent but also very, very addicting. Instruments are articulate, detailed, and well-separated in the mix.

Treble: relatively neutral with the deviation of a peak going above neutral at around lower-to-mid treble. What this does is add zing to the presentation, but because the mid-bass is noticeably prominent on-ear, everything balances out. Extension is excellent and there are no lost frequencies. As it is a planar, along with the benefits of the driver technology granted that it is being fed with ample power, treble is very crisp, airy and detailed. But it is not the smoothest presentation – due to the few dips here and there, while staying in line with neutral (note: more mellow even on some sub-regions), highs sometimes sound grainy depending on the track, though is admittedly a rare occurrence. This is nitpicking, ngl. No sibilance heard at all.

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Timbre: the Deva is exceptionally natural sounding considering it’s a planar, with no artificial tint whatsoever.

Soundstage, Imaging, and Separation: You gotta amp the Deva. After that, you are enveloped in this majestic soundstage that simply presents music as if you’re not wearing anything on your head – it’s *that* holographic. The lighter clamping force, larger earpad hole, and the open-back design plays a role in this. Add in the accurate imaging and effortless separation, and the Deva keeps getting better and better.

Detail-retrieval: The technical capabilities of a planar headphone is just fascinating. Even if it’s not an aggressive tuning to maximize perceived detail, it effortlessly presents macro and microdetail even with the distinct mid/upper-bass presence.

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Conclusion:

While I cannot speak for the more expensive wireless version that comes with the Bluemini BT DAC/Amp, the wired Deva that I have presents incredible value at 219 USD. With a close-to-neutral tuning that is tonally exceptional, the HIFIMAN Deva incorporates its namesake to its looks and most importantly its sound. Endgame-material tonality, in my most honest opinion.


*Dropped rating due to Takstar HF580

Disclaimer:

I would like to thank Ms. Elle Zhou and BQEYZ for providing a review unit of the Summer. Rest assured that my impressions written in this review are my own personal thoughts and opinions and in no way influenced by outside parties.

I am not an expert in this hobby nor claim to be an audiophile. I just love listening to music and am fond of writing articles.


Introduction:

BQEYZ. Best Quality Earphone for You, Zhou (family name of tuner/owner). They’re one of the rare Chi-Fi companies that dedicate time-and-effort for each product that they produce, prioritizing “Research & Development” unlike other companies that release IEMs each and every month for the whole year. Their pace for releasing new products is about 1-2 new IEMs a year. I praise BQEYZ as a company for this act which goes to show that they put first and foremost the satisfaction that their quality IEMs will bring to their customers ahead of other goals. The BQEYZ Summer, a tri-brid IEM with a 13mm coaxial DD, custom BA unit (2nd generation), and a 5-layer piezoelectric driver, all for 129 USD. It is available in black (closer to violet) and blue (like sky), with options for either a 2.5mm, 3.5mm, or 4.4mm stock cable (0.78mm, 2-pin). This is the “second act” of the BQEYZ Seasons series, following the Spring 1 & 2. Will the BQEYZ Summer bring forth warmth to the hearts of its listeners or will it just be too hot to handle?


These were plugged to my iPhone 5s with the SD01 amplifier for the review. As per Ms. Elle Zhou, the Summer is easy-to-drive at 32 ohms of impedance with a sensitivity of 107 dB. I can happily say that this is true and a typical phone should be enough for the listener to enjoy the Summer with 1 Vrms @ 32 ohm and headroom to go louder, though even a cheap external amplifier like the SD01 brings slight improvements to the SQ.







Build and Comfort: Two-piece resin (faceplate & body). It’s light yet feels solid on hand. I got mine in the black colorway, which is closer to violet, really. It’s hard to capture in pictures, but the faceplate has some sort of glittery stuff in it. Pictures don’t really capture it’s beauty, as it’s very captivating in real life. Size is “normal” and shouldn’t be a problem for most ears (has a fin, to note). Nozzle (on the bigger side) is angled and is of the shallow-fitting type for my ear, thus it does not provide the best passive isolation. It also has a total of three vents, so yep… isolation bye-bye. A big pro for me, personally speaking as I prefer non-isolating pairs and value awareness of my surroundings.




Package: Two sets of tips (3 pairs each). Paperwork. QC certificate. Hard case (BQEYZ-branded). Cleaning brush. 8-core cable advertised as SPC, single-crystal copper.


Now, onto sound:

For this review, the IEM was left in stock mode, without mods other than going two-sizes up than usual with the clear, blue stem tips. I don’t prefer the grey tips as they have too relaxed midrange and treble for me. The clear tips have punchier bass and bring more presence to the midrange and treble region.

I can’t emphasize enough that this review was done in stock form. I included a part in the end concerning the changes I made which may “trigger” a few people.

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Bass:

Of the warmer side, with minimal sub-bass, having a satisfying weight to kicks and a slight bleed in EDM drops.




Midrange:

The midrange of the BQEYZ Summer is characterized by a relatively relaxed upper midrange, with vocals being presented in a natural and clear manner with a bit of warmth to it, weighty note delivery, and non-existence of sibilance even in badly-recorded tracks. Jacob Collier’s voice sounds amazing in these. Rhythm guitars have really nice heft, though the lead guitar leaves me wanting for more aggressiveness/bite and presence. I can go at least 9 hours straight without experiencing ear fatigue thanks to the tuning at my normal listening volume (low-medium). There was a moment where I even fell asleep while listening to the Summer without noticing .




Treble:

Treble is tuned like it’s a-step-and-a-half away from being considered bright. There is no pierce or peakiness in ear heard, for me. It is also very fast, controlled and has enough sparkle and presence for a musical experience. I would’ve wanted more “air” and “brilliance” with the piezo driver but I guess that wouldn’t have fit the “Summer” theme? Weirdest region of the Summer, as sometimes it sounds relaxed, while other times it’s very energetic.




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Timbre: This is the first IEM I’ve listened to that has a driver type other than a dynamic. No metallic midrange whatsoever and strings don’t sound weird for me.

Soundstage, Imaging, and Separation: One of the best aspects of the Summer. No dimension is lacking, and with the accurate imaging and excellent separation, it can handle any track not named EDM (due to the bleed and decay) ichikoro’s Q never sounded congested and instruments had a place of their own and never went over each other.

Detail-retrieval: With the IEM not being tuned to be analytical and having emphasized bass, the good thing is that you still hear detail thanks to the speed of the BA and piezo handling the midrange and treble respectively. For example, in MCR’s Welcome to the Black Parade intro, there’s a very subtle ticking clock that is heard with the Summer. However, in other songs, the bass decay counters this quality of the Summer. Detail-retrieval would be track-dependent to show full potential of the BA and piezo. The good thing is that I don’t usually listen to EDM and bass-heavy tracks

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This next part is important as this changes the Summer from 3.5/5 to a 4.5/5. Rated it at 4/5 for this review as the average of the scores. CAUTION: Not for everyone! TRIGGER WARNING IN 3, 2, 1…


Conclusion:

When I approached Ms. Elle Zhou regarding a review unit of a BQEYZ product, I told her that I would be delighted to try out the KC2, which has seen a resurgence in hype among multiple FB communities, lauded as arguably the best price-to-performance IEM under 40 USD, competing with 100 USD IEMs. The BQEYZ Summer sounds like a solid, all-mahogany, dreadnought, acoustic guitar – pleasing, inoffensive, and full-bodied. Makes sense as this accurately represents the season it was named after. The Summer would have been a perfectly tuned IEM in a sense if it had faster bass decay, more upper midrange presence, and a bit more air on top. Good thing there’s the TRN T2 cable for that


UPDATE: Use double-flange eartips and thank me later. Never go wide-bore as it lets through a significant peak in the treble region.

It's better to go foamless and grill-less on these. Trust me. Way better fit than MX500 shell and is true open-back.

Bass is clean, tight, a bit textured and isn't overly done (e.g. midbass elevation in red Vido). Earlier roll-off compared to the other buds I've tried in this price range. Mids are rich and lush. Quite forward. This one's for the midlovers, though I feel like almost all earbuds do well in the mids section. Highs are polite and soft. Not splashy at all but definitely takes a step back. Soundstage and imaging is what sets these apart from my other buds. Holographic. Separation and detail-retrieval are so-so, may be average to below average.

Disclaimer:

I would like to thank @WendyLi of KB Ear for letting me buy the KB Ear Stellar with a very, very generous discount. Rest assured that my impressions written in this review are my own personal thoughts and opinions and in no way influenced by outside parties.

I am not an expert in this hobby nor claim to be an audiophile. I just love listening to music and am fond of writing.

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Introduction:

One of, if not, the fastest growing Chi-Fi company, KB Ear, has released their second budget earbud. This quick rise is mainly due to their drive to not be like the others that keep on releasing sub-par offerings. I see them as a company that has the dedication and passion to their craft, which results in their prominence on the vast Chi-Fi ocean. Their resolve to produce products that offers quality sound on a budget has definitely paid off. Of the recent releases, the Lark and their flagship, Believe were both praised as game changers in their given price point. There is also the soon-to-be-released KS1 – another one of their budget offering. Regarding their earbuds, their first release was the unique and more expensive Knight, which received polarizing views, as they were tuned not like the typical sub-20 buds (they were bright-sounding). They return with the KB Ear Stellar – a cost-friendly earbud that comes in the typical but legendary shell – the MX500. Sensitivity is at 115 dB with an impedance of 30 Ω. It comes in five different colors – red, white (matte), black (matte), blue, and transparent grey which can all be bought with a mic option. These can be found for as low as 2.58 USD and thus, price will play a big factor in this review. Other than the earbud itself, it also comes with a pair of foams and a pouch packed in a paper box. A very nice unboxing experience considering the price.

These were plugged to my phones (Oppo Reno 4 and mainly iPhone 5s) and my laptops (Asus X409 and Macbook Pro ‘15). I still do not have a dedicated DAC/Amp and thus cannot test scalability with more power but I am considering buying a cheap amplifier (Topping NX1s or Walnut V2).



Build and Comfort: Typical MX500 shell. Earbuds in general are very dependent on the ear canal shape of the user on whether it will be comfortable and generate enough seal. Foams are typically used if these fit loose. I personally have not encountered any fit issues with MX500 shells and prefer to use them without foams. The cable that it comes with is definitely better built than the Vidos but isn’t something to write home about. It doesn’t feel flimsy or easily breakable and has a decent strain-relief at the jack. Definitely usable without the fear of damaging the earbud/cable. The mic acts as the splitter - plastic, with buttons for volume and play/pause (there’s also an unknown switch that somehow sucks out the vocals when halfway).


Now, onto sound:

These were used with full foams




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Bass – Lots of bass without muddying the sound. Punchy and mid-bass dominant. There is, surprisingly, sub-bass. But don’t expect a rumble. It’s audible and that in itself is a huge compliment for earbuds. It stays fairly controlled, tight and is very engaging. It is also way more textured than my other buds. I’d take this over my other flathead buds (not semi in-ear) if we’re talking about bass.

Mids – If you got used to something with thick/rich and/or forward vocals, the Stellar will seem thinner and slightly recessed at first. However, give them some time on your ears and everything changes. Vocals and instruments are rendered in a much clearer presentation than the others I’ve heard in the same price range (sub-4 USD) which were overshadowed and/or affected too much by the bass, resulting in an overly thick presentation (i.e., Nameless). It’s a bit recessed than the bass and treble, but fortunately, it is placed just right – not too far back nor too forward (MS16 sometimes suffers from this). You also feel the weight of the piano keys. That V-shaped signature does bring its advantages (bass and treble), but in this case, it will be all about preference and what sound you’re looking for.

Treble – There’s a boost in lower treble which helps to give a bit of life and energy to the mix so that it doesn’t sound dull. I won’t advise to use these foam-free. Full foams do help a lot with smoothening the highs without becoming boring (no pierce as well). It isn’t splashy at all and is crisp. There is roll-off as typical of budget buds but that elevation in the lower region does help for those looking for the treble.

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Timbre – Earbuds generally don’t suffer from bad timbre, although I have read of a few exceptions. The KB Ear Stellar reproduces instruments/notes in a realistic/natural way, nothing off-sounding with it.

Soundstage – Average. Not it’s best feature. It reproduces a 3D-like stage, not that wide nor tall nor extended but enough so that it doesn’t sound congested. Considering it’s an earbud, it is better than my budget IEMs/TWS, but is beaten by the MS16 (though an unfair comparison, IMO).

Imaging –Panning sounds do pan from left-to-right but they’re not distinct (IOW, makes your head spin) when you listen to a track with such sounds. Imaging is also not blurry and you’ll easily hear where it’s coming from. Due to that 3D stage, instruments and vocals are placed nicely, not being unnaturally far from your head.

Separation – Gets the job done. I do have to note that it struggles when things get busy – instruments just go over a bit with each other, but nothing extreme. I, however, have not listened to an earbud that does this particularly well, and the Stellar is the best I have right now. For most songs, these will perform fine.

Detail-retrieval – as this is a 2.58 USD bud, I expected as such, which was true most times. It does show some detail, but this will be dependent on the genre/tracks you listen to as well (how bass/treble-heavy it is).


Comparisons:


K’s Nameless (~2 USD)

The Nameless comes in a typical MX500 shell with a very stiff cable. Fun-sounding, with elevated mid bass, borderline muddy or too warm when used with full foam (this one is preference-dependent). The Nameless has more bass quantity than the Stellar but definitely inferior on quality (tightness and texture). The former also has slightly less treble quantity and about the same quality. The bad thing about the Nameless is that if you don’t use EQ (I use @Sam L 's file but for this comparison, left in stock) it will result in an overly warm sound. Vocals/instruments, most of the time, sound thick and quite unnatural, but are more forward compared to the Stellar. Going foamless would definitely help but that is dependent on your ear canal shape (concerning fit and seal). Stellar have better technicalities overall than the Nameless (except for soundstage).

Headroom MS16 (~4 USD)

The MS16 might be the most unique bud for a bag of chips. It has a bell-shaped shell, is true open-back, and has a metal build. I run these foam-free and grill-less. These are definitely more comfortable/fit better than MX500 shells. Compared to the Stellar, the MS16 have inferior bass (destroyed in extension, less in quantity and close, but still inferior in quality) and more relaxed treble. The Stellar also has better extension in both ends of the spectrums. However, the MS16 offers a more relaxed sound, with fuller/richer midrange and the best soundstage and imaging of all my buds. Stellar has slightly better separation and detail-retrieval. This will be dependent on your preference, but I’d say that they are complementary to each other as the MS16 is very track-dependent for it to sound amazing (acoustic/vocals-focused) or just downright bad (mainstream pop/bass-heavy songs).

Ranking:

Stellar >= MS16 > Nameless >> Red Vido

*I had the Red Vido (had because I damaged the drivers while recabling) and hated them mainly because I bought the Nameless at the same time, which was better in every way for 0.30 USD more. It sounded too congested, vocals were much more recessed and I didn’t like the bass one bit (exaggerated; drowning). Maybe I just got a bad unit. Never went into buying another pair.

**Both the Nameless and MS16 appear louder than the Stellar at the same volume due to the more forward midrange/vocals (MS16 and Nameless) and more bass quantity (Nameless).







***I LOVE where the mic is positioned (at splitter). Very easy to reach and ergonomic to use. All buttons work on Android and iOS, but not on my Windows laptop or Macbook Pro. I don’t know if this is caused by a setting on my laptops.



Conclusion:

For 2.58 USD, this is the only earbud I’ve listened to that works with mainstream pop, and for every genre for that matter. The others I have/had either suffer from little or too much bass quantity (specifically mid-bass). It’s the only bud I’ve listened to that doesn’t make me miss the bass from IEMs. With the very cheap price, you get the highly moddable MX500 shell and a V-shaped sound signature - textured bass and clean mids with decent technicalities for an earbud. It also doesn’t need recabling as the cable is serviceable as is. The mic is also very usable and is placed nicely - it has a play/pause button and volume control (there’s also another switch that somehow sucks the vocals which I don’t know the function of). You can nitpick a few things here and there like the slightly recessed vocals (personal preference), average soundstage and distortion at really higher volumes, but it is important to consider how cheap these are. And if there’s something better out there, at what cost? Twice the price? That’s a lot of money when you’re living on the other side of the world.




Important: There have been reported units that heavily distort at higher volumes. I only get them when I turn on Replay Gain on Poweramp at 16 dB, 70/100 volume (Reno 4). But I don’t listen at that loudness and even when I max out the volume on my iPhone 5s, I don’t get any distortion. Maybe a bit, but barely noticeable.



****If you have other questions/concerns with the buds mentioned, feel free to message me****

Disclaimer:

I would like to thank Ms. Alexandra and Meze Audio for providing a review unit of the 12 Classics V2. Rest assured that my impressions written in this review are my own personal thoughts and opinions and in no way influenced by outside parties.

I am not an expert in this hobby nor claim to be an audiophile. I just love listening to music and am fond of writing articles.


Introduction:

The Meze Audio 12 Classics V2 is a titanium-coated single-DD, bullet-style IEM, selling for 69 USD. It has attached cables terminating in a 3.5mm jack with a rated impedance of 16 ohms and a sensitivity of 101 dB. Spoiler alert: this is the best IEM SQ-wise I’ve heard in this price range but there’s one deciding factor not related to sound.




These were plugged to my Oppo Reno 4/Asus X409 with the Earstudio HUD100 MK2 (bypass, high power) for the review. There was no significant difference observed compared to low power and thus the 12 Classics V2 is an easy-to-drive IEM. A phone will do.


Build and Comfort: Beautiful. Unique. Special. This IEM was designed by Antonio Meze and I have to say, the 12 Classics V2 is exquisite, looks-wise. Housing is a combination of walnut and copper-anodized aluminum, which complements the overall image of the IEM. Fit is straightforward and shouldn’t be a problem for any type of ear. Nozzle is of regular length and width. You can wear them two ways – cable-up or cable-down and that’s where the deciding factor enters.

For 69 USD, it has nondetachable cables. The cable, while feels good and well-built, is highly microphonic and tangle-prone. Splitter and jack follow the palette of the 12 Classics V2 and complements the look.

Oh, and one more thing – there’s no easy-to-know indication which is left and right. There’s this very small lettering of L and R at the bottom of the strain relief which is hard to see even in broad daylight.


Package: 3 pairs of narrow-bore black silicone tips (S/M/L). 1 pair of double-flange silicone tips. Paperwork. Protective case.





Now, onto sound:

For this review, the IEM was left in stock mode without mods, other than using a M short-stem, wide-bore silicone tip with a low-medium listening volume. I had to go 1 size up because the housing was touching my ears.

The included narrow-bore tips I found to adversely affect the SQ as it was a V-shape and with said tips congested the sound. A wider bore tip will open it up.

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Bass: It’s definitely elevated. However, the elevation doesn’t favor a particular sub-region and sounds balanced-going-lean (influenced by driver characteristic). Bass, due to that titanium-coated driver, is punchy, fast, tight, hits hard and well-textured. Sub-bass extension is excellent, controlled and will satisfy bassheads (especially when you use the double-flange tips). Truth be told, this was not the response I expected of the 12 Classics V2. I was thinking of something along the lines of warm, with a mid-bass emphasis, average attack and slow decay. And while what I got aligns with my personal preference, I can’t say I wouldn’t have preferred my expected Meze Audio house sound.

Midrange: Reminds me so much of the Moondrop SSP, with a very slightly less elevated upper midrange but similar, nonetheless. That would make the 12 Classics V2’s midrange neutral sounding - clean, forward, articulate and detailed but is unforgiving on certain tracks (badly recorded) and would be thin if you’re sensitive to upper midrange/lower treble frequencies. Guitars have that crunchy bite that makes for an engaging and emotional listening experience. This is where I would’ve preferred that warm bass. Alas, with the bass response and timbral characteristic of the 12 Classics V2 due to the driver, that is not the case. Highly depended on what you want and expect of this IEM.

Treble: A lower treble emphasis extending to treble proper with limited extension to the far-end-of-the-spectrum frequencies. It is very controlled and crisp. However, there is a metallic tint to it which I’m attributing to the driver coating. Not quite BA-timbre but definitely not the most natural. Regarding sibilance, the tuning is like it’s a step away from it – where it feels like you should have heard it but then the “ssss” is like at the edge of the cliff, almost falling but not quite.

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Timbre: With the titanium-coated DD, there is a hint of metallic timbre especially in the upper midrange/lower treble region. While it is a single-DD where one would expect to have natural timbre, the coating which is a major player for me to consider the 12 Classics V2 the best sonic-wise of the few IEMs I’ve heard under this price range brought with it the aforementioned issue. The listener can get used to this timbre with brain burn-in.

Soundstage, Imaging, and Separation: Soundstage is just outside of your head, with no dimension being more than the other. Couple that with the accurate and sharp imaging, well-presented instrument layering and the excellent separation that can handle any track you throw at it, and you have yourself a treat. It’s a holographic experience. Awesome considering that it’s a single-DD sub-70 USD.

Detail-retrieval: Decent enough. Due to the treble extension not reaching the “above human hearing capabilities” frequency/ies, for tracks that use that, it won’t be heard. However, with the tuning of the upper midrange/lower treble/treble proper regions and the titanium-coated driver capabilities, macrodetails are audible and registered clearly. The articulate bass response also plays a positive role on this.

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Conclusion:

For 69 USD, this is easily the best IEM I’ve heard under 100. A well-done V (objectively) with technicalities nothing short of exceptional. Add to that the exquisite design and build quality of the Meze Audio 12 Classics V2 and we have ourselves a winner.

However, there is one huge caveat – it has nondetachable cables. In the year of 2021, where even sub-6 USD IEMs have detachable cables, this is a major deciding factor. Add to that the fact that the cable is sleeved resulting in more microphonics and being more tangle-prone, oh well… BUT, there’s an easy solution for this problem – let a local modder perform an MMCX mod. From where I live, that would cost me around 15 USD which I would say is very much worth-it, as for the base price of 69 USD, you’re gonna be set for a long time with this IEM.

Disclaimer:

I would like to thank KEEPHIFI for providing a review unit of the BL-Mini. Check their website out (KEEPHIFI)! Rest assured that my impressions written in this review are my own personal thoughts and opinions and in no way influenced by outside parties.

I am not an expert in this hobby nor claim to be an audiophile. I just love listening to music and am fond of writing articles.


Introduction:

Blon. Blon. Blon. The Megalodon of audio budget-fi. Is it your mission to disrupt the system every now and then with your releases? It is my first product from the company and I am quite sure it definitely won’t be the last. Today we have the Blon BL-Mini, a single micro-DD IEM available in silver or gun for ~30 USD or even less depending on the platform. It has a sensitivity of 115 ohms with an impedance of 16 dB. For connection, it utilizes the proprietary 2-pin from the company which can be modified to fit QDC. There have been memes due to its rather unique design choice, to say the least. I personally like it but I do have weird design preferences (e.g. MT300). You know what isn’t a joke? The way it sounds.


These were plugged to my Oppo Reno 4 with the Earstudio HUD100 MK2 (bypass, high power) for the review. There was a noticed slight improvement in note weight, driver speed as well as detail retrieval compared to in low power mode. No drastic change/s observed and I determined that the Mini will happily play with any device you plug it in.




Build and Comfort: Hate its shape or not, it works. Though it may look weird, it’s a very ergonomic and somehow practical design. No problem at all with wearing them - they fit securely into my ear, and feel light so as not to cause discomfort. I mentioned the light feeling but this is currently is my heaviest IEM shell. That combination with the build equates to this premium feel when they’re on your hands. Isolation-wise, it’s slightly above average. Insertion depth meanwhile is deeper than usual and having a shallow fit will change the signature for the worse. I only recommend using the “Blonfit” and not the other type of silicone tips included. Cable is literally the same as the SSP cable just with a better made splitter and jack. It handles well, is comfortable, and won’t require you to buy aftermarket cables. A round of applause for BLON’s improvements on the cable.



Package: 3 pairs of silicone tips (S/M/L). 2 pairs of “Blonfits” (M/L). Paperwork. BLON-branded sack pouch. 4-core cable (in 2-core fashion).


Now, onto sound:

For this review, the IEM was left in stock mode without mods, using the “Blonfit” M, with a listening volume of low-medium.
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Bass: The Mini utilizes a 6mm microdynamic driver that somehow reminds me of a BA because of the attack and decay speed with considerably better extension. Perfect for my preference. This is the highlight of the BL-Mini - it’s fast, satisfying, controlled and punchy. If you’ve seen the graph, the extension is bonkers going down to the deepest sub-bass region. However, people might expect differently/wrongly as the BL-Mini does not provide a lot of “bass” (the one that consumers usually look for – average attack and slow decay). Others might not like this characteristic of the Mini which might make them think it is “bright” sounding and has “few” bass quantity. However, when called upon, you’ll definitely be surprised by how deep it can go while still maintaining control (I always am just astounded). Texture shows and the Mini doesn’t suffer from the “one blob bass” as it is very tight sounding. Bleed is non-existent and drums are snappy and defined even with double kicks. It is very controlled as well, with sub-bass being represented in a non-wobbly manner.

Midrange: I’d say it’s a balanced presentation, not warm nor lean, just… balanced. Not shouty at all. I’m hesitating to call it recessed, but it is a tad further back than what I would’ve liked (midrange proper, particularly). Peaks close to 3 kHz which has now become my preference. Textured midrange with no thinness whatsoever on female vocals or hollowness with male. Note weight isn’t heavy nor thin, just right.

Treble: Has a bit of energy but doesn’t come off as sharp or piercing. Very well controlled and splash is non-existent. Extension is decent and there are no extreme dips resulting in serious lack of detail (other than the one found at lower treble). Crash cymbals have a realistic decay and rattle that doesn’t become strident. Treble, while extends quite well, isn’t as emphasized as what you’d usually expect in the “budget” segment – this tuning of the region actually results in a “balanced” presentation with enough treble presence and air to give a bit of zing to the music There’s a dip after 3 kHz, “extending” for the whole lower treble that makes it possible for the Mini to not sound harsh and fatiguing. I didn’t hear any sibilance even in badly recorded tracks. There's a reported peak at around 8 kHz, but for my non-treble sensitive ears, this wasn't issue. Do take that into consideration for your decision on whether to buy the Mini or not.

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Timbre: different than the past IEMs I’ve heard. It’s evidently drier in comparison. I don’t see it as bad but it’s not as pleasing or satisfying as say the analogue-ish timbre of the KB Ear KS1.

Soundstage, Imaging, and Separation: One would expect that an IEM of this setup would have a very in-your-head presentation, but that is not the case with the Mini. Soundstage is wider than deep. Layering, imaging and separation is above average.

Detail-retrieval: Because there is a dip in lower treble, some detail is lost. Further than that and it is registered – present but isn’t emphasized. If it’s about midrange/vocal detail, now we’re talking! Breaths and the subtle imperfections/crunches are heard and vocals in general isn’t unnaturally smooth sounding. The driver speed also plays a big role in detail-retrieval, in a very positive way.

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Conclusion:

For those that haven’t read my review of the KB Ear KS1, I basically just wrote about how I loved that IEM so much. Want an upgrade, preferably sub-30 USD? Look no further than the Blon BL-Mini. It’s a refined/perfected KS1, better in every way possible. Wanna know a bad thing about it? I want to try another BLON. My excitement for their next releases cannot be contained, and I am experiencing early symptoms of FOMO in that I want to buy the 01, 03, and 05s.

Disclaimer:

I would like to thank Ms. Cloris and Moondrop for providing a review unit of the Aria. Rest assured that my impressions written in this review are my own personal thoughts and opinions and in no way influenced by outside parties.

I am not an expert in this hobby nor claim to be an audiophile. I just love listening to music and am fond of writing articles.


Introduction:

The Moondrop Aria is arguably one of, if not, the most hyped IEM this 2021. It uses a single LCP-diaphragm dynamic driver, with an impedance of 32 ohms and a sensitivity of 122 dB. Selling for 79.99 USD (cheaper in some sites, like 30 USD cheaper). Does it live up to the hype or have we all become cult followers of the “Harman” tuning.


Oppo Reno 4 > Earstudio HUD100 MK2 (bypass, high power) > Transducer

The Moondrop Aria is easy to drive and doesn’t require further amplification. A phone will do.


Build and Comfort: A safe shell design that should work for most ears without any comfort issues. It’s actually perfect, in a sense – not too small where it has an unsecure fit, nor too large where it becomes too bulky to use. Just the right size.

It feels weighty and has that premium-feel from the cold metal shell. Colorway is subjective, but with my taste, it does look nice. I forgot to mention, it uses a 2-pin connection which worked with all the cables I have on hand without any problem.

Nozzle is of average width and above average length without a lip. I didn’t encounter any issues with this design and the tips I rolled with. YMMV.

Now, for the cable. OH, THE CABLE. Why is it a good idea to push through a thin, 2-core, braided and sleeved cable? It’s a tangly mess, annoying to use, and comes with all the kinks you can think of with a “bad” cable. There have also been cases of the sleeve itself fraying. 2-pin connectors have plastic housings, splitter and slider are metal with the splitter having Moondrop-branding, and the jack’s housing is metal with a very generous strain relief (L-jack).

Average isolation.






Package: 6 pairs of silicone eartips. Moondrop-branded hard case. Tweezers. Extra filters (2 types).



Now, onto sound:

For this review, the IEM was left in stock mode, without any modification/s other than a cable change (TinHifi T5 stock cable) for usability purposes and a tip change (preference and fit - dependent). It has also been “burned-in” (putting an emphasis on quote-unquote) for more than 150 hours just for the sake of complying with the instructions from Moondrop themself (exceeding the indicated hours, even). I didn’t do any serious listening for more than three song throughout the entire “burn-in” process as I wanted to avoid any form of placebo that something did “change” with “burn-in” which may affect my judgement. Listening volume at low-medium.

This review was done with the Aria’s selling price of ~50 USD as that is the price I have access to here in SEA.
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Bass: Let’s do quality before quantity first. It’s decently controlled for the most parts with enough texture and detail to not sound smoothened-out and is of the fast attack and moderate decay. Extension is more-than-good and will work with any song that utilizes lower bass frequencies. Now, for the quantity – Harman bass is not for me. There’s just something wrong with the elevation of the sub-bass. It randomly jumps at you and will be overbearing in some tracks. It also consumes the other bass frequencies where you start hearing nothing but sub-bass depending on the song. Mid-bass lacks weight and is overly light which is a bad thing especially with drums appearing to have inadequate body and bass guitar and the like being exceedingly too clear and weight-light (might be good for some, but unnatural for me). I do understand that this tuning is based on the mass-preference in this modern age, and putting myself in their shoes – it will definitely play well with modern songs and get you engaged with that sub-bass-driven music (club, music festival, party and the like). Definitely provides those “hard hits” necessary for that kind of music.

Midrange: The Aria’s allure and it’s fatal flaw. I’m dividing this into two parts – 1. midrange to upper midrange, and 2. male vocal region (and lower midrange). Generally speaking, there is a great sense of clarity with the midrange presentation, with it being well-defined and textured, giving this energetic color to the music. For the first part, it is very transparent with excellent articulation and “alive” factor. The Harman female vocal is something I adore with a passion. Especially at lower listening volumes, there’s just this sense of intimacy, emotion, and breathiness with the presentation of the female vocals that is different from any other tuning. Definitely one of, if not, the most appealing feature of the Aria. I didn’t encounter any shoutiness or harshness with my tolerance levels and listening volume. Now, with the male vocal presentation (lower midrange and such), there’s just no other way to describe it other than unpleasant for my preferences. it’s slightly recessed compared to female vocals, sounds overly clear, dry and lacks body (lean). If you like that type of presentation, then I guess it’ll do just fine. Personally, it doesn’t work with what I need and want.

Treble: Very mature tuning (read: neutral-ish) with a delicate presentation. It’s a gradual slope following the neutral curve and you will not be left out with any part of the treble region (decent but nothing noteworthy air extension). With that, it also avoids any peaky-ness, sharpness, or fatigue with listening for longer sessions. Nothing much else to talk about here, honestly speaking, other than if you’re looking for an energetic, airy, or lively treble response, then the Aria’s not for you because the Aria’s treble is of the smoother and more neutral side (might be dull and boring for some).

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Timbre: LCP-diaphragm sounds natural with no metallic tint to it and is quite organic-sounding. No problems here.

Soundstage, Imaging, and Separation: Variable. IF we don’t listen to songs that utilize lower-bass frequencies, the Aria presents music in a “free” manner, with instruments and vocals having abundant space to move around in all dimensions. Introducing the elevated sub-bass fills-up the stage and becomes something of the average presentation in its price range. Decent, but nothing exceptional. Imaging, meanwhile, is a different story. The movement and placement of instruments in the soundstage is easily noticeable and quite focused. The driver can also handle busy and complex tracks, maintaining definition all throughout the listening experience… if there’s no sub-bass to distract you.

Detail-retrieval: The tuning of the upper midrange to treble-proper allows the Aria to render as much detail as it can (especially macrodetail) without sounding overly analytical. Microdetail is not as present as macrodetail (though still perceivable) due to the neutral tuning and the non-emphasis in the necessary frequency regions.

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Conclusion:

For 79.99 USD, I’d think twice unless you really adore Harman and don’t mind its one-too-many flaws in the bass and midrange. But for ~50 USD on sites like Shopee and Lazada, and if you’re a sucker for female vocals, it climbs a lot of floors up the building. Just try to avoid listening with male vocals if you’ll buy the Aria Oh, and do consider if you like or can tolerate Harman bass.