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:

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.

----------

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 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:
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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.

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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.

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

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 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 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):
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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).


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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 DD-Audio Store for providing a review unit of the T5. 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 TIN HiFi T5 is the latest release from the audio company. Utilizing a single 10mm “DOC” dynamic driver, the technology is advertised as an evolution of the DLC drivers people have come to love. I don’t know if that’s just random marketing “facts” or something, but spoiler alert – they don’t sound particularly exceptional. Currently selling for 129 USD, it has a sensitivity of 103 dB with an unusually high impedance for an IEM at 48 ohms.

These were plugged to my Oppo Reno 4/Asus X409 with the Earstudio HUD100 MK2 (bypass, high power) for the review. While the impedance says otherwise, there were no observed improvements with more power. A phone will do.





Build and Comfort: Exceptional build. On their page, it says that the shell’s made of aviation-grade aluminum and it feels awesome on hand. Shell is of the bigger side but has cuts that contour to the human ear.

Regarding fit, looks can be deceiving, and that is the case with the T5. It fits surprisingly well in my small Asian ears, doesn’t feel heavy at all, nor fits big where you will always know that it’s there. One of the best-fitting IEM I have.

Nozzle is of below average length and average width. It did fit all eartips in my possession and I didn’t encounter any issues with the nozzle design.

The stock cable is a 4-core, Kevlar-reinforced cable with a twisted design. In my considerably short audio journey, I’ve found twisted stock cables to be rarer compared to the more commonly included braided ones. Handles well though is on the thinner side. Connectors, jack, splitter, and slider (sometimes works) are all made of metal.

Isolation is below-average. Basically consider it non-existent for an IEM especially of this size. Earbud-like isolation.


Package: 3 pairs of colored stem silicone tips (S/M/L). 3 pairs of translucent grey “spinning” silicone tips (S/M/L). 1 pair of foam tips (M). Faux-leather carrying case. Paperwork. Cleaning brush. 3 pairs of nozzle filters. Filter application tool. 4-core cable.





Now, onto sound:

For this review, the IEM was left in stock mode, without mods using the BQEYZ Summer vocal tips (any eartip advertised as vocal-enhancing will do) with a low listening volume low.

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Bass: elevated tuning. Sub-par detail and extension. Close to non-existent texture. Tonality leans slightly towards mid-bass over sub-bass. Sub-bass, while present, is like a trickle (no rumble felt at all). Unacceptable for the price it sells for. IT BLOOMS. Due to the bass quality concerning speed (unacceptably slow) and tightness, it has a more-than-usual tendency to present monotonous bass lines – smeared and woolly. Bass bleed manifests a lot. Worst aspect of the T5.

Midrange: they alright… if it was selling for 30 USD. The upper midrange elevation leads to a shouty presentation at higher volumes, with a significant lower-to-mid treble peak adding to that (can’t turn up the volume; maintain at low volume listen). Slightly recessed midrange overall (excluding quite shouty upper midrange), which does add to the stage presentation. Resolution is average. Midrange proper sounds thin and harsh (can’t go more than 1.5 hours). Male vocals get eaten by the bass response.

Treble: “most inoffensive” part of the T5’s sound when compared to the other regions. Decent air, clarity and control (though does almost cross the splashy border). BUT it is exceptionally *chef’s kiss* peaky in ear, which become unbearable in longer listen (same experience with EDX; peakier with stock tips). Really, really close to being sibilant for my ears/tolerance. Listening to badly recorded tracks is quite the torture from the highs department with the T5.

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Timbre: The DOC driver utilized in the T5 sounds particularly dry with a tendency to be thin and artificial.

Soundstage, Imaging, and Separation: The stage immerses the listener inside this huge world. Though it is absolutely unnatural, the presentation is, for lack of a better word, quite magical. The feeling is like freediving – where the individual is engulfed in this unexplainably vast and deep space. I’m attributing this trait to the large chamber thanks to the huge shell as well as the non-existent isolation. Imaging does well in presenting spatial location of sound/s. HOWEVER, the other half of the presentation – separation, falls short. While it does image well, its instrument separation capabilities cannot fully utilize the remarkable soundstage, most especially when things get even the slightest busy. The driver cannot handle multiple instruments and the space between instruments blur and go over each other.

Detail-retrieval: nothing exceptional. Macro and microdetail is present but doesn’t jump at you. You have to specifically look for it to notice.

----------

Conclusion:


The unboxing experience was very premium-feeling. The box has debossed print literally all over it, which look like they were made as the product box of a designer brand. The IEM itself feels like a 200+ USD product on hand. But the most important aspect in this hobby fails real hard. If I were to conclude the SQ, I’d say it’s decent… if it was sold for 30 USD. The only special thing it does in the price bracket it unjustifiably lives in is soundstage. But then again, who buys a 129 USD IEM for its soundstage when everything else fails?

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*.


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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.


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Gripes:

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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.

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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. Lee and Venture Electronics for providing a review unit of the Zen LL. 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:

Venture Electronics. Arguably one of, if not the most iconic earbud maker, at least in this present time. They have a wide range of products – from the legendary “hyperbudget” Monk series, up to the TOTL Sun. I have here the VE Zen LL (standard), selling for 69.80 USD, with an impedance rating of 150 ohms. It can be ordered with either a 3.5mm, 2.5mm, or 4.4mm jack. There’s an SLQ version as well, with the same driver but different colorway and cable, selling for 128 USD.



Oppo Reno 4 > KGUSS BH3 > Takstar HA101 > Transducer

It was possible to reach my listening volume using only my phone, with lots of headroom. While it is 150 ohms, I have a feeling that it has a high sensitivity that compensates for the impedance. However, compared to a phone, when plugged to the HUD100 MK2, the Zen LL experiences slight improvements in clarity (as well as treble, in extension), separation, soundstage, note weight and bass response when volume matched (only by ear). Not to a degree that prevents usage with a weaker source. A phone will be enough to enjoy the Zen LL but you will definitely benefit with further amplification.





Build and Comfort: Not a lot to talk about. Compared to MX500? this shell is a million times better, at least for my ears. Considering the price tag, the shell doesn’t feel “premium” at all. Plastic. Light. But a practical design nonetheless. It just disappears in my ears and I keep on forgetting that I’m wearing earbuds. No sharp edges whatsoever. Earbud fit is more personal and subjective than IEMs so as always, YMMV.

Cable, is, well… something I don’t particularly like. It feels jelly-like on hand, a bit sticky, holds some folded shape, and the worse of all – I doubt the durability. Mine arrived with a rip in the insulation. Cable was stiff OOTB but with some use it became more manageable, though not by much. One favorable aspect of the cable is that it’s not that microphonic compared to other non-removable cable earbuds. Good thing as well that it’s very easy to do recabling and/or MMCX mod with earbuds. I got the 4.4mm variant and the jack is metal and feels pretty solid. Splitter is nondescript with the tightest cable slider I’ve ever encountered (not efficient to use).

Isolation is non-existent and sound leakage is negligible.





Package: Carrying case. EX Pack Lite. Zen LL.


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 medium. I cannot use the included doughnut and thinner full foams because the former keeps moving around and falling off the driver while the latter ripped apart. Going foamless will help with clarity and soundstage (more airy) at the expense of bass extension (though is much, much cleaner sounding). I actually prefer foamless but as the majority cannot go this route, I did this review with foams.

I had a tendency to increase the loudness when listening to music due to the tonality of the Zen LL.


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Bass: big, thumpy bass that's a step away from bloated. Large mid-bass emphasis which gives that noticeable weight in the sound. While you can get to “sub-bass” frequencies with a sine sweep, the tuning of the Zen LL doesn’t provide enough for this region and as such, there is little-to-no rumble when listening to music (you hear a lot of mid-bass, though). Surprisingly, it renders texture well but struggles to maintain control with more complex bass lines and loses definition. Average attack, slow decay.

Midrange: warm, full-bodied and intimate. Sounds thick and sort of veiled. With that, this will be controversial, – it doesn’t sound natural. It is definitely colored leaning on the warmer side. BUT I get how it can become a very pleasing tonality (subjective). With the weight that the bass brings, acoustic guitars have this mahogany-esque sound to it. Resolution leaves me wanting for more considering the price. Midrange texture as well – vocals sound too smooth, distorted electric guitars lack bite, and the like. Well, that does make it fit for getting you to sleep, the purpose it was made for. Depending on the track, vocals are overpowered by the mid-bass and sound recessed.

Treble: relaxed and warm. Too warm. Others can think of this as recessed and rolled-off. How you will like this type of tuning will be highly subjective. However, it was made to serve as a sleeping “bud,” and the Zen LL embodies this image perfectly, both in comfort and tuning. It sure does make me sleepy when I listen to them. Going foamless will help bring more energy if you like that. No instances of splash.

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Timbre: sooo organic. There’s just something with earbuds and timbre, at least with those that I’ve tried.

Soundstage, Imaging, and Separation: This is the part that surprised me the most, particularly in staging – it’s intimate. It’s not what you’d expect from an earbud and actually reminds me of a good IEM’s soundstage along with the sweet layering. Depth is not that perceivable and just enough to not sound 2D. There is no weird imaging going on but the driver struggles when lots of things happen at once.

Detail-retrieval: Nope. Macro and microdetail are hard to notice with the tuning. Resolution, as well. Acceptable, considering the form factor. But for the price…

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Conclusion:

The contribution of earbuds in the audio world is that it is so rare to listen to a bad bud, regardless of price with a few exceptions (from those I've read about). The Zen LL is advertised as “the best sleeping-bud” and I fully agree with that. It’s a sound that holds you in a warm embrace, nothing offensive with it and something you can just put on your ears and get sleepy listening to music. One thing very important to consider is that the price-to-performance factor is crazy with earbuds, and I can’t say that I’ll 100% take the Zen LL over the multitude of hyperbudget models out there.

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.

Introduction:

At 9 USD, this is the second-cheapest IEM with removable cables (EDX is cheapest at 6 USD). This was the first-ever “earphones” I bought, if I don’t include the atrocious Xiaomi Airdots.

A plasticky, candy-colored shell started it all – and the rest was history. Here’s my take on the much-acclaimed, legendary QKZ VK4…



These were plugged to my phones (Oppo Reno 4, iPhone 5s) and laptop (Asus X409). I still do not have a dedicated DAC/Amp and thus cannot test scalability with more power but I am considering buying an Apple Dongle and/or a cheap amplifier (Topping NX1s).


Build and comfort: Typical universal CIEM shape, reminiscent of some of KZ’s offerings, which is understandable as from what I’ve read, they are sister companies. Definitely “cheap-feeling” – light, toy-like, but with a wonderful advantage. Due to the plastic-build, they disappear in your ears. Cable’s serviceable – typical cheap stock cable (plasticky, tangly, and sticky). I switched to a 4 USD JCally 8-core cable.


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I feel like I’ve used the word "typical" quite a few times, and all of that ends here. Sound is what sets these apart from the rest.
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I’ve had these for quite a few months now, and while I am still skeptical in burn-in, I can tell that these improve over time, in that it became smoother and more controlled.

Sound:

Bass – Goes deep. Bassheads will like this. Lots of quantity, a bit more boom than oomph. These are engaging, without reaching fatigue-territory. However, it isn’t the most tight or detailed. So, there’s that.

Mids – Organic and smooth as butter. Placed right smack in the middle. Not overly recessed where you have to focus/pinpoint just to hear it. It’s also not that elevated where you wince every now and then when things start to get shouty. It’s placed just right. Definitely influenced by the bass, having this warmish sound to it.

Highs – Previously had this peak that was annoying in some songs but disappeared over time. If you’re a treblehead, these aren’t for you. They’re not extended, is splashy, and aren’t detailed. However, for it’s purpose, these do the job. Just enough to provide a bit of sparkle in my life.



Timbre – I still don’t know how to fully describe timbre. I am a hobby musician, playing quite a few instruments, and to my ears, nothing sounds wrong with these.

Soundstage and Imaging – Definitely not like earbuds, which extend to the nether but aren’t congested as well. I’d say decent. Panning sounds aren’t that defined, where you feel like your head is spinning with the song (listened to 40 Layers for this), but they manage and get stuff done.

Separation – Does the job. However, due to the elevated bass if partnered with faster/busier tracks, instruments don’t have that much space to move, which tend to sound congested in tracks.

Detail-retrieval – Due to the smooth mids and slightly early rolled-off treble, these end in the relaxed listen rather than critical listen. They do sometimes show here and there, but usually non-existent.



Conclusion:

These started it all for me and if I didn’t buy these, I wouldn’t have known the audio world. They have a special place in my heart and I won’t ever let go of these. A 9 USD IEM that graphs surprisingly similar to the 64Audio N8 Universal, Moondrop Starfield, and the AKG N5005 – what more can you ask for?


**EDIT** Not recommended due to QC concerns

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 Smabat for providing a review unit of the M0. 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 cheapest of all Smabat’s, the M0 is a 15.4mm dynamic driver earbud with a “titanium-plated” diaphragm. It doesn’t have all the bells and whistles of its older brothers like the 3D-printed labyrinth acoustic chamber, but what it does maintain is their new modular design as well as MMCX connection, all for 35 USD (sale price). Impedance is at 20 ohms while sensitivity is at 110 dB.



Oppo Reno 4 > KGUSS BH3 > Takstar HA101 > Transducer

The Smabat M0 is very easy to drive and doesn’t require further amplification from what a modern phone can provide. Regarding pairing, I say that if you have the resources, it will play well with a warmer source due to the M0’s bright-neutral tonality.





Build and Comfort: Nice and simple. It’s not part of the three major shell types (i.e., MX500, bell, and PK) and is more of a cross between a bell and the Nicehck ME80. Finish is in blue with some gloss over it. No sharp edges whatsoever.

With how the shell holds the driver, it’s the same with the M2s Pro, in that it depends on a silicone ring over the opening of the shell to hold the two together.

I do have to note that the MMCX connection of the male and female is not as tight as that of the M2s Pro, in that it spins when effort is applied. Take from that what you may as I have not spent enough months/years with it to determine the durability of the MMCX used in the M0.

Stock cable is is not the best feeling one out there. It’s 4 cores but done in 2-core fashion, with plastic MMCX housing, metal splitter and jack, with a generous strain relief. There is no chin slider. The cable is coated in some sort of clear plastic covering. It easily loses shape which is a good thing and is soft enough to avoid microphonics, though does have a tendency to tangle. If you don’t like that, there’s a multitude of aftermarket cables as cheap as 3 USD on online shopping platforms.



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 closing mechanism).


Now, onto sound:

For this review, the earbud was left in stock mode, without mods using the full foams included with a listening volume of low-medium.

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Bass: due to the bright-neutral tonality, it will appear bass-light for most. However, give it some time and you’ll adjust to the signature and find that it has “enough” bass for even your bassy tracks, sometimes even providing just a little bit of that sub-bass rumble. Definitely not the most ideal bud for them bassy tracks, but hey, at least it works on them and doesn’t outright fail. Bass response is fast, shows some texture and is very controlled showing the speed prowess of the driver (clean-sounding bass). Overall an excellent bass response, in quality, most especially for the price. Regarding tonality, I find the mid-bass to be lacking (little-to-no punch, at all). It’s just too neutral and not enough in quantity to balance out the spectrum. Throwing the "YMMV" sword here.

Midrange: bright-neutral in that it prioritizes clarity at the expense of the tendency to sound thin and/or shouty in certain genres. It sounds very, very forward and is a wonder if you love an intimate presentation of the midrange. Surprisingly enough, lower mids don’t sound that lacking considering the tonality and those that reside in that region like male vocals have enough weight in them to not sound weird. Now this is where I would have wanted more bass – it can more-than-usual be thin and shouty, and more midbass quantity would have compensated that. There is a reason why almost all the earbuds I’ve read about have elevated midbass. Again, a big YMMV on this as I found the midrange to be unnaturally bright, particularly female vocals.

Treble: bright, zingy and has enough extension to provide air in the mix. Not as well-extended as its bigger brother (M2s Pro), but shares that speed although sometimes exhibits instances of splash. It gets fatiguing after a few hours in due to the prominent peaks across this region. For the last time... YMMV! Ha!

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Timbre: the thin note weight and bright-neutral tonality keeps throwing me off. However, there was no artificialness on the M0 and how you will appreciate it will highly depend on personal preference (not "YMMV" this time 'round ). Tonality and how natural it is however is a different thing altogether.

Soundstage, Imaging, and Separation: I always found transducers that have a brighter treble tuning to have a wide, tall and airy stage. That is the case as well for the Smabat M0. Depth, however, is the drawback. Not that it doesn’t have any, but that brighter treble plus the rather neutral bass response (not that well-extended, as well) doesn’t provide a lot of depth. Imaging, for the most part, does its job but doesn’t provide that sharp placement of sound found in better imaging transducers. Separation is decent for the price but does show how much it costs when multiple instruments start playing, with the whole presentation blurring and going “out-of-focus" which might actually just be due to the peaks in the upper frequencies, depending on how you see it.

Detail-retrieval: With said emphasis on the upper frequencies of the M0, I actually expected to hear at least some macrodetail and a few microdetail. You do hear them, but if I’m being honest? It’s not the good detail. I was greeted, or a better word, shouted with the “fake” detail with the peaks in the treble. The clarity and emphasis on the midrange and treble presentation plus the rather neutral bass response give an illusion of a detailed listen but what you really hear is the sharpness most of the time inherent to this tuning. Not bad for the price, but definitely not ideal. This is a common occurrence on the cheaper transducers to compensate for the technical capabilities of the driver.

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Conclusion:

For 35 USD, it’s a decent earbud. However, it is priced too close to the bigger brother, M2s Pro, which is simply better in every aspect, especially if you have access to something like Shopee or Aliexpress with the cheaper prices and vouchers/coins. A bright-neutral earbud with an interesting modular design and MMCX connection for under 40 USD, the Smabat M0 is an interesting choice for those looking at such a bud.

I do have a feeling that a filter in the vent might do wonders for the M0 (no filter in stock) and turn it into a wonderbud sub-40 USD.





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 mix pairing, midrange sounded muffled. Interestingly, it is also significantly bassier. Same phenomenon as the first mix.

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? I honestly can't say. There are also a lot of factors – the said impedance difference (20 vs. 40), how much space the chamber has (resonance and such), 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 Ms. Mei Liu and KB Ear for sending a review unit of the KS1. Rest assured that my impressions written in this review are my own personal thoughts/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:

It’s been two years since the community witnessed the legend of the Blon Bl-03. I, personally. have not tried any Blon product as I never got into its looks and didn’t want to endure the “fit” issue. Since then, people have been looking for the next Chi-Fi gamechanger. The KB Ear KS1 - a 17.99 - 18.89 USD, single-DD IEM, available in black or white, that KB Ear released to challenge our preconception of how much you need to spend to “hear” great sound. Exploiting the "new user/buyer" promo can lessen this cost by 3 USD. It is the cheapest KB Ear IEM available in the market right now. Rated at 109 dB of sensitivity and 16 ohms of impedance, these are easy to drive but even a cheap amplifier will slightly improve SQ.



These were plugged to my iPhone 5s with the SD01 amplifier for the review. OOTB, the bass was overbearing, slow, loose, and wobbly. After a few hours of burn-in, it settled down considerably (if you believe in that). It might have also been the tip size used as I initially put M tips and then switched to S tips. The vent might have been blocked and thus resulting in a slow and loose bass response (increased quantity as well). The KS1 is also source-dependent, sounding overly bassy when plugged to a source that elevates that region.



Build and Comfort: It looks like a typical plastic shell but there’s a subtle difference. The shell itself is quite thin/sleek compared to the other generic shells I have, and sits flush on your ear. Has a normal-sized metal nozzle that should fit aftermarket tips, so that’s a plus. There are two vents at the front of the IEM – one near the base of the nozzle and the other located at the center. Stock cable quality is good/usable and doesn’t look like it will untangle (L-plug as well). It also has aggressively-shaped earhooks, so it gets uncomfortable after a few hours of use (YMMV).


Now, onto sound:


For this review, the IEM was left in stock mode (tips and all), without mods or “cable changes”

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Bass – definitely elevated, with a mid-bass emphasis. But the thing is, while I personally do not prefer elevated mid-bass quantity, the KS1’s bass is just so well done. It stays controlled and is very textured. Very engaging as well, having this impact with each strike due to the really good extension. Good bass attack that has a nice decay (not too slow, not too fast) and keeps up with all of my tracks. It has this “body” to it that I can’t explain in words (like consuming, but in a good way). Some might prefer this, others not. The bass quantity on this set might be too much for others as well, as the extension allows for the “shaking” sub-bass rumble.

Midrange – No shouty-ness or graininess. It has this “alive” attribute to it, with vocals being rendered in a full manner, no thinness or hollowness whatsoever. It is also very natural which lets the midrange, particularly the instruments, deliver emotion and weight with each note played. These have the bite that makes you wanna nod your head and thump your feet along with the music. No sibilance whatsoever, as well.

Treble – well-extended. It is elevated but does not pierce. For some tracks, particularly with really, really fast, continuous crash cymbal strikes, there are instances of splash. Due to that extension, it also gives a nice air to the presentation, which is very much welcome given the elevated bass, allowing it to avoid the “congested” or “muddy” sound.


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Timbre – nothing offensive sounding. I would even say it’s organic, as the presentation sounds very raw, like you’re listening to the song live.

Soundstage – average. It doesn’t sound claustrophobic but it’s not expansive (quite narrow as well). I’d say it’s more of an in-your-head presentation. It lacks a bit of width for me to consider it holographic. But it does have really good depth and instrument layering.

Imaging – does its job. You can easily locate where sound is coming from and panning isn’t blurry at all but it’s not the most “focused” I’ve heard.

Separation – good enough. No matter the track, instruments won’t go over each other.

Detail-retrieval – revealing. This is where it hits the mark. The detail-retrieval is insane. Ride cymbals and toms in particularly have this distinction with each strike, especially when they switch types or where they hit it (subtle changes w/ sound produced). You hear the scratches with each guitar strike as well as when the fingers slide while changing chords. There is also the breath at the end of each line of the vocalists and the imperfection/s with each word spoken. It let me hear detail on songs I thought I knew by heart.

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Conclusion:

It’s still a V-shaped IEM, but it’s the best V-shape I’ve heard. If you want a lively-sounding IEM with nice, rumbling bass (goes deep), raw-sounding, “alive” midrange, extended treble, and the insane detail-retrieval for the price of 17.99 USD (no mic variant), then this one’s for you. It has no weakness whatsoever, other than if you consider it being average on soundstage, imaging and separation a weakness. Who knows, these just might be the next Chi-Fi legend the community has been waiting for, two years ever since the hype of the Blon BL-03.


UPDATE: Outclassed by other budget models. Rating brought down.

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 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.

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 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 HIFI Audio Store for providing a review unit of the TRN TA1. 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:

Currently the cheapest Knowles-equipped IEM in the market, the TRN TA1 can be found for less than 25 USD. I have here the JP-exclusive version with the random short hair winking anime waifu compared to the boring TRN-logo faceplate of the standard edition (uses MMCX connection). The TA1 utilizes a hybrid setup with 1 BA & 1 DD, rated at a sensitivity of 107 dB and an impedance of 16 ohms.



These were plugged to my Oppo Reno 4/Asus X409 with the Earstudio HUD100 MK2 (bypass, high power) for the review. There was a very slight improvement in note weight as well as technicalities (soundstage and overall clarity, specifically) compared to in low power mode. No drastic change observed to warrant the use of an external amplifier for the TRN TA1.

Build and Comfort: I gotta say, the build and design of the TRN TA1 is something that should be impossible in this price range. It’s weighty, uses premium-feeling materials, and of course, the shell design which is reminiscent of a certain 1000+ USD IEM. The waifu also gets plus points (lol). However, these don’t fit well OOTB for my ears. Using the stock cable and stock ear tips, the TA1 just kept falling off my ears. As I have a Faaeal Hibiscus cable lying around, I switched to that along with double-flange ear tips, and wore them cable down. Fit well for me and I thought it was the best one. But then I started using the stock IT01x cable (over-ear) with the short stem, wide-bore ear tips the IT01x came with. Angling the IEM towards my ear canal/s just like with earbuds, I achieved optimal fit for SQ (concerning seal and such). Nozzle is shorter than usual which is what I suspect caused an issue with fit, as the shell itself is relatively medium in size (note: it is on the heavier side, as well).

The stock cable is essentially the same as the one that came with the TinHifi T1 Plus, only with MMCX connection. The earhooks are uncomfortable for my ears (like the ones with the Audiosense IEMs).

Regarding comfort, assuming that I’m wearing them using my “best” setup, it is not exceptional. The design itself causes discomfort for my ears after ~2 hours of straight use (over-ear; due to the edges). Wearing them cable-down avoids said issue. As the shell is also heavier than usual due to material, it won’t go unnoticed in your ears. One bummer is that the waifu is upside-down when worn cable-up. So you have to wear them cable-down if you don’t want her to be defying gravity.

Isolation is below average.


Package: 3 pairs of black silicone tips (S/M/L). 4 pairs of clear silicone tips (S/M/L). 1 pair of sticky foam tips. Paperwork. 4-core MMCX cable.





Now, onto sound:

For this review, the IEM was left in stock mode without mods, using the stock wide-bore white tips (S) and the cable from the iBasso IT01x, with a listening volume of low-medium to medium.

Regarding tip rolling, the 2 types of included ear tips didn’t work for me (one was too bassy/muffled while the other was boring). Double-flange tips allow for cable-down wear and provides a tighter/deeper bass response with clearer highs, in exchange for an even more closed-in soundstage. With that, I prefer short stem, wide-bore tips as they “open” the sound, bringing improvements in the clarity of the midrange and treble (TA1 really needs that) while still maintaining satisfying bass quantity (though noticeably worse extension compared to other tips) without muddying the sound or limiting the soundstage.

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Bass: Warm-sounding to the point that others would say it is bloated/muddy. Extension depends on eartip, but generally speaking is relatively average. Decent for the price - meaning that it does “rumble” but is more like a trickle and not deep enough to provide a satisfying listen on EDM and the like, personally speaking. There’s a hump leaning on the midbass and thus the influence on the midrange. Speed is of average attack and decay so it won’t cause any issues with any genre. Tightness is average while texture and detail is sub-par. Bass lines won’t sound monotonous but it’s not the fastest in this price range and it also doesn’t fit my preference of BA-like bass response (fast attack and decay). There is slight mid-bass bleed which compliments the intended tuning of the TA1, influencing the midrange and overall signature.

Midrange: This one will be up to preference. It is very non-fatiguing, warm and pleasant using my preferred setup. There’s also this unique thickness that I have never heard in an IEM – syrupy. I have to admit, that characteristic hooked me in, especially with the homey vocals… for the most part. It was addicting to me at first, but then I came to realize that it seriously lacked resolution and that thickness took away the naturalness of the midrange. It also blunted guitars and the like. Male and female vocals have good positioning without one being overly forward or the other being recessed.

Treble: A rather controversial part of the TA1. When the graph of the TA1 was shared to the public by a certain reviewer, there was major uproar. A huge ~15 dB dip starting on 4.5 kHZ up to 9.1 kHz was seen. While this does avoid harshness with highs sounding delicate, it also pushed back the unenergetic in-the-first-place treble region to the point of being muted. And even if it utilizes a Knowles BA, there were instances of splash. Sibilance, or the chase to its non-existence, will highly depend on fit and tip use.

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Timbre: not the most natural of IEMs due to the hybrid set-up. There is a hint of artificial timbre from the Knowles BA. But because of the thickness of the midrange and the dip in the treble region, this is mostly hidden.

Soundstage, Imaging, and Separation: Average to Above Average, Average to Above Average, and Average to Above Average… for the price. That Knowles BA does bring its advantages on technicalities. You’d survive any genre. Soundstage isn’t particularly wide nor deep but has enough to not sound congested or 2D. You’ll notice where sound is coming from but it isn’t focused. The TA1 will be able to handle any song to a certain degree (but can’t go orchestral and the like).

Detail-retrieval: You’ve seen the dip that affects the lower treble to treble proper region? Yup. Add to that the mid-bass bleed, so don’t expect too much for 25 USD.




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Conclusion:

Having used the word average a total of twelve (12) times, while the TRN TA1 is not the best of the few IEMs I’ve heard in this price range, there is one thing it has that the others don’t have – a waifu. When other IEM companies only put the waifu on the box, TRN takes it to another level and designs an IEM with a random short hair winking girl printed on the faceplate. For 25 USD, as a collectible (assuming that you’ll buy the JP-variant), I say it’s worth-it, most especially for the upscale build and shell design. But more importantly, sonic-wise? Not so much when there’s the BL-Mini and the even cheaper and "best" sub-30 KZ DQ6 (with foam tips).