Disclaimer:

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

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


Introduction:

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


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


Technology:

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

Click to expand...

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

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

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

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


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

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

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

Hiss Amount:

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

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

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

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

Click to expand...

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


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Conclusion:

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

Disclaimer:

I would like to thank TRN Flagship Store for providing a review unit of the STM. Check them out on Lazada (Shop at TRN online with great deals | lazada.com.ph)! Rest assured that my impressions written in this review are my own personal thoughts and opinions and in no way influenced by outside parties.

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


Introduction:

I guess we don’t need any more intro for TRN as they’re one of the more famous mainstream companies that provide good value products for the masses. The TRN STM is a 1 BA + 1 DD hybrid, selling for around ~20 USD on several sites with three tuning filters, available in either “College Blue” or “Verdant Green,” using a QDC connection. It has an impedance of 24 ohms and a sensitivity of 106 dB, making it easy to drive with virtually any device.


These were plugged to my Oppo Reno 4 with the Earstudio HUD100 MK2 (bypass mode, low power) for the review, at low-medium listening volume.



Build and Comfort: “most used shell of all time” which makes sense as it lowers the manufacturing cost and makes it more affordable. It’s not heavy and should fit most ears. Faceplate is metal and somehow reminds me of the OG Gundams. Nozzle is of course metal as well with a screw mechanism for the tuning filters that lock in place satisfyingly. Cable is literally the same as the one on the KB Ear KS1 with one major difference – the STM cable has waaay better shaped earhooks, thus being more comfortable to wear.



Package: 3 pairs of silicone tips (S/M/L). Paperwork. QC certificate. 4 core cable (w/ mic option). Free foam tips for every purchase.


Now, onto sound:

For this review, the IEM was left in stock mode, without mods other than using the KP580 stock tips as I didn’t like the feel with the STM stock tips.


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Tuning Filters:

Blue – brightest sounding filter of all. Most detailed filter but also the most fatiguing and artificial due to the treble region not being dampened, thus highlighting the flaw of the BA. Because of the elevation in the upper spectrum, bass is perceived by the ear to be less in quantity.

Gold – “generic” V-shape. It would have been good if not for the elevation of the upper midrange that makes them excessively shouty. Treble quantity is less than blue and slightly more than red. This at least gives me an idea of what “female poison” sounds like.

Red – my preferred filter. Most balanced sounding of the three. Upper midrange is at a comfortable level and treble is the least amount here but still provides enough air and presence. Non-fatiguing. Bass quantity perceived is most emphasized with this filter due to the least amount in quantity of the upper midrange and treble region. The cons of the BA, namely the thinness and artificial-ness, are most “hidden” with this filter.


General Sound Impressions:

Bass: Red > Gold >= Blue. Bass quantity doesn’t change among the filters but more so how much bass is perceived by the ear in relation to treble quantity. Slight elevation in mid-bass and extends quite well. For those looking for the “slam,” these aren’t for you. It’s nowhere near “basshead” in quantity, but in quality? Now we’re talking! The STM reproduces bass in a fast and tight fashion that shows ample texture, followed by the control that handles EDM drops with slight mid-bass bleed.

Midrange: Gold > Blue >= Red (upper midrange, specifically). Sounds thin and artificial, there’s no other way to go around it. These, however, don’t lack the bite I usually look for in a lead guitar. Due to the influence of the bass bleed, warmth shows in the midrange, but not by a lot. With the filters, only difference would be how forward the upper midrange is. I don’t recommend these to individuals that listen majorly to vocal/acoustic tracks; otherwise, it shouldn’t be a problem (e.g., techno, EDM, etc.)

Treble: Blue > Gold > Red. It’s airy but isn’t controlled, that is why splash often occurs but isn’t to the point of being unlistenable. Quantity will depend on filter used. Emphasis is on the lower treble.

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Timbre: I now understand what BA timbre is. These are distinctly more different compared to dynamic drivers. There’s a certain metallic tint/artificial-ness to sound produced which might be a problem if one listens to a lot of vocal/acoustic-heavy tracks.

Soundstage, Imaging, and Separation: Soundstage will depend on the filter with the blue being the “biggest,” but generally for any filter, soundstage isn’t congested and actually has a lot of space to move around (more width, less depth). Imaging and separation is decent and you should be able to survive with any genre (to a reasonable extent).

Detail-retrieval: Depends on the filter. With the blue one, due to “zero” dampening of the treble region, they render the most detail, in exchange for a more fatiguing listen, and the red being the least detailed but least fatiguing.

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Conclusion:

The TRN STM offers good value in a saturated price point with a ton of competition. It’s main selling point? It has tuning filters to tweak the sound according to your preference. If you want that and can live with the cons, then it will be a good buy for you.


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

Disclaimer:

I would like to thank Tinhifi for providing a review unit of the T1 Plus. 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:

TinHiFi. Quite a legend of the Chi-Fi world if you ask me. Here we have the T1 Plus, a sub-30 USD single-DD IEM that utilizes a beryllium-coated driver. As far as I’m aware, this is the cheapest IEM that utilizes such a driver (on Shopee and Lazada). It lives in what I see as the most competitive market of the IEM world. It also utilizes a QDC connection so aftermarket accessories shouldn’t be a problem. Does it keep up with the pack leaders or gets lost in the crowd?


These were plugged to my Oppo Reno 4 with the Earstudio HUD100 MK2 (bypass mode, high power) for the review, at low-medium listening volume.

Build and Comfort: The T1 Plus utilizes a light and comfortable shell. It is essentially the same as one of the IEMs I previously reviewed (KS1), with the shell being slimmer than the generic ones, and thus sitting flush on your ear. Nozzle is plastic, rather short, and I would’ve preferred something in metal, but in this price point, I’d say it’s still acceptable. Insertion depth will depend on ear tips used and ear anatomy. In my case, it was a normal/usual fit. Cable, meanwhile, is excellent. It’s 4 cores, with a metal splitter, jack and a plastic cable holder. It is quite soft and the earhooks are shaped perfectly to fit most ears.


Package: 3 pairs of normal-bore silicone tips (S/M/L). 3 pairs of wide-bore silicone tips (S/M/L). Paperwork. QC certificate. 4 core cable (w/ mic option).



Now, onto sound:

For this review, the IEM was left in stock mode, using the stock wide-bore tips (small).

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Bass: Definitely elevated. An impactful, warm-sounding bass response. Extension is decent for the price, and is of the average attack, slower decay type. For the tuning that the T1 Plus is going for, it fits the bill. However, this is something I see as a con as it won’t be able to keep up with faster bass lines, resulting in a monotonous line with sub-par texture. Mid-bass bleed is noticeable and influences the midrange, which will depend on user preference.


Midrange: If you’ve ever listened to a warm pair of earbuds, these are the most similar sounding IEM to them. The T1 Plus has that distinct “thickness/rich” (IOW, colored) to the midrange that won’t ever fatigue the listener. And that's not a positive thing for me as it takes away the natural tonality and definition of the midrange. No harshness in the upper midrange whatsoever because of the influence of the mid-bass. I personally do not prefer this as it hides texture and bite, particularly in the veiled vocals, male and female alike.


Treble: The earliest roll-off I’ve heard in an IEM. Again, it is very, very, and I mean very earbud like. Soft and delicate sounding but is controlled and splash is nonexistent. For those looking for that brilliance, air, presence, zing or any other word associated with the highs, kindly look elsewhere. No harshness, whatsoever, as is obvious with the tuning and is very forgiving of bad recordings.

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Timbre: Really reminds me of an earbud I have. It has that colored timbre when music is portrayed.

Soundstage, Imaging, and Separation: staging is intimate due to the elevation in bass and roll-off in treble. Imaging is adversely affected by this as well as the separation. When there are multiple instruments playing, it’s difficult to pinpoint where exactly each one is placed and they often go over each other.

Detail-retrieval: Due to the early roll-off in the treble region and the elevation in the bass region, detail is hidden in the mix.

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Conclusion:

I can see the appeal of the T1 Plus. It will definitely perform in certain genres and media consumption but the tuning isn’t versatile. Though it is still a V-going-U, the T1 Plus does offer a rarer “relaxing and colored” signature compared to its peers, granted that you can survive the elevated bass, rolled-off treble and rather intimate staging. A job well done for TinHifi providing the cheapest beryllium-coated IEM in the market at the time of this review. It does do well in poorly-recorded tracks because of the tuning, avoiding harshness and sibilance.


****If you have other questions/concerns with the IEM 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 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.

Disclaimer:

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

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



Introduction:

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



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







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



Now, onto sound:

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

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

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

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

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

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

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

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

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




Conclusion:

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

Disclaimer:

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

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


Introduction:

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



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






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




Now, onto sound:


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

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

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

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

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

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

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

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

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




Conclusion:

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

Disclaimer:

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

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


Introduction:

Knowledge Zenith – the man, the myth, the legend. Arguably the most important figure of the Chi-Fi world, at least one of the companies that brought it to its glorious state in present times. The most recent releases have all been multi-driver IEMs, most not in the “budget-range.” But, out of a sudden, they release the KZ EDX, reminiscent of their very first single-DD offerings, that one can say made them who they are today. The KZ EDX is the cheapest IEM with removable cables. At just under 6 USD, depending on your region, you can choose between five different colors – black, white, smoked grey, crystal, and jade green/blue, with the last two being quite “rare” colorways and are only available in select stores. Rated at 112 dB with an impedance of 23 ohms, these are fine to drive with a phone.



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







Build and Comfort: Generic IEM shell that is used in multiple products, one in particular is the QKZ VK4. Has two vents – one at the center of the driver, and the other close to the edge of the nozzle base. Mine is in a crystal/clear finish, and it looks beautiful on hand. For those saying that the KS1 shell is the same, it’s not. The KS1 has this contour to the body that makes it more comfortable than the EDX, in my case. The cable that it comes with is a 4-core cable, in a rose gold/copper-esque finish, ending in a 0.75mm 2-pin connector. A bit tangly but definitely something that you didn’t expect from a 6 USD IEM.





Now, onto sound:



For this review, the IEM was left in stock mode, without mods/cable change and only a tip change as the white Starline didn’t work for me. It was also really harsh OOTB and was hurting my ears after a few songs, burning them in helped in my experience (~30 hours using Cascade Burn-In).

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Bass – it’s good. Not amazing, but good. Extends up to sub-bass so it does not sound lacking. Not that tight but has texture. Might be a bit boomy for some as it is quite elevated and doesn't have the best quality.

Midrange – recessed and has this metallic tint to it. Lower midrange is also lacking and thus sound particularly thin on male vocals. Female vocals are unnatural, sounding overly sharp. Coupled with the upper midrange elevation, and it’s a rough experience. If you’re a vocals lover or listen to vocal-centric tracks, I can’t recommend these. It has this harshness that I’ve never heard before, until the EDX. Annoying instances of sibilance as well.

Treble – P.E.S. - Peaky, Elevated, and Splashy. I despise every bit of this region. It’s the only gear that hurt my ears after listening to a few songs. At low volume, it’s alright. But then start increasing loudness, and in shows the pierce that it has.

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Timbre – metallic. It sounds lifeless and unnatural.

Soundstage – surprisingly wide. That’s it. No perception of depth or instrument layering at all. The presentation is very 2-D.

Imaging – decent at best. Moving sounds become quite blurry.

Separation – fine. You’ll survive.

Detail-retrieval – faked as heck using the treble peaks.

Conclusion:

Man, I didn’t want to have this first experience with the KZ brand. I actually expected a lot based on the “hype” it has garnered, but I say the hype’s not real for me. Midrange is harsh and metallic, treble is P.E.S., non-existent soundstage depth and instrument layering, fake detail-retrieval, and blurry imaging. The only redeeming qualities of the EDX are the beautiful crystal shell, removable and good-quality stock cable, white Starline tips that you can’t buy anywhere, surprisingly wide soundstage and the decent, but not amazing bass. Oh, and for 6 USD, I still don’t recommend these. You’re better off looking at earbuds which offer much more value for way less the money.



There are others that suggest to cable-roll and tip-roll. I didn’t have the resources during this review to do so. One of the “best” combinations that I’ve read is a “pure silver” cable and either foam tips or wide-bore tips.

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.

Disclaimer:

None needed. Bought with my own money.



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



Introduction:

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



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

*credits to @xilon for the Q-140 pics



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



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






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



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



Now, onto sound:



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

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

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

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

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

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

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

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

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

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



Comparisons:

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



Conclusion:

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



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

Disclaimer:

I would like to thank @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****

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.

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