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Reviews by cqtek
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cqtek
1000+ Head-Fier
Pros: Big, physical and voluminous bass.
- Very rich mids.
- Tangible feel across the entire frequency range, extra level of texture.
- Smooth, attractive, sweet and rich tuning.
- Immersive experience.
- Very good cable.
- Pelican-style case.
- Huge price/sound ratio.
- Very rich mids.
- Tangible feel across the entire frequency range, extra level of texture.
- Smooth, attractive, sweet and rich tuning.
- Immersive experience.
- Very good cable.
- Pelican-style case.
- Huge price/sound ratio.
Cons: Few accessories, only one set of tips.
- No balanced cable option.
- The pelican box is too large to be used for transport.
- The resonance of the capsules can be activated with a simple snap of the teeth.
- No balanced cable option.
- The pelican box is too large to be used for transport.
- The resonance of the capsules can be activated with a simple snap of the teeth.
Introduction
I had never heard of the Apevoix brand before. It seems to be a new brand and, according to their website, their team consists of a group of audio enthusiasts, engineers and designers from renowned manufacturers. All members are passionate about audio technology and sound quality is their obsession. And as a sign of their ambition, the brand has started with a model like the Grit, which is already a statement of intent. The Apevoix Grit are tribrid IEMS that use a 10 mm dynamic driver for bass, four balanced armature drivers for midrange and treble, and a new bone conduction (BC) transducer that adds texture to the music. A total of six drivers in a four-way filter network ensure that your music is accurate, detailed and rich. Apevoix incorporates a powerful new state-of-the-art 11mm bone conduction transducer that delivers a realistic sound. By using a bone conductor, contact vibrations are produced instead of traditional acoustic tubes. The bone conductor extends across the entire frequency range to enhance the music. Two balanced armatures focus on the midrange and have been tuned to sound clean and natural, with a slight warmth in the vocals. The other two separate balanced armatures handle the treble for detailed, yet natural upper frequencies. For bass, the Grit uses a new 10mm biocellulose composite diaphragm, which features an incredibly complex matrix network of fibres for a tight and responsive bass response. The dynamic transducer, driven by powerful neodymium magnets, produces bass with punch and impact. The bass emphasises the rumble of the sub-bass with a strong mid-bass presence for powerful kick drums and reference bass. The Apevoix has been professionally tuned with a four-way crossover system to deliver a balanced and natural sound. With smooth low-mid bass tuning, the Apevoix is attractive and fun, while the mids and highs are accurate enough to be used in professional studio monitoring. On the other hand, it's worth noting its thick, silver-plated cable with four punchy strands and its pelican-style enclosure that looks like it's 3D printed. Let's take a closer look at Apevoix's debut.



Specifications


Packaging
The first thing that strikes you about the Apevoix Grit is its packaging. It is a red Pelican-style box, but taller, that looks like it was printed in 3D. Its dimensions are 114 x 94 x 85 mm. It is wrapped in rectangular cardboard with a background pattern that might remind one of the outer face of the capsule on all four sides. On the top side is the brand name and model in large white letters. On one side are the brief specifications. On the underside are the brand name, the logos of the certifications it complies with and the importers' details. The box is sealed with heat-shrinkable plastic. The box is red and the top side has the brand name printed in 3D in white. This side has a rough texture, while the horizontal lines of the 3D printing are visible on the rest of the box. The box is closed by two strong black stops attached to two horizontal screws. When you open the box, you can see the capsules embedded in dense black foam. The inner side of the lid is covered with a foam in the shape of mountains and valleys. Underneath the first layer containing the capsules is a second layer of foam that protects the walls. In the recess there are two plastic zippered bags. One contains the cable and the other the test strips. There is a set of three silicone tips in sizes S, M and L, and a pair of foam tips. That's all.
The content is the minimum and essential, very fair for a model of more than 200$. The box is very large and cannot be used to transport the product at any time. The cable is very good, very thick and has a sleeve for the top connector. The pity is that the cable does not have a 4.4mm balanced plug as an option. But four pairs of tips is very tight, as well as not having another case to carry it in on a daily basis.


Construction and Design
Apevoix Grit is made of slightly translucent resin. The outer face is a panel with metallic coloured veins that look like wood splinters. They also have small gold flakes and a few drops of amber. On the rim, in three-dimensional silver lettering, is the name of the brand. The capsules have a slight semi-custom shape, but with a rounded and very smooth inner side, with no protrusions on the rim. They give the impression of being thick and stubby. The base of the mouthpieces protrude and the mouthpieces are metallic and measure 4.2mm in length. They have a smaller diameter of 5.5mm, while the crown measures 6.2mm. Two thick metal grids protect the nozzles. The 0.78mm 2-pin connector is fully recessed into the rim of the capsule. The connections are gold-plated and mounted on a translucent rectangular piece. At the other end there are three holes. As I say, the capsules are slightly translucent and you can see the BA drivers near the mouthpieces and the dynamic driver at the bottom.
It should be noted that the capsules also resonate. If you tap them with your fingernail while wearing them, they generate a medium sound with a certain level of reverberation. They don't resonate as much as a bell or as high-pitched, but the sound remains slightly in my ear. Perhaps this characteristic has to do with the bone conduction driver and such a capsule has been sought to enhance its performance. It is very likely that this is the case, and even that the other drivers, especially the dynamic one, also take advantage of this capability. Without a doubt, the sound and the physical sensation produced are special.
I like the cable. It consists of four intertwined strands. Its exterior is made of transparent PVC which reveals a thick, coiled, silver-plated conductor. The connector sleeve is a cylinder with a slight tapered finish on the cable exit side. At its centre is a checkered carbon pattern. The 3.5mm plug is gold-plated. The cable outlet is protected by a black rubber sleeve. The splitter piece follows the same pattern, only it is smaller and has an Allen screw embedded in the cable outlet once it is unfolded. The other side is slightly tapered. There is no protection for the cable outlet. The pin is a sphere sectioned at the poles, the inside diameter of which is adequate to exert the necessary pressure to hold the strands together and make it difficult for them to slip. The sleeve of the 0.78mm 2-pin connector interface is two black, hard plastic cylinders. Each has a white letter that identifies the channel. The two pins are integrated into a rectangular piece that protrudes slightly from the cylinders.
The cable has semi-rigid sleeves that fit over the ear.
Again, I really like the cable and would have loved to have had a balanced plug option. I also like the exterior look of the Grits, while the rest of the shape is rather classic, except for the resonant characteristic of the entire exterior.


Adjustment and Ergonomics
The capsule is medium-large, thick and with good projection. The nozzles are thick and relatively long. Medium insertion is possible, but the diameter of the nozzles may prevent this. The combination of the resonant capsule, the projected nozzles and their diameter can achieve a very occlusive setting that can generate a punchy and impressive sound, although it may be too invasive for some and spectacular for others, especially in the presence of bass, its impact, texture expansion and also scene extension. I think that to prolong this effect, it is necessary to achieve a deeper insertion and to increase the contact of the capsule with the pinna. It is true that this is not easy to achieve. But it is possible to use the latest generation tips, such as those with transparent silicone, which allow a lot of contact. This type of tips are the ones I have used on this occasion. I have also filled them with foam to increase the contact with the ear canal. In this way, the listening experience is much broader: you get a greater presence, a more intense physical sensation and a deeper immersion in the sound. Perhaps it can be too overwhelming an experience, a sensation that exceeds the sound itself, closer to the immersion generated in a movie theatre, but only in stereo, by adding that extra physical component.
On the other hand, the fit is comfortable, the capsules are light and the over-ear cable is acceptable. If the degree of occlusion is high, some fatigue may occur due to sound pressure and the additional physical component. The capsules are thick and, although they are smooth at the edges, if a lot of contact is made with the pinna, in the medium term, as the hours go by, they may become uncomfortable.
Finally, it should be noted that resonance of the capsules can occur even when chewing. Therefore, I do not recommend these IEMS for watching films while eating popcorn, as the very clicking of our teeth can cause the capsules to resonate. I also don't recommend doing sports with them because of the vibrations. I advise to use them in as static situations as possible.


Sound
Profile
The Apevoix Grits are warm, slightly U-shaped IEMS, with present mids and smooth highs. Their low end has a fairly extended subwoofer, far from being too steep, which is maintained towards the mid-bass, which enhances the lower range. On the other hand, the BC capsule and driver are able to increase the bass presence and power to a more physical level thanks to their resonant effect. This may not be to everyone's liking. However, for others, the extended physical experience can be a very favourable point.
In the second half, the Grits have relatively high upper mids, in contrast to the first half. However, this difference does not seem so great, perhaps due to the BC driver's boost across the entire frequency range.

Bass
The low end of the Apevoix Grit is truly special. With a wide sub-bass as a foundation and reinforced by the resonant effect of the capsule and the BC driver, the bass is physical, deep, elastic, voluminous, sensory and powerful. Due to the bell effect generated by the capsule, very low-frequency pure tones are perceived as partially altered. Some very low frequencies are very well perceived, dark and sensory, while others are perceived as more coloured. It is possible that the resonant effect has a different reaction for different frequencies. Starting with the lowest note, it is not quite realistic and a little colour and vibrational nuance is perceived, although it is deep, dark and physical enough for a very good performance. As the hertz increases, you feel the physicality grow, as well as the effect on the capsule. It is true that this resonance can muddy the bass, adding some halo and wake, and prolonging the pure notes in time. But this is not critical when translated into real music. In this way, the bass drums do not sound slower, but more elastic. It's true that they don't pick up as quickly, but it's like a more physical sensation, the result of bone conduction, that lingers a moment longer. Those who are looking for a less expansive, less physical and less voluminous bass, without that feeling of punch, of contact, will not end up liking the Grits. But for me they are an extra sensory experience. The low end of the Grits floods my ears, spreads through the pinna, travels along the walls of my ear canals and reaches my eardrums. It then passes through them and travels directly to the brain. The physical sensation and the punch can be stupefying. But there is a point of addictive violence that incites me to continue subjecting myself to this thunderous experience.
In the dreaded dirty, poorly recorded and unfiltered bass test, it might seem that the Grits were going to suffer badly, but this is not the case. It was a surprise to hear control, depth, presence, violence, punch and volume, with nothing out of place, maintaining definition and generating thick, dense and heavy bass layers, but maintaining a responsiveness to change and tracking that seemed very difficult. So the bass lines stay in place, as do the layers. But the whole thing is once again overflowing and unique.


Mids
The midrange of the Apevoix Grit is slightly warm, transparent and very clean. There is a good physical component that is not dense and does not contribute to obscuring or muddying the sound. There is still that tangible feeling that lingers even in the low notes of the male vocals, which again generates that perception of strength from deep within. It is more than body or texture. The same treatment is given to the strings; that combination of texture and physicality helps to create an impression that goes beyond sound, that activates a tangible presence and adds a vivid realism that feels very close. The Grits possess the ability to make the music feel as if it were heard live, but in a way that is very close to the musicians. And that's something I've rarely been able to feel with IEMS before.
On the other hand, I am happy to comment that there is a balance between male and female voices in the face-to-face sessions. It is possible that the physical part of the male voices is not present in the female voices, but there is enough of pinna gain to regain its prominence. However, the upper middle register is restrained, without generating sibilance, but neither is it brilliant. It is here that warmth is most evident. I stress once again that the sound is not dark. The notes are very clean and pure, containing a mixture of body and finesse that adds texture, makes them vibrant, fills them with life, realism, passion and richness. In this way, the mids are very attractive, musical, engaging, involving, transparent and pleasing. The physical component adds a lot of dynamics to the whole. Presentially, one can feel from the smallest details to the densest and most elevated compositions. There is room for everything, nothing seems to blend in, although it is not an analytical sound, but a more relaxed one. I don't mean ‘soft’, because the tangible component adds that overt physicality. But there is calmness and finesse at the boundaries of the notes. It is a rich, intoxicating and attractive musicality that dazzles, that encourages further listening and even touches. The midrange of the Apevoix Grit is perceived as very big, exciting and energetic, generating a new definition of expressiveness, descriptiveness, volume and, above all, presence and body.


Treble
The graphics of the Apevoix Grit are deceiving. Either that, or its bone conduction driver is more prominent than it seems. But, going back to the graph, the Grits have a distinctly smooth treble, with a gradual decline from 5 kHz. After that initial sparkle, everything in the graph is downward, even the air zone is under-represented. However, the reality does not correspond to what the graph seems to indicate. It is clear that the treble is soft. But the two BA drivers are more explicit, descriptive and informative than they appear to be. Their treble notes are thin and not rounded. There is a balance between energy, restraint and homogeneity. And that conjunction gives it a lively, if tempered, sparkle. Perhaps it is also a benefit of the bone conduction driver. In any case, the high end is better represented than the frequency response shows. While the initial sparkle is not explosive, but moderate, it feels fine and slightly sharp, without being piercing. It does not crackle and is not piercing. The energy level is restrained and confident. The extension is gradual, somewhat clipped, but it doesn't come across as dark or overly nuanced. And that is something I find truly special and surprising. And therein must lie the virtue of combining those two BA transducers with the BC.
In conclusion, the treble is more representative than it sounds, with very good definition, finesse and class, plus enough extension to round off a truly rich, musical, pleasant, engaging and highly enjoyable sound, not least because of its balance and calmness at the top end.


Soundstage, Separation
The scene is based on bass with plenty of volume, elasticity, texture and depth. This volume is expansive, as the physical component of the bone conductor and the resonance of the capsule extend it even further. In this way, the scene already seems very wide from the bass alone. The laterality is very good and the sound is surrounding. The height is very pronounced, which is certainly one of its strong points. This gives the sound a zenithal, slightly ethereal and gaseous feeling. But it is not an overly volatile sound. The physical component generates a substrate, a powerful base. Thus, the sense of dynamics is also pronounced. The result is a rather enveloping scene that is neither spherical nor completely encircling the head, although the volume is very generous. Noteworthy is the ability to layer and layer the elements, distancing them from each other while retaining their importance and role within the music.
This is not an analytical sound, although it is very descriptive, with great resolution and definition. In this sense, it may seem that the micro detail should be much more explicit. But this is not the case, it is somewhat more relaxed in that respect, as it generates micro detail in an incipient and subtle way, but without being overly marked. However, it is very rich in nuance and is able to reproduce some hidden elements due to its complexity. It can also be surprising how descriptive and accurate this model is.
Separation is very good, but without losing cohesion or homogeneity. It maintains that balance between volatility and attachment to the base to draw a discernible scene, evident, well positioned and spatially located with remarkable solvency and distance between elements. It is worth noting the ability to produce a sense of live music in compositions with acoustic instruments.


Comparisons
Kiwi Ears KE4
The Kiwi Ears KE4 are IEMS based on the famous META frequency response. There has been a lot of buzz about this new frequency response. But, in the end, it doesn't look like it will become a standard for the rest of the IEMS. And when it comes down to it, I think that the META curve is not to the liking of most enthusiasts. Perhaps this is because the right tuning has not yet been found. In any case, the KE4s are IEMS that cost $199 and have a very similar frequency response to the Apevoix Grit. They are very similar up to 200 Hz and between 1 kHz and 6 kHz. Then, the KE4s seem to have a little more energy in the treble and more air.
The KE4s are based on the classic Kiwi Ears accessory set, which includes a set of tips and a zipped case. The cable is of good quality. The Grits come with little else: the Pelican case, a set of tips, a pair of foam tips and a high quality cable.
In terms of construction and design, both are made of resin. The Grits are thicker, bigger and have that resonant capsule. The advantage is that their mouthpieces have more projection and allow for deeper insertion. The KE4s are smaller, with a more classic semi-custom shape, but with shorter mouthpieces for shallow insertion. I prefer the deeper fit of the Grits, but it is true that their size may be more detrimental to people with small ears. They also have thicker mouthpieces, which can be problematic for those with smaller ear canals.
On the driver side, the KE4s feature an isobaric subwoofer system with two 10 mm dynamic drivers, combined with two BA drivers: one for full range (RAB 32257) and one for treble (Knowles RAD 33518). They also incorporate a three-way passive crossover and three independent sound tubes. The Apevoix Grit is a tribrid IEMS using a 10 mm dynamic driver for bass, four balanced armature drivers for midrange and treble, and a bone conduction (BC) transducer. In total, 6 drivers in a 4-way filter network. The model and origin of the BA drivers is not stated.
The Grits are a little easier to move than the KE4s, which need more volume to equalise the generated sound pressure.
When analysing IEMS, one has to take into account the tendency of the sound of all the IEMS analysed. While I found the KE4s a bit dark, the Grits not so much. It is possible that my ear is getting used to this kind of tunings with softer treble and more predominant bass. The difference is where the accent is produced. The Grits have a very physical bass, with quite a pronounced presence in the transition from sub-bass to mid-bass. Then, the mids are very well represented, very clear and wide. The treble is moderate and not as extended. In comparison, the KE4s have more treble. The voices between the two models feel offset: there is more treble component in the KE4s, while the Grits have a deeper, fuller-bodied base. It's not a difference in thickness, but a clear difference in timbre. Which is more accurate? I don't question that, but I do enjoy the physical base of the Grits' voices more. But back to the bass, the KE4s have a tighter punch, with a smoother texture, are less rubbery and less elastic. Technically they are more accurate, but have a bit more colour. Grit basses are deeper and darker, have more physical pressure, move more air, have more presence, more volume, texture, rubberiness and elasticity. They have a slower decay and remain longer in time and space. But all these properties generate a sensation that I find difficult to escape from. In fact, the bass of the Grits is a very pleasant experience for my ears.
In the very low frequency pure tone test, the Grits seem to have a bit more presence in the lower notes, but they also have a less desirable wave character that soon disappears as frequencies increase. It is possible that this is due to the behaviour of the bone conduction driver. The KE4s are purer in this respect and behave better, more natural and realistic. That means they are more accurate, faster and clearer. However, they do have a point of colour, whereas the Grits are darker, the bases seem deeper. This, together with their physical and resonant power, texture and volume, tips the balance towards the Grit.
In the centre band, the battle is very complicated. They are great midrange models, for my taste. The KE4s bring extra presence in the first half of the midrange, something I like a lot. Male vocals have a closer presence, whereas on the Grits they are a step further back. Personally, I prefer the fuller and closer presence of the male vocals in the KE4s, but I must confess that the richness, the amount of nuance, the lushness and the volume stand out in the Grits as well. It seems as if in the KE4s the male voices are more compact, but in the Grits they become more complex, dilated and expressive, which makes them sweeter and more pleasing. The female voices have a very similar presence in both models. However, the Grits are still dominated by a more pronounced silky aspect, which generates more velvety female voices without losing the harmonic richness or the powerful base. The female vocals on the KE4s are more concrete, less crisp and also more compact. It seems that the dual midrange driver is more informative on the Grits, in addition to the supposed extra texture of the bone driver. If I found the mids of the KE4s excellent, the mids of the Grits are a bit better, richer, more expressive, sensitive, silky and sweet, with that subtle touch of more transparency, body and volume.
If the highs of the KE4s were already close to neutral, the highs of the Grits are clearly below. However, they still have that sweetness and expressiveness that makes them very musical and enjoyable. The KE4s have more sparkle, energy, extension and air. They are also punchier and less delicate.
The KE4s have a large soundstage and their notes are widely separated. But the Grits are a step above, with a physical, volumetric, very deep, wide, surrounding scene and with notes that are so spaced out, crisp, clean and transparent. More space between notes and higher resolution drivers give the Grits a little more detail, nuance extraction capability and virtue in describing music with more richness and complexity, in a very pleasing and balanced way. The sound of the Grits is bigger than that of the KE4s.


Conclusion
Can IEMS with soft treble and not too extended be perfect? Probably not, but do they have to be perfect to deserve a 5-star rating? Well, neither. Given the subjectivity of my opinion of the Apevoix Grits, two superb ranges stand out: the bass and the midrange of this brand's inaugural work. This new model from the debutant brand has a tribrid driver configuration ( 1DD + 4BA + 1BC). In addition, it has a resonant capsule that combines with the full-range bone driver to add an extra physical component and texture. The bass is very big, voluminous, with a big punch and that tangible feeling that creates a differential experience. The mids are very rich, sweet, harmonious, musical, tremendously engaging, resolving and immersive. The highs are soft, delicate and not too extended, but they are the perfect balance for a special and very pleasant IEMS. And don't forget the wide soundstage, excellent separation and remarkable level of detail, qualities that the Apevoix Grit possess and that bring you closer and deeper into the music than very few other IEMS in its price range. Superior.


Sources Used During the Analysis


Purchase Link



You can read the full review in Spanish here



I had never heard of the Apevoix brand before. It seems to be a new brand and, according to their website, their team consists of a group of audio enthusiasts, engineers and designers from renowned manufacturers. All members are passionate about audio technology and sound quality is their obsession. And as a sign of their ambition, the brand has started with a model like the Grit, which is already a statement of intent. The Apevoix Grit are tribrid IEMS that use a 10 mm dynamic driver for bass, four balanced armature drivers for midrange and treble, and a new bone conduction (BC) transducer that adds texture to the music. A total of six drivers in a four-way filter network ensure that your music is accurate, detailed and rich. Apevoix incorporates a powerful new state-of-the-art 11mm bone conduction transducer that delivers a realistic sound. By using a bone conductor, contact vibrations are produced instead of traditional acoustic tubes. The bone conductor extends across the entire frequency range to enhance the music. Two balanced armatures focus on the midrange and have been tuned to sound clean and natural, with a slight warmth in the vocals. The other two separate balanced armatures handle the treble for detailed, yet natural upper frequencies. For bass, the Grit uses a new 10mm biocellulose composite diaphragm, which features an incredibly complex matrix network of fibres for a tight and responsive bass response. The dynamic transducer, driven by powerful neodymium magnets, produces bass with punch and impact. The bass emphasises the rumble of the sub-bass with a strong mid-bass presence for powerful kick drums and reference bass. The Apevoix has been professionally tuned with a four-way crossover system to deliver a balanced and natural sound. With smooth low-mid bass tuning, the Apevoix is attractive and fun, while the mids and highs are accurate enough to be used in professional studio monitoring. On the other hand, it's worth noting its thick, silver-plated cable with four punchy strands and its pelican-style enclosure that looks like it's 3D printed. Let's take a closer look at Apevoix's debut.



Specifications
- Driver Type: 1DD+4BA+1BC.
- Frequency Response: 20Hz-20kHz.
- Sensitivity: 104dB SPL/mW.
- Impedance: 16Ω.
- Jack Connector: SE 3.5mm
- Cartridge Connection Type: 2Pin 0.78mm.
- Starting Price: $219.


Packaging
The first thing that strikes you about the Apevoix Grit is its packaging. It is a red Pelican-style box, but taller, that looks like it was printed in 3D. Its dimensions are 114 x 94 x 85 mm. It is wrapped in rectangular cardboard with a background pattern that might remind one of the outer face of the capsule on all four sides. On the top side is the brand name and model in large white letters. On one side are the brief specifications. On the underside are the brand name, the logos of the certifications it complies with and the importers' details. The box is sealed with heat-shrinkable plastic. The box is red and the top side has the brand name printed in 3D in white. This side has a rough texture, while the horizontal lines of the 3D printing are visible on the rest of the box. The box is closed by two strong black stops attached to two horizontal screws. When you open the box, you can see the capsules embedded in dense black foam. The inner side of the lid is covered with a foam in the shape of mountains and valleys. Underneath the first layer containing the capsules is a second layer of foam that protects the walls. In the recess there are two plastic zippered bags. One contains the cable and the other the test strips. There is a set of three silicone tips in sizes S, M and L, and a pair of foam tips. That's all.
The content is the minimum and essential, very fair for a model of more than 200$. The box is very large and cannot be used to transport the product at any time. The cable is very good, very thick and has a sleeve for the top connector. The pity is that the cable does not have a 4.4mm balanced plug as an option. But four pairs of tips is very tight, as well as not having another case to carry it in on a daily basis.


Construction and Design
Apevoix Grit is made of slightly translucent resin. The outer face is a panel with metallic coloured veins that look like wood splinters. They also have small gold flakes and a few drops of amber. On the rim, in three-dimensional silver lettering, is the name of the brand. The capsules have a slight semi-custom shape, but with a rounded and very smooth inner side, with no protrusions on the rim. They give the impression of being thick and stubby. The base of the mouthpieces protrude and the mouthpieces are metallic and measure 4.2mm in length. They have a smaller diameter of 5.5mm, while the crown measures 6.2mm. Two thick metal grids protect the nozzles. The 0.78mm 2-pin connector is fully recessed into the rim of the capsule. The connections are gold-plated and mounted on a translucent rectangular piece. At the other end there are three holes. As I say, the capsules are slightly translucent and you can see the BA drivers near the mouthpieces and the dynamic driver at the bottom.
It should be noted that the capsules also resonate. If you tap them with your fingernail while wearing them, they generate a medium sound with a certain level of reverberation. They don't resonate as much as a bell or as high-pitched, but the sound remains slightly in my ear. Perhaps this characteristic has to do with the bone conduction driver and such a capsule has been sought to enhance its performance. It is very likely that this is the case, and even that the other drivers, especially the dynamic one, also take advantage of this capability. Without a doubt, the sound and the physical sensation produced are special.
I like the cable. It consists of four intertwined strands. Its exterior is made of transparent PVC which reveals a thick, coiled, silver-plated conductor. The connector sleeve is a cylinder with a slight tapered finish on the cable exit side. At its centre is a checkered carbon pattern. The 3.5mm plug is gold-plated. The cable outlet is protected by a black rubber sleeve. The splitter piece follows the same pattern, only it is smaller and has an Allen screw embedded in the cable outlet once it is unfolded. The other side is slightly tapered. There is no protection for the cable outlet. The pin is a sphere sectioned at the poles, the inside diameter of which is adequate to exert the necessary pressure to hold the strands together and make it difficult for them to slip. The sleeve of the 0.78mm 2-pin connector interface is two black, hard plastic cylinders. Each has a white letter that identifies the channel. The two pins are integrated into a rectangular piece that protrudes slightly from the cylinders.
The cable has semi-rigid sleeves that fit over the ear.
Again, I really like the cable and would have loved to have had a balanced plug option. I also like the exterior look of the Grits, while the rest of the shape is rather classic, except for the resonant characteristic of the entire exterior.


Adjustment and Ergonomics
The capsule is medium-large, thick and with good projection. The nozzles are thick and relatively long. Medium insertion is possible, but the diameter of the nozzles may prevent this. The combination of the resonant capsule, the projected nozzles and their diameter can achieve a very occlusive setting that can generate a punchy and impressive sound, although it may be too invasive for some and spectacular for others, especially in the presence of bass, its impact, texture expansion and also scene extension. I think that to prolong this effect, it is necessary to achieve a deeper insertion and to increase the contact of the capsule with the pinna. It is true that this is not easy to achieve. But it is possible to use the latest generation tips, such as those with transparent silicone, which allow a lot of contact. This type of tips are the ones I have used on this occasion. I have also filled them with foam to increase the contact with the ear canal. In this way, the listening experience is much broader: you get a greater presence, a more intense physical sensation and a deeper immersion in the sound. Perhaps it can be too overwhelming an experience, a sensation that exceeds the sound itself, closer to the immersion generated in a movie theatre, but only in stereo, by adding that extra physical component.
On the other hand, the fit is comfortable, the capsules are light and the over-ear cable is acceptable. If the degree of occlusion is high, some fatigue may occur due to sound pressure and the additional physical component. The capsules are thick and, although they are smooth at the edges, if a lot of contact is made with the pinna, in the medium term, as the hours go by, they may become uncomfortable.
Finally, it should be noted that resonance of the capsules can occur even when chewing. Therefore, I do not recommend these IEMS for watching films while eating popcorn, as the very clicking of our teeth can cause the capsules to resonate. I also don't recommend doing sports with them because of the vibrations. I advise to use them in as static situations as possible.


Sound
Profile
The Apevoix Grits are warm, slightly U-shaped IEMS, with present mids and smooth highs. Their low end has a fairly extended subwoofer, far from being too steep, which is maintained towards the mid-bass, which enhances the lower range. On the other hand, the BC capsule and driver are able to increase the bass presence and power to a more physical level thanks to their resonant effect. This may not be to everyone's liking. However, for others, the extended physical experience can be a very favourable point.
In the second half, the Grits have relatively high upper mids, in contrast to the first half. However, this difference does not seem so great, perhaps due to the BC driver's boost across the entire frequency range.

Bass
The low end of the Apevoix Grit is truly special. With a wide sub-bass as a foundation and reinforced by the resonant effect of the capsule and the BC driver, the bass is physical, deep, elastic, voluminous, sensory and powerful. Due to the bell effect generated by the capsule, very low-frequency pure tones are perceived as partially altered. Some very low frequencies are very well perceived, dark and sensory, while others are perceived as more coloured. It is possible that the resonant effect has a different reaction for different frequencies. Starting with the lowest note, it is not quite realistic and a little colour and vibrational nuance is perceived, although it is deep, dark and physical enough for a very good performance. As the hertz increases, you feel the physicality grow, as well as the effect on the capsule. It is true that this resonance can muddy the bass, adding some halo and wake, and prolonging the pure notes in time. But this is not critical when translated into real music. In this way, the bass drums do not sound slower, but more elastic. It's true that they don't pick up as quickly, but it's like a more physical sensation, the result of bone conduction, that lingers a moment longer. Those who are looking for a less expansive, less physical and less voluminous bass, without that feeling of punch, of contact, will not end up liking the Grits. But for me they are an extra sensory experience. The low end of the Grits floods my ears, spreads through the pinna, travels along the walls of my ear canals and reaches my eardrums. It then passes through them and travels directly to the brain. The physical sensation and the punch can be stupefying. But there is a point of addictive violence that incites me to continue subjecting myself to this thunderous experience.
In the dreaded dirty, poorly recorded and unfiltered bass test, it might seem that the Grits were going to suffer badly, but this is not the case. It was a surprise to hear control, depth, presence, violence, punch and volume, with nothing out of place, maintaining definition and generating thick, dense and heavy bass layers, but maintaining a responsiveness to change and tracking that seemed very difficult. So the bass lines stay in place, as do the layers. But the whole thing is once again overflowing and unique.


Mids
The midrange of the Apevoix Grit is slightly warm, transparent and very clean. There is a good physical component that is not dense and does not contribute to obscuring or muddying the sound. There is still that tangible feeling that lingers even in the low notes of the male vocals, which again generates that perception of strength from deep within. It is more than body or texture. The same treatment is given to the strings; that combination of texture and physicality helps to create an impression that goes beyond sound, that activates a tangible presence and adds a vivid realism that feels very close. The Grits possess the ability to make the music feel as if it were heard live, but in a way that is very close to the musicians. And that's something I've rarely been able to feel with IEMS before.
On the other hand, I am happy to comment that there is a balance between male and female voices in the face-to-face sessions. It is possible that the physical part of the male voices is not present in the female voices, but there is enough of pinna gain to regain its prominence. However, the upper middle register is restrained, without generating sibilance, but neither is it brilliant. It is here that warmth is most evident. I stress once again that the sound is not dark. The notes are very clean and pure, containing a mixture of body and finesse that adds texture, makes them vibrant, fills them with life, realism, passion and richness. In this way, the mids are very attractive, musical, engaging, involving, transparent and pleasing. The physical component adds a lot of dynamics to the whole. Presentially, one can feel from the smallest details to the densest and most elevated compositions. There is room for everything, nothing seems to blend in, although it is not an analytical sound, but a more relaxed one. I don't mean ‘soft’, because the tangible component adds that overt physicality. But there is calmness and finesse at the boundaries of the notes. It is a rich, intoxicating and attractive musicality that dazzles, that encourages further listening and even touches. The midrange of the Apevoix Grit is perceived as very big, exciting and energetic, generating a new definition of expressiveness, descriptiveness, volume and, above all, presence and body.


Treble
The graphics of the Apevoix Grit are deceiving. Either that, or its bone conduction driver is more prominent than it seems. But, going back to the graph, the Grits have a distinctly smooth treble, with a gradual decline from 5 kHz. After that initial sparkle, everything in the graph is downward, even the air zone is under-represented. However, the reality does not correspond to what the graph seems to indicate. It is clear that the treble is soft. But the two BA drivers are more explicit, descriptive and informative than they appear to be. Their treble notes are thin and not rounded. There is a balance between energy, restraint and homogeneity. And that conjunction gives it a lively, if tempered, sparkle. Perhaps it is also a benefit of the bone conduction driver. In any case, the high end is better represented than the frequency response shows. While the initial sparkle is not explosive, but moderate, it feels fine and slightly sharp, without being piercing. It does not crackle and is not piercing. The energy level is restrained and confident. The extension is gradual, somewhat clipped, but it doesn't come across as dark or overly nuanced. And that is something I find truly special and surprising. And therein must lie the virtue of combining those two BA transducers with the BC.
In conclusion, the treble is more representative than it sounds, with very good definition, finesse and class, plus enough extension to round off a truly rich, musical, pleasant, engaging and highly enjoyable sound, not least because of its balance and calmness at the top end.


Soundstage, Separation
The scene is based on bass with plenty of volume, elasticity, texture and depth. This volume is expansive, as the physical component of the bone conductor and the resonance of the capsule extend it even further. In this way, the scene already seems very wide from the bass alone. The laterality is very good and the sound is surrounding. The height is very pronounced, which is certainly one of its strong points. This gives the sound a zenithal, slightly ethereal and gaseous feeling. But it is not an overly volatile sound. The physical component generates a substrate, a powerful base. Thus, the sense of dynamics is also pronounced. The result is a rather enveloping scene that is neither spherical nor completely encircling the head, although the volume is very generous. Noteworthy is the ability to layer and layer the elements, distancing them from each other while retaining their importance and role within the music.
This is not an analytical sound, although it is very descriptive, with great resolution and definition. In this sense, it may seem that the micro detail should be much more explicit. But this is not the case, it is somewhat more relaxed in that respect, as it generates micro detail in an incipient and subtle way, but without being overly marked. However, it is very rich in nuance and is able to reproduce some hidden elements due to its complexity. It can also be surprising how descriptive and accurate this model is.
Separation is very good, but without losing cohesion or homogeneity. It maintains that balance between volatility and attachment to the base to draw a discernible scene, evident, well positioned and spatially located with remarkable solvency and distance between elements. It is worth noting the ability to produce a sense of live music in compositions with acoustic instruments.


Comparisons
Kiwi Ears KE4
The Kiwi Ears KE4 are IEMS based on the famous META frequency response. There has been a lot of buzz about this new frequency response. But, in the end, it doesn't look like it will become a standard for the rest of the IEMS. And when it comes down to it, I think that the META curve is not to the liking of most enthusiasts. Perhaps this is because the right tuning has not yet been found. In any case, the KE4s are IEMS that cost $199 and have a very similar frequency response to the Apevoix Grit. They are very similar up to 200 Hz and between 1 kHz and 6 kHz. Then, the KE4s seem to have a little more energy in the treble and more air.
The KE4s are based on the classic Kiwi Ears accessory set, which includes a set of tips and a zipped case. The cable is of good quality. The Grits come with little else: the Pelican case, a set of tips, a pair of foam tips and a high quality cable.
In terms of construction and design, both are made of resin. The Grits are thicker, bigger and have that resonant capsule. The advantage is that their mouthpieces have more projection and allow for deeper insertion. The KE4s are smaller, with a more classic semi-custom shape, but with shorter mouthpieces for shallow insertion. I prefer the deeper fit of the Grits, but it is true that their size may be more detrimental to people with small ears. They also have thicker mouthpieces, which can be problematic for those with smaller ear canals.
On the driver side, the KE4s feature an isobaric subwoofer system with two 10 mm dynamic drivers, combined with two BA drivers: one for full range (RAB 32257) and one for treble (Knowles RAD 33518). They also incorporate a three-way passive crossover and three independent sound tubes. The Apevoix Grit is a tribrid IEMS using a 10 mm dynamic driver for bass, four balanced armature drivers for midrange and treble, and a bone conduction (BC) transducer. In total, 6 drivers in a 4-way filter network. The model and origin of the BA drivers is not stated.
The Grits are a little easier to move than the KE4s, which need more volume to equalise the generated sound pressure.
When analysing IEMS, one has to take into account the tendency of the sound of all the IEMS analysed. While I found the KE4s a bit dark, the Grits not so much. It is possible that my ear is getting used to this kind of tunings with softer treble and more predominant bass. The difference is where the accent is produced. The Grits have a very physical bass, with quite a pronounced presence in the transition from sub-bass to mid-bass. Then, the mids are very well represented, very clear and wide. The treble is moderate and not as extended. In comparison, the KE4s have more treble. The voices between the two models feel offset: there is more treble component in the KE4s, while the Grits have a deeper, fuller-bodied base. It's not a difference in thickness, but a clear difference in timbre. Which is more accurate? I don't question that, but I do enjoy the physical base of the Grits' voices more. But back to the bass, the KE4s have a tighter punch, with a smoother texture, are less rubbery and less elastic. Technically they are more accurate, but have a bit more colour. Grit basses are deeper and darker, have more physical pressure, move more air, have more presence, more volume, texture, rubberiness and elasticity. They have a slower decay and remain longer in time and space. But all these properties generate a sensation that I find difficult to escape from. In fact, the bass of the Grits is a very pleasant experience for my ears.
In the very low frequency pure tone test, the Grits seem to have a bit more presence in the lower notes, but they also have a less desirable wave character that soon disappears as frequencies increase. It is possible that this is due to the behaviour of the bone conduction driver. The KE4s are purer in this respect and behave better, more natural and realistic. That means they are more accurate, faster and clearer. However, they do have a point of colour, whereas the Grits are darker, the bases seem deeper. This, together with their physical and resonant power, texture and volume, tips the balance towards the Grit.
In the centre band, the battle is very complicated. They are great midrange models, for my taste. The KE4s bring extra presence in the first half of the midrange, something I like a lot. Male vocals have a closer presence, whereas on the Grits they are a step further back. Personally, I prefer the fuller and closer presence of the male vocals in the KE4s, but I must confess that the richness, the amount of nuance, the lushness and the volume stand out in the Grits as well. It seems as if in the KE4s the male voices are more compact, but in the Grits they become more complex, dilated and expressive, which makes them sweeter and more pleasing. The female voices have a very similar presence in both models. However, the Grits are still dominated by a more pronounced silky aspect, which generates more velvety female voices without losing the harmonic richness or the powerful base. The female vocals on the KE4s are more concrete, less crisp and also more compact. It seems that the dual midrange driver is more informative on the Grits, in addition to the supposed extra texture of the bone driver. If I found the mids of the KE4s excellent, the mids of the Grits are a bit better, richer, more expressive, sensitive, silky and sweet, with that subtle touch of more transparency, body and volume.
If the highs of the KE4s were already close to neutral, the highs of the Grits are clearly below. However, they still have that sweetness and expressiveness that makes them very musical and enjoyable. The KE4s have more sparkle, energy, extension and air. They are also punchier and less delicate.
The KE4s have a large soundstage and their notes are widely separated. But the Grits are a step above, with a physical, volumetric, very deep, wide, surrounding scene and with notes that are so spaced out, crisp, clean and transparent. More space between notes and higher resolution drivers give the Grits a little more detail, nuance extraction capability and virtue in describing music with more richness and complexity, in a very pleasing and balanced way. The sound of the Grits is bigger than that of the KE4s.


Conclusion
Can IEMS with soft treble and not too extended be perfect? Probably not, but do they have to be perfect to deserve a 5-star rating? Well, neither. Given the subjectivity of my opinion of the Apevoix Grits, two superb ranges stand out: the bass and the midrange of this brand's inaugural work. This new model from the debutant brand has a tribrid driver configuration ( 1DD + 4BA + 1BC). In addition, it has a resonant capsule that combines with the full-range bone driver to add an extra physical component and texture. The bass is very big, voluminous, with a big punch and that tangible feeling that creates a differential experience. The mids are very rich, sweet, harmonious, musical, tremendously engaging, resolving and immersive. The highs are soft, delicate and not too extended, but they are the perfect balance for a special and very pleasant IEMS. And don't forget the wide soundstage, excellent separation and remarkable level of detail, qualities that the Apevoix Grit possess and that bring you closer and deeper into the music than very few other IEMS in its price range. Superior.


Sources Used During the Analysis
- EPZ TP50.
- ifi GO Link Max.
- iFi GO bar Kensei.
- Tempotec V3.
- Burson Audio Playmate 2.
- Aune X8 XVIII Magic DAC + EarMen ST-Amp.


Purchase Link



You can read the full review in Spanish here



cqtek
1000+ Head-Fier
Pros: Neutral, natural, musical and descriptive sound.
- High power level, especially at low impedances.
- Small, elongated size.
- SE and BAL outputs in a small metal body.
- ASIO drivers for Windows.
- Very good price/performance/sound ratio.
- Apple Lightning adapter included.
- High power level, especially at low impedances.
- Small, elongated size.
- SE and BAL outputs in a small metal body.
- ASIO drivers for Windows.
- Very good price/performance/sound ratio.
- Apple Lightning adapter included.
Cons: Simple dongle without buttons.
- The audio outputs are a little bit too loose, the fit is too soft.
- The cable seems thinner than other competing dongles.
- The audio outputs are a little bit too loose, the fit is too soft.
- The cable seems thinner than other competing dongles.
Introduction
ifi Audio is ready to take on all segments of portable audio: from the small GO Link to the GO Bar to the GO Blu and GO Pod. Is there anything in between? Well, I'd say yes: a budget-priced dongle with dual SE and BAL headphone output. This is the ifi GO link Max. This time ifi Audio has opted for an ESS Sabre ES9219 dual chip with analogue volume control and TDK C0G capacitors. The GO link Max features a hardware-based volume control that overrides typical behaviour. When you adjust the volume from the device, the change occurs directly on the DAC chip. As a controller, it uses a 16-core XMOS chip that offers twice the clock speed (2000 MIPS) and four times the memory (512 KB), as well as the latest SuperSpeed USB standard. Supports 384 kHz PCM and DSD256 files. Uses S-Balanced technology for the 3.5 mm SE port. It uses the Dynamic Range Enhancement (DRE) of the Sabre DAC to achieve an additional 6 dB of dynamic range. As you can see, it has USB-C connection via the cable attached to the dongle and a status LED. We will now take a look at what this new product from ifi Audio has to offer.


Specifications


Packaging
The ifi GO Link Max comes in a small, white, elongated box measuring 155x68x14mm. On the front side you can see a picture of the dongle and its connector. In the top right corner there is a large Hi-Res Audio sticker. In the centre of this upper part is the logo of the brand. In the centre is a picture, below it is the model name and a short description. Behind it is the complete description of the product, its features, contents and specifications. At the bottom of the box there are several barcodes and the brand's contact details. The ink is grey in various shades. The box has a ring to attach to a stick dispenser. Inside, the dongle is encased in a white cardboard box, along with the two adapters. Underneath are several documents. The complete contents are as follows:
The packaging is simple. I liked the manuals, but I miss a pouch to keep the dongle in. The adapters are of good quality and have a metallic finish.


Construction and Design
The ifi GO Link Max is a dongle attached to a cable containing the USB-C male connector wrapped in a relatively large rectangular case. Its dimensions are 150x15x10mm and it weighs 14.5g. It is dark greenish-grey in colour. The dongle is a thin rectangular bar. The top is a little more rounded, slightly domed. There is an LED just below the centre and then the Hi-Res logo.
On one side there is an engraving with the CE logo, as well as other logos, and on the other side the place of manufacture is indicated. On the bottom of the dongle is a QR code with the serial number. At the other end of the cable are the 3.5mm and 4.4mm audio outputs, both of which are gold-plated. The USB-C connector is also gold-plated. The cable outputs are black rubber blocks of different sizes, alternating cylinders with an octagonal base. The cable is made up of four strands wound in two pairs and between them. Compared to other wired dongles, this braided one seems a bit thin to me. The cable is silver-plated and has a transparent PVC coating.
The design is simple: a thin bar, something that sets this dongle apart from others. Ifi has opted to incorporate the cable into the dongle, when the trend in this segment is to use a single tablet with a female USB-C input. The cable is good, flexible, but a bit thinner than the competition. The sleeve of the USB Type-C connector is somewhat large. It is appreciated that all connectors are gold-plated metal.


Connectivity and Operability
Its operation is simple: just connect it to the source using the corresponding connector or adapter. It is compatible with Android, Windows 10/11, iOS, macOS, PCs, tablets, laptops and all types of smartphones. It is fully Plug & Play, so there is no need to install drivers.
Supports 384 kHz PCM and DSD256 files.
The LED indicates the sample rate and format played, as shown below:
I have had no problems using it in conjunction with the HiBy Music app installed on my Android phone. Similarly, the volume adjustment must be done via the device to which it is connected.
On Windows, it is possible to use the ASIO drivers available on the website. ASIO drivers are always a very interesting and appreciable audio improvement.


Measures
What the power specs say:
BAL: 241mW at 32Ω; 4V at 300Ω.
SE: 100mW at 32Ω; 2V at 300Ω.
On the other hand, the output impedance with my measurements is negligible, clearly less than 1Ω.

SE No Load
2V RMS at maximum volume.

SE 15Ω
1.36V RMS, 120mW, 90mA. A great value, reaching the psychological barrier of 90mA. Subtle distortion is observed at low frequencies.

SE 33Ω
1.721V RMS, 90mW, 52mA. That's one step short of 100mW, which would have required 1.79V RMS. With a more precise volume control and more steps I would have obtained that value. Very good.

SE 100Ω
2V RMS, 42mW, 20mA. All correct.

BAL No Load
4.1V RMS a máximo volumen.

BAL 15Ω
1.789V RMS, 210mW, 120mA. The ifi GO Link Max smashes the 90mA per BAL barrier, reaching 120mA for a dongle that has no battery. Quite an achievement.

BAL 33Ω
2.705V RMS, 220mW, 82mA. A great value, but 241mW is specified, which should mean an output voltage of 2.8V. Again, very close. I still think a gain control or more volume steps would have brought it up to that value.

BAL 100Ω
4.05V RMS, 160mW, 40mA. At maximum volume there is slight distortion throughout the audible range. I'm a little disappointed that it doesn't give full volume at 100Ω when it has plenty of power.

Frequency Response
As can be seen from the measurement graphs above, the voltage is stable over the entire audible frequency range, so it is demonstrated that the frequency response is flat.
Sound
The sound of the ifi GO Link Max is a bit of a departure from the traditional, classic sound of the brand, which tends to have a distinctly analogue feel with a warm touch. And it seems that the ESS driver has something to do with that. It is clear that the ifi amplification and the components used add that classic analogue flavour. But there is also that clearer, cleaner, crisper, somewhat brighter point that contrasts to offer more purity to the whole.
Starting, as usual, with the bass, the low end is deep and punchy. Despite the finesse and resolution of the ESS chip, there is a component that adds a more effective point, very well defined, technical and concise, but with an analogue touch that adds smoothness in its curves and power in its punch. The bass is elastic, controlled, very well measured and fast, with very good recovery. In the very low-frequency pure tone test, the control, realism, naturalness and that analogue touch that ifi brings to its devices can be appreciated. But it is in the dirty, unfiltered bass test that the potential of the GO Link Max is demonstrated when it comes to reproducing complex passages. The result is a demonstration of control, speed, refinement, definition, speed and recovery that manages to reproduce these passages very completely, efficiently and with very good resolution, generating a natural, appropriate sonority, with a smooth texture but with character and never dirty or artificially rough.
The midrange is very transparent, clean and quite neutral despite the brand name. It maintains that balance between softness, neutrality, brightness and musical character. At this point it doesn't feel warm, but more open and wide, but without being sparkling or sharp. It is not as smooth, but more neutral, but retains that control that keeps it musical, very pleasant, yet more technical and descriptive. This is not a sweetened or sweetened ESS chip, but I feel it is a blend of the purest Sabre character with an analogue twist.
In the high end, the sound of the audio system is again smoother and more controlled. The treble has a certain restraint that prevents the high notes from becoming sharp or overly excited. There is a more rounded character and a more musical, analogue feel. Here it is not so neutral or pure, but there is a control that measures the intensity and calibrates it to suit a more natural and pleasant sound.
At soundstage level, the GO Link Max is perceived as wide, oval, with very good laterality, depth and layering. The clean, neutral and musical sound is able to place the elements in the scene very well and recreate a precise and well positioned image with very good distance between them. A fairly uncluttered and dark background is noticeable, allowing the deep detail to be discerned with evidence, without losing that distance, but being descriptive to present it with a high level of resolution.


Comparisons
EPZ TP35
With one of the best dual DACs of the moment, the CS43198, the EPZ TP35 is presented. The middle brother of the great EPZ TP50 cuts costs by eliminating the good amplifier section. It is a low-cost DUAL CS43198 that loses some of its charm and potential. Compared to the ifi GO Link Max, it is not a wired pickup, it is wider and bulkier, but it has knobs for hardware and gain control.
Comparatively, the bass is rounder, faster and more concise on the ifi, while the TP35 is a little more uncontrolled and raw, less refined, with a little more power, a little more raw sound, but with less technique and subtly more colour. The GO Link Max has a more technical and refined bass, something that is noticeable in the dirty, unfiltered bass test, where the EPZ feels rawer, slightly muddier, less rounded and more abrupt. This more violent bass may have some fans, but I'll stick with the quality of the GO Link Max.
In the mid-range, the GO Link Max becomes more neutral without losing control and musicality. The EPZ, on the other hand, is a little more strident, a little sharper, less smooth, a little rougher and edgier. This implies a different level of musicality. With the GO Link Max everything is more pleasant, without losing light, clarity and transparency. The EPZ is drier, rougher and colder.
In the upper range there are clear differences in refinement and smoothness. The GO Link Max is clearly more in tune, pleasant and musical, not shrill at all. The EPZ continues with its raw, more strident and intense character, making it more unpleasant, harsh and energetic and penetrating.
In terms of scene, the GO Link Max feels wider, lateral and oval, while the TP35 is denser, somewhat more compact in width and compressed in depth. The EPZ is not fuzzy and not detailed, but it feels messier, more pronounced, stiffer, less refined and dry. All this makes the GO Link Max feel more separated, wider, cleaner and more controlled. The TP35 is more analytical, but less musical and less pleasant too.


Conclusion
It seems clear that ifi Audio is going its own way. The new ifi GO Link Max dongle with built-in cable is another example of this. Although this is an improved version of its successful GO Link model, ifi tries to incorporate its best technologies, even in the most modestly priced models: Dual DAC Sabre, balanced circuitry, Hi-Res Audio, DRE and high power output. All this translates into pure, transparent, clean, clear, powerful and musical sound. Without a doubt, its sound stands out from the most direct competition, and even more so in terms of power. The advantage of the ifi GO Link Max is its commitment to sound quality, the level of power output and the versatility of its format. Hard to beat.


Headphones and Sources Used During Analysis



Purchase Link
You can read the full review in Spanish here

ifi Audio is ready to take on all segments of portable audio: from the small GO Link to the GO Bar to the GO Blu and GO Pod. Is there anything in between? Well, I'd say yes: a budget-priced dongle with dual SE and BAL headphone output. This is the ifi GO link Max. This time ifi Audio has opted for an ESS Sabre ES9219 dual chip with analogue volume control and TDK C0G capacitors. The GO link Max features a hardware-based volume control that overrides typical behaviour. When you adjust the volume from the device, the change occurs directly on the DAC chip. As a controller, it uses a 16-core XMOS chip that offers twice the clock speed (2000 MIPS) and four times the memory (512 KB), as well as the latest SuperSpeed USB standard. Supports 384 kHz PCM and DSD256 files. Uses S-Balanced technology for the 3.5 mm SE port. It uses the Dynamic Range Enhancement (DRE) of the Sabre DAC to achieve an additional 6 dB of dynamic range. As you can see, it has USB-C connection via the cable attached to the dongle and a status LED. We will now take a look at what this new product from ifi Audio has to offer.


Specifications
- DAC: Dual ESS Sabre ES9219.
- Frequency response: 10Hz-80kHz (-3dB).
- Dimensions: 150x15x10mm (5.9x0.59x0.39").
- DNR BAL: 130dBA.
- DNR SE: 125dBA.
- Input connection: USB-C.
- Maximum supported sampling rate: PCM 384kHz, DSD256.
- Net weight: 14.5g (0.51oz).
- Headphone output: 4.4mm balanced, 3.5mm s-balanced.
- BAL output impedance: 0.7Ω.
- SE output impedance: 0.3.5Ω.
- No-signal power consumption: ~0.6W; maximum signal ~3.2W.
- BAL RMS output power: 241mW at 32Ω; 4V at 300Ω.
- SE RMS output power: 100mW at 32Ω; 2V at 300Ω.
- SNR BAL: 130dBA (600Ω) (20-20kHz).
- SNR SE: 125dBA (600Ω) (20-20kHz).
- THD+N BAL: ≤0.0016% at 32Ω, 2.4V.
- THD+N SE: ≤0.0015% at 32Ω, 1.27V.
- Output Price: $79


Packaging
The ifi GO Link Max comes in a small, white, elongated box measuring 155x68x14mm. On the front side you can see a picture of the dongle and its connector. In the top right corner there is a large Hi-Res Audio sticker. In the centre of this upper part is the logo of the brand. In the centre is a picture, below it is the model name and a short description. Behind it is the complete description of the product, its features, contents and specifications. At the bottom of the box there are several barcodes and the brand's contact details. The ink is grey in various shades. The box has a ring to attach to a stick dispenser. Inside, the dongle is encased in a white cardboard box, along with the two adapters. Underneath are several documents. The complete contents are as follows:
- The ifi GO link Max.
- One adapter to USB-A.
- One Apple Lightning adapter.
- One quick guide card.
- One instruction manual.
- One MQA setup card.
- One logo sticker.
- One smiley sticker.
The packaging is simple. I liked the manuals, but I miss a pouch to keep the dongle in. The adapters are of good quality and have a metallic finish.


Construction and Design
The ifi GO Link Max is a dongle attached to a cable containing the USB-C male connector wrapped in a relatively large rectangular case. Its dimensions are 150x15x10mm and it weighs 14.5g. It is dark greenish-grey in colour. The dongle is a thin rectangular bar. The top is a little more rounded, slightly domed. There is an LED just below the centre and then the Hi-Res logo.
On one side there is an engraving with the CE logo, as well as other logos, and on the other side the place of manufacture is indicated. On the bottom of the dongle is a QR code with the serial number. At the other end of the cable are the 3.5mm and 4.4mm audio outputs, both of which are gold-plated. The USB-C connector is also gold-plated. The cable outputs are black rubber blocks of different sizes, alternating cylinders with an octagonal base. The cable is made up of four strands wound in two pairs and between them. Compared to other wired dongles, this braided one seems a bit thin to me. The cable is silver-plated and has a transparent PVC coating.
The design is simple: a thin bar, something that sets this dongle apart from others. Ifi has opted to incorporate the cable into the dongle, when the trend in this segment is to use a single tablet with a female USB-C input. The cable is good, flexible, but a bit thinner than the competition. The sleeve of the USB Type-C connector is somewhat large. It is appreciated that all connectors are gold-plated metal.


Connectivity and Operability
Its operation is simple: just connect it to the source using the corresponding connector or adapter. It is compatible with Android, Windows 10/11, iOS, macOS, PCs, tablets, laptops and all types of smartphones. It is fully Plug & Play, so there is no need to install drivers.
Supports 384 kHz PCM and DSD256 files.
The LED indicates the sample rate and format played, as shown below:
- Green: PCM 44.1/48/88.2/96kHz
- Yellow: PCM 176.4/192/352.8/384kHz PCM
- Cyan: DSD 64/128
- Blue: DSD 256
I have had no problems using it in conjunction with the HiBy Music app installed on my Android phone. Similarly, the volume adjustment must be done via the device to which it is connected.
On Windows, it is possible to use the ASIO drivers available on the website. ASIO drivers are always a very interesting and appreciable audio improvement.


Measures
What the power specs say:
BAL: 241mW at 32Ω; 4V at 300Ω.
SE: 100mW at 32Ω; 2V at 300Ω.
On the other hand, the output impedance with my measurements is negligible, clearly less than 1Ω.

SE No Load
2V RMS at maximum volume.

SE 15Ω
1.36V RMS, 120mW, 90mA. A great value, reaching the psychological barrier of 90mA. Subtle distortion is observed at low frequencies.

SE 33Ω
1.721V RMS, 90mW, 52mA. That's one step short of 100mW, which would have required 1.79V RMS. With a more precise volume control and more steps I would have obtained that value. Very good.

SE 100Ω
2V RMS, 42mW, 20mA. All correct.

BAL No Load
4.1V RMS a máximo volumen.

BAL 15Ω
1.789V RMS, 210mW, 120mA. The ifi GO Link Max smashes the 90mA per BAL barrier, reaching 120mA for a dongle that has no battery. Quite an achievement.

BAL 33Ω
2.705V RMS, 220mW, 82mA. A great value, but 241mW is specified, which should mean an output voltage of 2.8V. Again, very close. I still think a gain control or more volume steps would have brought it up to that value.

BAL 100Ω
4.05V RMS, 160mW, 40mA. At maximum volume there is slight distortion throughout the audible range. I'm a little disappointed that it doesn't give full volume at 100Ω when it has plenty of power.

Frequency Response
As can be seen from the measurement graphs above, the voltage is stable over the entire audible frequency range, so it is demonstrated that the frequency response is flat.
Sound
The sound of the ifi GO Link Max is a bit of a departure from the traditional, classic sound of the brand, which tends to have a distinctly analogue feel with a warm touch. And it seems that the ESS driver has something to do with that. It is clear that the ifi amplification and the components used add that classic analogue flavour. But there is also that clearer, cleaner, crisper, somewhat brighter point that contrasts to offer more purity to the whole.
Starting, as usual, with the bass, the low end is deep and punchy. Despite the finesse and resolution of the ESS chip, there is a component that adds a more effective point, very well defined, technical and concise, but with an analogue touch that adds smoothness in its curves and power in its punch. The bass is elastic, controlled, very well measured and fast, with very good recovery. In the very low-frequency pure tone test, the control, realism, naturalness and that analogue touch that ifi brings to its devices can be appreciated. But it is in the dirty, unfiltered bass test that the potential of the GO Link Max is demonstrated when it comes to reproducing complex passages. The result is a demonstration of control, speed, refinement, definition, speed and recovery that manages to reproduce these passages very completely, efficiently and with very good resolution, generating a natural, appropriate sonority, with a smooth texture but with character and never dirty or artificially rough.
The midrange is very transparent, clean and quite neutral despite the brand name. It maintains that balance between softness, neutrality, brightness and musical character. At this point it doesn't feel warm, but more open and wide, but without being sparkling or sharp. It is not as smooth, but more neutral, but retains that control that keeps it musical, very pleasant, yet more technical and descriptive. This is not a sweetened or sweetened ESS chip, but I feel it is a blend of the purest Sabre character with an analogue twist.
In the high end, the sound of the audio system is again smoother and more controlled. The treble has a certain restraint that prevents the high notes from becoming sharp or overly excited. There is a more rounded character and a more musical, analogue feel. Here it is not so neutral or pure, but there is a control that measures the intensity and calibrates it to suit a more natural and pleasant sound.
At soundstage level, the GO Link Max is perceived as wide, oval, with very good laterality, depth and layering. The clean, neutral and musical sound is able to place the elements in the scene very well and recreate a precise and well positioned image with very good distance between them. A fairly uncluttered and dark background is noticeable, allowing the deep detail to be discerned with evidence, without losing that distance, but being descriptive to present it with a high level of resolution.


Comparisons
EPZ TP35
With one of the best dual DACs of the moment, the CS43198, the EPZ TP35 is presented. The middle brother of the great EPZ TP50 cuts costs by eliminating the good amplifier section. It is a low-cost DUAL CS43198 that loses some of its charm and potential. Compared to the ifi GO Link Max, it is not a wired pickup, it is wider and bulkier, but it has knobs for hardware and gain control.
Comparatively, the bass is rounder, faster and more concise on the ifi, while the TP35 is a little more uncontrolled and raw, less refined, with a little more power, a little more raw sound, but with less technique and subtly more colour. The GO Link Max has a more technical and refined bass, something that is noticeable in the dirty, unfiltered bass test, where the EPZ feels rawer, slightly muddier, less rounded and more abrupt. This more violent bass may have some fans, but I'll stick with the quality of the GO Link Max.
In the mid-range, the GO Link Max becomes more neutral without losing control and musicality. The EPZ, on the other hand, is a little more strident, a little sharper, less smooth, a little rougher and edgier. This implies a different level of musicality. With the GO Link Max everything is more pleasant, without losing light, clarity and transparency. The EPZ is drier, rougher and colder.
In the upper range there are clear differences in refinement and smoothness. The GO Link Max is clearly more in tune, pleasant and musical, not shrill at all. The EPZ continues with its raw, more strident and intense character, making it more unpleasant, harsh and energetic and penetrating.
In terms of scene, the GO Link Max feels wider, lateral and oval, while the TP35 is denser, somewhat more compact in width and compressed in depth. The EPZ is not fuzzy and not detailed, but it feels messier, more pronounced, stiffer, less refined and dry. All this makes the GO Link Max feel more separated, wider, cleaner and more controlled. The TP35 is more analytical, but less musical and less pleasant too.


Conclusion
It seems clear that ifi Audio is going its own way. The new ifi GO Link Max dongle with built-in cable is another example of this. Although this is an improved version of its successful GO Link model, ifi tries to incorporate its best technologies, even in the most modestly priced models: Dual DAC Sabre, balanced circuitry, Hi-Res Audio, DRE and high power output. All this translates into pure, transparent, clean, clear, powerful and musical sound. Without a doubt, its sound stands out from the most direct competition, and even more so in terms of power. The advantage of the ifi GO Link Max is its commitment to sound quality, the level of power output and the versatility of its format. Hard to beat.


Headphones and Sources Used During Analysis
- 7Hz Timeless II.
- Apevoix Grit.
- BQEYZ Frost.
- Kiwi Ears KE4.
- LetShuoer S12 2024.
- LetShuoer Cadenza 4.
- LetShuoer Mystic 8.
- Simgot SuperMix 4.
- NiceHCK NX8.
- Hidizs MP143 Titanium Edition.
- Xiaomi 13T.


iFi offered me this model, in exchange for writing an honest review. I want to make it clear that all my opinions written in this review have not been conditioned by this fact, nor will I ever write anything that I do not really think or feel here. I will only write about my personal opinion in relation to the revised product.

Purchase Link
You can read the full review in Spanish here

cqtek
1000+ Head-Fier
Pros: One of the best planar IEMS I have had the pleasure of reviewing.
- Impression of the scene.
- Physical and corporeal sensation of the bass.
- Unlike other planars the sound is more clean, crisp and transparent, without that feeling of density so marked, which achieves a sound with more separation.
- Excellent treble.
- Improved and more natural planar timbre.
- Speed, precision, driver resolution.
- Very low distortion.
- Four pairs of tuning mouthpieces with unique design and real sound modification.
- High level of construction and external design of the capsules.
- Very good cable, with screw-in plug exchange system.
- Low weight per capsule despite being metallic.
- Impression of the scene.
- Physical and corporeal sensation of the bass.
- Unlike other planars the sound is more clean, crisp and transparent, without that feeling of density so marked, which achieves a sound with more separation.
- Excellent treble.
- Improved and more natural planar timbre.
- Speed, precision, driver resolution.
- Very low distortion.
- Four pairs of tuning mouthpieces with unique design and real sound modification.
- High level of construction and external design of the capsules.
- Very good cable, with screw-in plug exchange system.
- Low weight per capsule despite being metallic.
Cons: Insertion too shallow due to short mouthpieces.
- Finding the right tips is paramount to ensure the best fit and sound.
- Finding the right tips is paramount to ensure the best fit and sound.
Introduction
Every company is looking for success, and if it is possible to make it last, even better. Several years ago, 7Hz launched its worldwide success: Timeless. It was not the first IEM model with planar driver, but it was one of the most successful and pioneer in a new saga of great IEMS using this same type of driver. Many other brands have copied this success with better or worse results. But planar drivers in IEMS are no longer a thing of the past. In fact, brands have explored this technology and have gone further to attract the attention of users. But, after this time, 7Hz has come back to bring the new version to the market: the 7Hz Timeless II. This new model updates the original with a new 14.5mm magnetic planar driver, which incorporates the world's first double-sided coated diaphragm for improved responsiveness. The internal coating process applies microns thick of a specialised silver alloy, which significantly increases the surface tension of the diaphragm. The new diaphragm, driven by a powerful double-sided N52 magnet array, is extremely sensitive and takes the planar diaphragm concept to a whole new level. It also incorporates an interchangeable nozzle filter system that allows users to fine-tune the sound with different options. The 7-layer transducer housing has been redesigned to ensure precise fit, durability and stability. The ultra-pure 7N monocrystalline copper cable with 4 cores and 0.78 mm thick 2-pin connectors has been redesigned. In the following, we will go into detail about this new product in the 7Hz planar saga.



Specifications



Packaging
The 7Hz Timeless II comes in a black box measuring 156x107x55mm. On the top left is a product description written in white letters. To its right is the brand logo in gold. Underneath are large letters with the model name in holographic ink. Most of the space on the box is taken up by a realistic photo of the capsules on a background of an infinite pyramid base. The back side repeats the top, with an exploded view of the capsules and the specifications in Chinese. Curiously, it refers to an MMCX connection when in fact it is a 2-pin 0.78mm connection. Underneath there are different logos, brand and importer information. When you remove the outer cardboard, you can see that the box is white. The model name is horizontally across the top and underneath is a short description. The brand logo is at the bottom right. All in holographic ink. The contents are protected by a layer of transparent plastic. At the top is the round black metal box that protects the product. Underneath is a plate containing three pairs of screw-in filters. On the second level there is a black cardboard box containing the rest of the accessories and a user manual. In short, the contents are as follows:
Many things stand out about the Timeless II, such as the different mouthpieces, which can be flat or bullet-tipped. Also noteworthy is the polished black cylindrical case, with its pattern of infinite mini pyramids. The exterior of the IEMS also has this pattern. But, back to the case, it is heavy, threaded and roomy enough to hold the IEMS, the cable, the plate with the nozzles and the two pins. Then, the set of silicone tips is the usual 7Hz, plus the new transparent tips that incorporate the brand's logo on their body. Instead of having a tapered tapering shape for easier insertion into the ear canal, they have a rounder, thicker rim and a red core. It is noticeable that the brand has taken into account the trend for special transparent tips and this set is their answer. In any case, both the presentation and the accessories are totally in keeping with the price and excellent.



Construction and Design
The design of the Timeless II is not easy. They are metallic, completely black, with a micro-sandblasted surface on the inside and a mini pyramid pattern on the round outer face. It is a unique product. As I say, the outer face is a disc with that surface full of mini pyramids. Near the edge you can read the name of the model in white letters. The inner face does not occupy the whole space of the disc, but has two phases. One of them is an incomplete cylinder with two intersecting flat sections. What is missing from this thick, incomplete cylinder allows us to see part of the thin disc that makes up the outer face. On the shorter flat section is the 2-pin 0.78mm connection. This is a round part in the centre of which are the two gold-plated connections. There is a red dot indicating the polarity of the connection. There is nothing on the longer flat section. On the surface of the first phase, next to the edge and next to the vertex formed by the two flat sections, there is a letter indicating the channel and three holes. The second phase/step is another thinner disc of smaller diameter. Near the centre, closer to the nozzles, there is a hole. The nozzles are inclined and rise a few millimetres. They are threaded inside so that interchangeable nozzles can be attached. The nozzles are of four types: two flat and two bullet-tipped; two are gold-plated and two are silver-plated. The flat gold-plated nozzle has a filter covering the inside in the shape of a six-petal flower. The silver-plated flat nozzle has a filter covering its interior in the shape of a spiral with a circle in the centre. The bullet nozzle contain sections on both sides with openings towards the inside. There is a small hole in the tip.
The cable has interchangeable 3.5mm and 4.4mm plugs. Both are threadable. The plug sleeve is a cylinder with flat cut-outs and irregular diamond-shaped surfaces in its central part. Its ends are smooth, polished and shiny in pure metal colour. The brand logo is inscribed on the edge near the pin. The inside of the plug is made of black plastic, including its thread. The connection mechanism consists of four gold-plated pins and a fifth hole which serves as a guide. The plug is female and the cable is male. The two cylinders are assembled by means of these four pins and the small guiding cylinder. The cable consists of four intertwined strands. Its sheathing is a dull dark copper colour. The divider follows the same pattern as the plug sleeve, but is about half as long. The pin is a ring of the same material, with the rounded edges greatly reduced. The inner hole is too large and the fit is too slight. The sleeve of the 0.78 mm two-pin connectors has the same shape as the rest of the parts, although they are relatively long. On the smooth cylindrical part near the connectors is a white letter indicating the channel. The pins are mounted on a round white translucent piece with two flat sections on the sides that serve to lift them up. The cable has guides on a semi-rigid ear. The cable is very good, subtly stiff, but still manageable. The design of the whole is excellent and, given its particular shape, it is a totally identifiable and outstanding model. However, it is a slight variation on the shape of the first Timeless, which had a smooth outer face and an MMCX connection. Fortunately, 7Hz have changed the connection interface to my preferred 2-pin 0.78mm.



Adjustment and Ergonomics
The design is not easy, the ergonomics are not simple. At first glance it may seem uncomfortable because of the large flat outer disc, the stepped double-stage inner face and the inclination of the mouthpieces. That slightly sharp-edged disc could touch the external parts of my ear, but it does not. The first phase of the inner face might be too big and annoying, but it doesn't either. Finally, the second phase is the key: it has just the right size, roundness, slope and length to make sense of it all and becomes a surprisingly comfortable model. Timeles IIs allow only one adjustment, with no possibility of rotation. The insertion is shallow. To a large extent, it will be the silicone tips that provide the right comfort and fine adjustment. Otherwise, there won't be much of a solution. I think the ergonomics depend largely on the choice of tips and that the base of the mouthpieces is somewhat short. I could say that the fit is somewhat critical, on the verge of being lost. If an occlusive fit is achieved, even if it is superficial, it can be durable. But, in my opinion, the fit is a bit short, it doesn't have much margin; either it fits, or it doesn't, you have to look for other silicone tips. With my home-made large foam-filled tips I have been able to solve the situation. However, I have had to look for tips with cores that can project them to increase the range inside my ear canal. The surface fit is not sufficient. Well, it is, but it is essential to achieve it.



Sound
Profile
The Timeless II are one of those IEMS that surprise on first listen. The sound is wide, holographic, surround and impressive from the first minute. The profile moves from a W with smooth upper mids with the flat silver mouthpiece to the raised upper mids on its 2 kHz hump of the bullet silver mouthpiece. Each mouthpiece has a slight alteration in the treble as well. Depending on the set point of the four graphs, you can see that the bass is very similar, almost identical, and the differences are noticeable from 1kHz onwards. I consider the default mouthpiece (flat gold) to have the best tuning: a moderate hump at 2kHz and a little more energy in the transition from mid to treble and in the first part of the high frequencies. This keeps the upper mids from being too excited and gives clarity and sparkle in those high notes, to compensate for the gain in bell with more extended energy in the treble. There are mouthpieces that file down the treble and upper mids, such as the flat silver mouthpiece, while bullet mouthpieces raise the 2kHz hump, but offer two versions of treble with less energy. My balance is with the flat gold mouthpieces and the description of the following review will be done with this mouthpiece. My second favourite is the flat silver, which is more relaxed in the second half of the mids.

Bass
Another surprising thing about the Timeless IIs is the bass. Their sonority, vibration, texture, expansion and volume are different from those of dynamic drivers. And on this occasion it's even more apparent. There is a high level of energy, but its vibration is particular and distinctive, and it is also deep. It's a sound that fixes itself in the ears, that the mind absorbs to ask for more, a sound that fills the ear canals and spreads across the inner surface until it spreads through the head. Yes, bass has that sensory capacity that makes it unique.
Also impressive is the restraint, dryness and speed of the bass. I think this is all due to the very low distortion of the driver. The bass is highly accurate and reliable. Texture doesn't just appear, it really has to be in the bass. When the bass is technical and pure, the Timeless seems to reveal itself at that end, becoming extremely accurate and fast. And this is something that very few dynamic drivers in the same price range achieve. The sheer quality of the bass is clearly evident in the very low frequency pure tone test. In the lower note there is that mix of darkness, sensory emission, depth and physicality that come together perfectly. Admittedly, I tend to miss that physical, volumetric and powerful property that emanates from the best dynamic drivers. But the sonority of those difficult-to-reproduce lower notes, the absence of colouring, the scarcity of unwanted ripples and the absence of additional distortion-inducing vibrations are commendable. Without a doubt, this is some of the best bass I've heard in planar systems.
And finally, in the dirty, complex, unfiltered bass test, the Timeless IIs demonstrate that the driver is specially designed to show its prowess in these difficult-to-reproduce passages. Thanks to all the properties I have listed in this section, the reproduction of the rawest and dirtiest bass lines is fluid, slightly smoothed, highly detailed, and shows that ability in texture expressiveness, layering and also in respect for the rest of the frequencies. Spectacular.



Mids
As is usual in this type of tuning, the first half of the mids is somewhat lean. However, the level of precision is very high, something that also translates into a timbral adjustment in the same range. I tend to miss a little more body, physicality and a more marked base in the male voices. But its execution is so complete that it is almost offensive to put any criticism on it. The balance between that base, its development and the harmonics is synonymous with naturalness, fidelity and adjustment to reality, an excellent sum that is only marred by that slight remoteness that I feel and that I would like to be manifested in a closer and more forceful way. The result is very well-executed, very rich voices, lacking nothing and totally homogeneous throughout the range. The only drawback is that I feel them at that middle distance that prevents me from enjoying them in all their splendour. On this occasion, the instrumentation is on a par with the vocals. But their great capacity for layering, separation and level of resolution only magnifies the sonic space to showcase everything with an expressive exuberance and a richness of detail that is almost overwhelming for this price point. Turning up the volume with the Timeless IIs is thrilling and almost a vice thanks to the eloquence of their mids.
Female vocals with the Flat Gold filter are not as high as one would expect from the graph. They maintain a higher point of presence and are a little closer to the listener. This gives them a prominence within the sound that allows them to demonstrate their full vivacity, breadth and level of definition from start to finish. In this way, the passion that the Timeless IIs bring to the midrange is evident.
The Timeless IIs also demonstrate that it is possible to be clear, bright and obvious, keeping sibilance well below predictable, almost tending towards zero. That can mean sounding a little dry, a little more restrained, not as extended, but without falling into softness. The Timeless IIs don't feel soft, but rather seem to apply a higher speed when it comes to executing these sibilant passages. That sparkle, that flare is there, but contained and condensed; yet it is distinctly explicit and audible. Perhaps another of the most remarkable abilities of this new model is precisely that ability to execute all the music in the shortest possible time so that it all sounds at once, albeit in a totally descriptive way. It is highly enjoyable.



Treble
Planar treble has been controversial from the beginning, as planar drivers are able to offer a very wide extension while maintaining a very homogeneous, balanced and extended energy level in frequency. This is also compounded by the timbre of planar loudspeakers that some criticise. In my opinion, the Timeless II's have reduced the negative feel of that timbre, while maintaining a high and restrained energy level in the high end. I can't say that the treble is smooth, but it's not harsh either. They are planar treble of a new generation, very precise, moderate in the expression of brightness, not quite crunchy, not quite sharp, but retaining that extension, balance and homogeneous amount of energy to describe the high end very faithfully, realistically, even naturally and attractively. It may still have its detractors, it may also have some who are looking for more edge and to be more penetrating. But, in my opinion, the Timeless IIs present their own version of an enjoyable, technical and representative high end, without the need to be soft or rounded. And, of course, the level of extension, even the amount of air, is very good. Quite a luxury.



Soundstage, Separation
One of the first things that strikes you about the Timeless II is its soundstage. We are all used to describing scenics as wide, voluminous, volatile, gaseous, etc. With the Timeless IIs I realise that this is indeed the case and that these words make sense in a $230 IEMS. The volume it generates is superior, the space it occupies is vast and the projection of the notes is far-reaching. This is how the sound spreads further than in other presentations. The best thing is that the sound is not ethereal or gaseous, but remains attached to its base, to the lines, to the layers, to the music itself. The sound is considerable and deep thanks to the imposing bass and very rich due to the high quality of its mids and highs.
On the other hand, it is not an analytical sound, although it does respond very well to very expressive sources, demonstrating its high capacity to showcase the excellent level of resolution it possesses. Thus, the latent capacity and potential for analysis can shine through without being cold, clinical, sharp or inert, as the Timeless IIs are able to breathe magic and passion beyond detail and resolution. They are certainly exciting in this respect, which adds yet another reason to consider them addictive.
Finally, the image is very accurate. With such a fast, efficient and low-distortion driver, the note generation is very precise and rigorous, and you get a vivid, detailed, concrete and determined image, where all elements have their space thanks to the wide separation and the wide scene, as if it were a feedback process.



Comparisons
LetShuoer S12 2024
In my opinion, the limited version of last year's S12s are LetShuoer's best planars. This is a limited edition, which is now out of stock. As a good limited edition, it has an appropriate packaging for the occasion, where gold is the protagonist. The price is $199. Both come with modular cables: the S12s have three connectors (2.5, 3.5 and 4.4mm), while the Timeless IIs only have two (3.5 and 4.4mm), but their anchorage is more secure thanks to their screw mechanism. As for the driver itself, the S12s have two thickly wound strands, while the 7Hz has four strands. I have no complaints about these drivers, but the 7Hz cable is more manageable. Both come with three sets of silicone tips, with a special clear edition on the 7Hz side, while the S12s come with one set of foam tips. They also each come with a cylindrical screw-on case. The S12's is plastic with a black rubber coating, while the 7Hz's is metal and the lid is the same pattern as the outer face of the IEMS. The case of the 7Hz is a bit taller, but the diameter is the same. But there is one obvious thing that the 7Hz has that makes it better: four pairs of tuning mouthpieces. With the Flat Silver mouthpieces, the curve of both models is very similar, but with the standard Flat Gold mouthpieces, the Timeless IIs have an extra clarity that makes the S12s seem darker, even a little hazy. But before talking about the sound, there's the ergonomics: neither model is particularly comfortable, but the smaller body of the S12s fits my ear better. It's worth noting that both models have short mouthpieces and you have to play with the tips to find the best fit.
Both need a good amount of power to shine, and I would almost say the same. I've commented that the profile of both is very similar with the Flat Silver mouthpieces, but that the Flat Gold mouthpieces give a clarity advantage at 7Hz. They also have a better treble extension. The sound of the S12s is denser, with a more compact, fuller-bodied bass. In the pure tone test, the 7Hz bass is more natural, with darker colour, more realistic behaviour and greater depth. The S12s have a more undulatory and vibratory character that is clearly perceived, as well as a certain level of colouration that shifts them towards more audible and less deep or sensory notes. The Timeless IIs are subtly faster, more concise and technical, while the S12s are more elastic and rubbery, hence the denser, more opaque feel. I think the 7 Hz have some of the best planar bass I've tried.
The male vocals are denser on the S12s, but on the Timeless they sound more natural, free, clearer and cleaner. It is true that in the S12 there is that base that I like, but in the Timeless there is that crispness that offers a more transparent sound and something more technical, precise, concise and resolute. In the second half of the mids there is that higher, more energetic and clearer feel that the 7Hz has. It is clear that the flat gold tuning helps to gain transparency, but it also feels more precise, fine and technical, even with more separation and a more open stage. All this without sounding analytical or cold, or causing wheezing.
The treble of the S12s is very good, but the 7Hz is better, with a more accurate timbre, more sparkle, extension and even finer and more natural. This is no joke.
The greater transparency of the Timeless gives them a wider soundstage, a better sense of depth, a darker background, greater micro-detail definition and greater separation. The S12s are denser and have the layers closer together.
The LetShuoer S12 2024s are excellent IEMS, but what 7Hz has achieved with the new Timeless IIs is like a punch on the table.

Conclusion
The 7Hz Timeless IIs have been a long time coming. I think they were announced a year ago, but for some unknown reason they were not released, so what happened, perhaps they were not up to the brand's own expectations? Whatever it was, it was well worth the wait. The 7Hz Timeless II are 5-star IEMS, a real treat for my ears. The sound is powerful, based on a bass with an imposing force that reaches a surprising level of sound pressure. They have possibly the best bass of any planar IEMS I've tried. The mids are extremely rich, highly expressive and full from start to finish. As for the treble, 7Hz has managed to find the perfect balance between energy level, sonority, timbre and naturalness. And let's not forget about the size of the soundstage, the sense of transparency, the level of detail and resolution, the potential for improvement over superior sources, the level of precision and the very low harmonic distortion value. Undoubtedly, the 7Hz Timeless II may become the new reference in the segment of planar IEMS for less than $250 and one of the best models in that price range.



Sources Used During the Analysis






Purchase Link


You can read the full review in Spanish here


Every company is looking for success, and if it is possible to make it last, even better. Several years ago, 7Hz launched its worldwide success: Timeless. It was not the first IEM model with planar driver, but it was one of the most successful and pioneer in a new saga of great IEMS using this same type of driver. Many other brands have copied this success with better or worse results. But planar drivers in IEMS are no longer a thing of the past. In fact, brands have explored this technology and have gone further to attract the attention of users. But, after this time, 7Hz has come back to bring the new version to the market: the 7Hz Timeless II. This new model updates the original with a new 14.5mm magnetic planar driver, which incorporates the world's first double-sided coated diaphragm for improved responsiveness. The internal coating process applies microns thick of a specialised silver alloy, which significantly increases the surface tension of the diaphragm. The new diaphragm, driven by a powerful double-sided N52 magnet array, is extremely sensitive and takes the planar diaphragm concept to a whole new level. It also incorporates an interchangeable nozzle filter system that allows users to fine-tune the sound with different options. The 7-layer transducer housing has been redesigned to ensure precise fit, durability and stability. The ultra-pure 7N monocrystalline copper cable with 4 cores and 0.78 mm thick 2-pin connectors has been redesigned. In the following, we will go into detail about this new product in the 7Hz planar saga.



Specifications
- Driver Type: 14.5mm magnetic planar.
- Frequency Response: 5Hz - 40kHz.
- Sensitivity: 108db/V@1KHz.
- Impedance: 15.2Ω
- THD: <0.2% (1kHz).
- Jack Connector: interchangeable 3.5mm / 4.4mm.
- Cartridge Connection Type: 2Pin 0.78mm.
- Weight per cartridge: 5g.
- Starting price: $229.



Packaging
The 7Hz Timeless II comes in a black box measuring 156x107x55mm. On the top left is a product description written in white letters. To its right is the brand logo in gold. Underneath are large letters with the model name in holographic ink. Most of the space on the box is taken up by a realistic photo of the capsules on a background of an infinite pyramid base. The back side repeats the top, with an exploded view of the capsules and the specifications in Chinese. Curiously, it refers to an MMCX connection when in fact it is a 2-pin 0.78mm connection. Underneath there are different logos, brand and importer information. When you remove the outer cardboard, you can see that the box is white. The model name is horizontally across the top and underneath is a short description. The brand logo is at the bottom right. All in holographic ink. The contents are protected by a layer of transparent plastic. At the top is the round black metal box that protects the product. Underneath is a plate containing three pairs of screw-in filters. On the second level there is a black cardboard box containing the rest of the accessories and a user manual. In short, the contents are as follows:
- The two 7Hz Timeless II capsules.
- A four-stranded cable with interchangeable 3.5mm SE and 4.4mm BAL screw-in plugs.
- A round metal box with screw-on lid.
- One pair of flat silver interchangeable nozzles.
- One pair of interchangeable silver bullet nozzles.
- One pair of flat gold interchangeable nozzles (screwed onto the IEMS).
- One pair of interchangeable gold bullet nozzles.
- Screw-on plate for three pairs of nozzles.
- Three pairs of 7Hz clear silicone tips with red core sizes SxMxL.
- Three pairs of blue silicone tips and coloured core sizes SxMxL.
- Five pairs of whitish silicone tips and coloured core in different sizes.
- User manual.
Many things stand out about the Timeless II, such as the different mouthpieces, which can be flat or bullet-tipped. Also noteworthy is the polished black cylindrical case, with its pattern of infinite mini pyramids. The exterior of the IEMS also has this pattern. But, back to the case, it is heavy, threaded and roomy enough to hold the IEMS, the cable, the plate with the nozzles and the two pins. Then, the set of silicone tips is the usual 7Hz, plus the new transparent tips that incorporate the brand's logo on their body. Instead of having a tapered tapering shape for easier insertion into the ear canal, they have a rounder, thicker rim and a red core. It is noticeable that the brand has taken into account the trend for special transparent tips and this set is their answer. In any case, both the presentation and the accessories are totally in keeping with the price and excellent.



Construction and Design
The design of the Timeless II is not easy. They are metallic, completely black, with a micro-sandblasted surface on the inside and a mini pyramid pattern on the round outer face. It is a unique product. As I say, the outer face is a disc with that surface full of mini pyramids. Near the edge you can read the name of the model in white letters. The inner face does not occupy the whole space of the disc, but has two phases. One of them is an incomplete cylinder with two intersecting flat sections. What is missing from this thick, incomplete cylinder allows us to see part of the thin disc that makes up the outer face. On the shorter flat section is the 2-pin 0.78mm connection. This is a round part in the centre of which are the two gold-plated connections. There is a red dot indicating the polarity of the connection. There is nothing on the longer flat section. On the surface of the first phase, next to the edge and next to the vertex formed by the two flat sections, there is a letter indicating the channel and three holes. The second phase/step is another thinner disc of smaller diameter. Near the centre, closer to the nozzles, there is a hole. The nozzles are inclined and rise a few millimetres. They are threaded inside so that interchangeable nozzles can be attached. The nozzles are of four types: two flat and two bullet-tipped; two are gold-plated and two are silver-plated. The flat gold-plated nozzle has a filter covering the inside in the shape of a six-petal flower. The silver-plated flat nozzle has a filter covering its interior in the shape of a spiral with a circle in the centre. The bullet nozzle contain sections on both sides with openings towards the inside. There is a small hole in the tip.
The cable has interchangeable 3.5mm and 4.4mm plugs. Both are threadable. The plug sleeve is a cylinder with flat cut-outs and irregular diamond-shaped surfaces in its central part. Its ends are smooth, polished and shiny in pure metal colour. The brand logo is inscribed on the edge near the pin. The inside of the plug is made of black plastic, including its thread. The connection mechanism consists of four gold-plated pins and a fifth hole which serves as a guide. The plug is female and the cable is male. The two cylinders are assembled by means of these four pins and the small guiding cylinder. The cable consists of four intertwined strands. Its sheathing is a dull dark copper colour. The divider follows the same pattern as the plug sleeve, but is about half as long. The pin is a ring of the same material, with the rounded edges greatly reduced. The inner hole is too large and the fit is too slight. The sleeve of the 0.78 mm two-pin connectors has the same shape as the rest of the parts, although they are relatively long. On the smooth cylindrical part near the connectors is a white letter indicating the channel. The pins are mounted on a round white translucent piece with two flat sections on the sides that serve to lift them up. The cable has guides on a semi-rigid ear. The cable is very good, subtly stiff, but still manageable. The design of the whole is excellent and, given its particular shape, it is a totally identifiable and outstanding model. However, it is a slight variation on the shape of the first Timeless, which had a smooth outer face and an MMCX connection. Fortunately, 7Hz have changed the connection interface to my preferred 2-pin 0.78mm.



Adjustment and Ergonomics
The design is not easy, the ergonomics are not simple. At first glance it may seem uncomfortable because of the large flat outer disc, the stepped double-stage inner face and the inclination of the mouthpieces. That slightly sharp-edged disc could touch the external parts of my ear, but it does not. The first phase of the inner face might be too big and annoying, but it doesn't either. Finally, the second phase is the key: it has just the right size, roundness, slope and length to make sense of it all and becomes a surprisingly comfortable model. Timeles IIs allow only one adjustment, with no possibility of rotation. The insertion is shallow. To a large extent, it will be the silicone tips that provide the right comfort and fine adjustment. Otherwise, there won't be much of a solution. I think the ergonomics depend largely on the choice of tips and that the base of the mouthpieces is somewhat short. I could say that the fit is somewhat critical, on the verge of being lost. If an occlusive fit is achieved, even if it is superficial, it can be durable. But, in my opinion, the fit is a bit short, it doesn't have much margin; either it fits, or it doesn't, you have to look for other silicone tips. With my home-made large foam-filled tips I have been able to solve the situation. However, I have had to look for tips with cores that can project them to increase the range inside my ear canal. The surface fit is not sufficient. Well, it is, but it is essential to achieve it.



Sound
Profile
The Timeless II are one of those IEMS that surprise on first listen. The sound is wide, holographic, surround and impressive from the first minute. The profile moves from a W with smooth upper mids with the flat silver mouthpiece to the raised upper mids on its 2 kHz hump of the bullet silver mouthpiece. Each mouthpiece has a slight alteration in the treble as well. Depending on the set point of the four graphs, you can see that the bass is very similar, almost identical, and the differences are noticeable from 1kHz onwards. I consider the default mouthpiece (flat gold) to have the best tuning: a moderate hump at 2kHz and a little more energy in the transition from mid to treble and in the first part of the high frequencies. This keeps the upper mids from being too excited and gives clarity and sparkle in those high notes, to compensate for the gain in bell with more extended energy in the treble. There are mouthpieces that file down the treble and upper mids, such as the flat silver mouthpiece, while bullet mouthpieces raise the 2kHz hump, but offer two versions of treble with less energy. My balance is with the flat gold mouthpieces and the description of the following review will be done with this mouthpiece. My second favourite is the flat silver, which is more relaxed in the second half of the mids.

Bass
Another surprising thing about the Timeless IIs is the bass. Their sonority, vibration, texture, expansion and volume are different from those of dynamic drivers. And on this occasion it's even more apparent. There is a high level of energy, but its vibration is particular and distinctive, and it is also deep. It's a sound that fixes itself in the ears, that the mind absorbs to ask for more, a sound that fills the ear canals and spreads across the inner surface until it spreads through the head. Yes, bass has that sensory capacity that makes it unique.
Also impressive is the restraint, dryness and speed of the bass. I think this is all due to the very low distortion of the driver. The bass is highly accurate and reliable. Texture doesn't just appear, it really has to be in the bass. When the bass is technical and pure, the Timeless seems to reveal itself at that end, becoming extremely accurate and fast. And this is something that very few dynamic drivers in the same price range achieve. The sheer quality of the bass is clearly evident in the very low frequency pure tone test. In the lower note there is that mix of darkness, sensory emission, depth and physicality that come together perfectly. Admittedly, I tend to miss that physical, volumetric and powerful property that emanates from the best dynamic drivers. But the sonority of those difficult-to-reproduce lower notes, the absence of colouring, the scarcity of unwanted ripples and the absence of additional distortion-inducing vibrations are commendable. Without a doubt, this is some of the best bass I've heard in planar systems.
And finally, in the dirty, complex, unfiltered bass test, the Timeless IIs demonstrate that the driver is specially designed to show its prowess in these difficult-to-reproduce passages. Thanks to all the properties I have listed in this section, the reproduction of the rawest and dirtiest bass lines is fluid, slightly smoothed, highly detailed, and shows that ability in texture expressiveness, layering and also in respect for the rest of the frequencies. Spectacular.



Mids
As is usual in this type of tuning, the first half of the mids is somewhat lean. However, the level of precision is very high, something that also translates into a timbral adjustment in the same range. I tend to miss a little more body, physicality and a more marked base in the male voices. But its execution is so complete that it is almost offensive to put any criticism on it. The balance between that base, its development and the harmonics is synonymous with naturalness, fidelity and adjustment to reality, an excellent sum that is only marred by that slight remoteness that I feel and that I would like to be manifested in a closer and more forceful way. The result is very well-executed, very rich voices, lacking nothing and totally homogeneous throughout the range. The only drawback is that I feel them at that middle distance that prevents me from enjoying them in all their splendour. On this occasion, the instrumentation is on a par with the vocals. But their great capacity for layering, separation and level of resolution only magnifies the sonic space to showcase everything with an expressive exuberance and a richness of detail that is almost overwhelming for this price point. Turning up the volume with the Timeless IIs is thrilling and almost a vice thanks to the eloquence of their mids.
Female vocals with the Flat Gold filter are not as high as one would expect from the graph. They maintain a higher point of presence and are a little closer to the listener. This gives them a prominence within the sound that allows them to demonstrate their full vivacity, breadth and level of definition from start to finish. In this way, the passion that the Timeless IIs bring to the midrange is evident.
The Timeless IIs also demonstrate that it is possible to be clear, bright and obvious, keeping sibilance well below predictable, almost tending towards zero. That can mean sounding a little dry, a little more restrained, not as extended, but without falling into softness. The Timeless IIs don't feel soft, but rather seem to apply a higher speed when it comes to executing these sibilant passages. That sparkle, that flare is there, but contained and condensed; yet it is distinctly explicit and audible. Perhaps another of the most remarkable abilities of this new model is precisely that ability to execute all the music in the shortest possible time so that it all sounds at once, albeit in a totally descriptive way. It is highly enjoyable.



Treble
Planar treble has been controversial from the beginning, as planar drivers are able to offer a very wide extension while maintaining a very homogeneous, balanced and extended energy level in frequency. This is also compounded by the timbre of planar loudspeakers that some criticise. In my opinion, the Timeless II's have reduced the negative feel of that timbre, while maintaining a high and restrained energy level in the high end. I can't say that the treble is smooth, but it's not harsh either. They are planar treble of a new generation, very precise, moderate in the expression of brightness, not quite crunchy, not quite sharp, but retaining that extension, balance and homogeneous amount of energy to describe the high end very faithfully, realistically, even naturally and attractively. It may still have its detractors, it may also have some who are looking for more edge and to be more penetrating. But, in my opinion, the Timeless IIs present their own version of an enjoyable, technical and representative high end, without the need to be soft or rounded. And, of course, the level of extension, even the amount of air, is very good. Quite a luxury.



Soundstage, Separation
One of the first things that strikes you about the Timeless II is its soundstage. We are all used to describing scenics as wide, voluminous, volatile, gaseous, etc. With the Timeless IIs I realise that this is indeed the case and that these words make sense in a $230 IEMS. The volume it generates is superior, the space it occupies is vast and the projection of the notes is far-reaching. This is how the sound spreads further than in other presentations. The best thing is that the sound is not ethereal or gaseous, but remains attached to its base, to the lines, to the layers, to the music itself. The sound is considerable and deep thanks to the imposing bass and very rich due to the high quality of its mids and highs.
On the other hand, it is not an analytical sound, although it does respond very well to very expressive sources, demonstrating its high capacity to showcase the excellent level of resolution it possesses. Thus, the latent capacity and potential for analysis can shine through without being cold, clinical, sharp or inert, as the Timeless IIs are able to breathe magic and passion beyond detail and resolution. They are certainly exciting in this respect, which adds yet another reason to consider them addictive.
Finally, the image is very accurate. With such a fast, efficient and low-distortion driver, the note generation is very precise and rigorous, and you get a vivid, detailed, concrete and determined image, where all elements have their space thanks to the wide separation and the wide scene, as if it were a feedback process.



Comparisons
LetShuoer S12 2024
In my opinion, the limited version of last year's S12s are LetShuoer's best planars. This is a limited edition, which is now out of stock. As a good limited edition, it has an appropriate packaging for the occasion, where gold is the protagonist. The price is $199. Both come with modular cables: the S12s have three connectors (2.5, 3.5 and 4.4mm), while the Timeless IIs only have two (3.5 and 4.4mm), but their anchorage is more secure thanks to their screw mechanism. As for the driver itself, the S12s have two thickly wound strands, while the 7Hz has four strands. I have no complaints about these drivers, but the 7Hz cable is more manageable. Both come with three sets of silicone tips, with a special clear edition on the 7Hz side, while the S12s come with one set of foam tips. They also each come with a cylindrical screw-on case. The S12's is plastic with a black rubber coating, while the 7Hz's is metal and the lid is the same pattern as the outer face of the IEMS. The case of the 7Hz is a bit taller, but the diameter is the same. But there is one obvious thing that the 7Hz has that makes it better: four pairs of tuning mouthpieces. With the Flat Silver mouthpieces, the curve of both models is very similar, but with the standard Flat Gold mouthpieces, the Timeless IIs have an extra clarity that makes the S12s seem darker, even a little hazy. But before talking about the sound, there's the ergonomics: neither model is particularly comfortable, but the smaller body of the S12s fits my ear better. It's worth noting that both models have short mouthpieces and you have to play with the tips to find the best fit.
Both need a good amount of power to shine, and I would almost say the same. I've commented that the profile of both is very similar with the Flat Silver mouthpieces, but that the Flat Gold mouthpieces give a clarity advantage at 7Hz. They also have a better treble extension. The sound of the S12s is denser, with a more compact, fuller-bodied bass. In the pure tone test, the 7Hz bass is more natural, with darker colour, more realistic behaviour and greater depth. The S12s have a more undulatory and vibratory character that is clearly perceived, as well as a certain level of colouration that shifts them towards more audible and less deep or sensory notes. The Timeless IIs are subtly faster, more concise and technical, while the S12s are more elastic and rubbery, hence the denser, more opaque feel. I think the 7 Hz have some of the best planar bass I've tried.
The male vocals are denser on the S12s, but on the Timeless they sound more natural, free, clearer and cleaner. It is true that in the S12 there is that base that I like, but in the Timeless there is that crispness that offers a more transparent sound and something more technical, precise, concise and resolute. In the second half of the mids there is that higher, more energetic and clearer feel that the 7Hz has. It is clear that the flat gold tuning helps to gain transparency, but it also feels more precise, fine and technical, even with more separation and a more open stage. All this without sounding analytical or cold, or causing wheezing.
The treble of the S12s is very good, but the 7Hz is better, with a more accurate timbre, more sparkle, extension and even finer and more natural. This is no joke.
The greater transparency of the Timeless gives them a wider soundstage, a better sense of depth, a darker background, greater micro-detail definition and greater separation. The S12s are denser and have the layers closer together.
The LetShuoer S12 2024s are excellent IEMS, but what 7Hz has achieved with the new Timeless IIs is like a punch on the table.

Conclusion
The 7Hz Timeless IIs have been a long time coming. I think they were announced a year ago, but for some unknown reason they were not released, so what happened, perhaps they were not up to the brand's own expectations? Whatever it was, it was well worth the wait. The 7Hz Timeless II are 5-star IEMS, a real treat for my ears. The sound is powerful, based on a bass with an imposing force that reaches a surprising level of sound pressure. They have possibly the best bass of any planar IEMS I've tried. The mids are extremely rich, highly expressive and full from start to finish. As for the treble, 7Hz has managed to find the perfect balance between energy level, sonority, timbre and naturalness. And let's not forget about the size of the soundstage, the sense of transparency, the level of detail and resolution, the potential for improvement over superior sources, the level of precision and the very low harmonic distortion value. Undoubtedly, the 7Hz Timeless II may become the new reference in the segment of planar IEMS for less than $250 and one of the best models in that price range.



Sources Used During the Analysis
- EPZ TP50.
- ifi GO Link Max.
- iFi GO bar Kensei.
- Tempotec V3.
- Burson Audio Playmate 2.
- Aune X8 XVIII Magic DAC + EarMen ST-Amp.



Linsoul Audio Store, offered me this model, in exchange for writing an honest review. I want to make it clear that all my opinions written in this review have not been conditioned by this fact, nor will I ever write anything that I do not really think or feel here. I will only write about my personal opinion in relation to the revised product.



Purchase Link


You can read the full review in Spanish here



MariusAB
I have Aful performer 7 and original timeless, but still want this timeless 2
All these iems are amazing and worth to have. Best sound you can get for the money.

cqtek
1000+ Head-Fier
Pros: Great bass, reminiscent of an IEMS.
- Remarkable sense of openness, facilitating a wide and surrounding scene.
- Good cable, best choice of 4.4mm balanced plug.
- Remarkable sense of openness, facilitating a wide and surrounding scene.
- Good cable, best choice of 4.4mm balanced plug.
Cons: The very smooth surface of the capsules causes the foams to slip and come off.
- Although the cable is good and thick, it can be a bit stiff.
- Although the cable is good and thick, it can be a bit stiff.
Introduction
NiceHCK is an Aliexpress shop known for its audio products. It is an expert in cables and accessories, as well as IEMS and, of course, headphones. And continuing with its B series (B40 and B70), now comes the NiceHCK B80, headphones that still feature the classic small PK capsule, this time with a 14.8 mm dynamic driver with a diaphragm that combines biomaterials with PU and a topological design to reduce distortion from the vibrations of the diaphragm itself. N52 high-performance magnets. They use an OFC cable mixed with silver-plated OFC and three plug options: 3.5mm SE, 3.5mm SE with microphone and the expected 4.4mm BAL plug. The B80s have been handcrafted with black baked-on paint and are powder-coated with gold dust on the surface, even the cable has traces of gold dust on its sleeve. The anime girl on the cover and the brand's signature good accessories remain, of course. Let's dive deeper into its content, sound and other issues in this review.


Specifications


Packaging
NiceHCK are presented in a medium-sized, horizontal box measuring 148 x 107 x 41 mm. NiceHCK continues to illustrate the boxes with an anime girl. On the top left is the brand logo and on the right the model and a product description in brown lettering. On the back are the product specifications, the brand's contact details and other details. The outer cardboard slides horizontally to reveal a black box with interlocking circular lines in glossy black. In the centre, the model name can be read in white letters. Lifting the lid, we find a card with the anime girl of the box in a silver frame. Underneath is the brand's classic zipped case in light grey with a fabric surface. Inside is the product and various accessories. In brief, the complete contents are as follows:
The headphones are packaged in a clear plastic zipped pouch. The 4.4mm connector is protected by a custom plastic sleeve. The foams come in sealed white plastic bags. The zippered case is the usual branded case, very good and appropriate. Six pairs of foams of both types are fine. The foams are of decent quality.


Construction and Design
There is not much to say about the design of the B80s, as they use the classic PK capsule, one of my favourites for its great comfort. The difference between the two models is usually in the rim, which is a bit thick and rounded. In this case, the rim is flat. NiceHCK wanted to highlight the model and, to do so, they have handmade it using black baked paint. In addition, they are coated with gold powder all over, even the cable has traces of gold powder on its black PVC sheath. The capsules have two horizontal openings at the back and a grey lettering indicating the channel near the cable outlet. The cable is black, has two coiled strands and has traces of gold dots on its surface. The plug sleeve is a metal cylinder coated with the gold dust, with the brand name inscribed lengthwise in white letters. The cable outlet is secured by a small rubber cylinder of the same colour. The 4.4mm BAL plug is gold-plated. The splitter piece is the same, a smaller gold powder coated metal cylinder, I would say half the size. The pin is identical, but about one third the size of the divider piece. It has a plastic inner part with a figure-eight hole through which the two wires pass. Although the sliding is smooth, it is also firm when it comes to securing the fit.
As I say, the shape of the capsule is the classic PK with NiceHCK sprinkling a bit of ‘gold’ on the surface. The cable seems to be good and the plug sleeves are of superior quality. One of the things I appreciate the most is the option to choose a 4.4mm balanced plug. Bravo!


Adjustment and Ergonomics
The PK capsule is one of my favourite capsules in terms of fit and ergonomics. Its small diameter and thin spike are a design achievement, combining minimalism, simplicity and practicality. In this case, the thickness of the lid is the only thing that could limit the comfort of these capsules.
The cable is another point that may influence the overall comfort of the set. It consists of two coiled strands of a certain thickness, which have a slight stiffness. Perhaps this is the only critical point, it is a good cable that can become stiffer over time.


Sound
Profile
It's been over a year since I've tried new earbuds and it can be a surprise to hear a new model again. They say it's the first impressions that matter. When I tried the new NiceHCK, I was surprised by the power and cleanness of the bass. And, of course, the openness and richness of their sound. The NiceHCK B80s are warm, dense and smooth on top, but with enough clarity to appreciate good separation, which bodes well for a wide stage and powerful sound. The B80s make me believe that the loudness of the earbuds is close to that of the IEMS, and without feeling that full contact inside the canal that gives them that sensory advantage.


Bass
Bass is always tricky in earbuds, but the B80s impart a sense of presence, punch, energy and power without sounding dark or sluggish. Bass is much more technical than you'd expect from such a small, open, space-constrained capsule. The very low frequency pure tone test is usually not appropriate for this type of headphone and demonstrates some physical limitations of the PK capsule in reproducing very low frequency continuous bass. However, the B80s tolerate a remarkable level of energy and are able to reproduce LFO from 30 Hz onwards in a very realistic and natural way. Below this value, the behaviour is more vibratory and audible than sensory. Nevertheless, I find it quite satisfactory. But the most surprising thing is that above 30 Hz, the tones are audible, clearly discernible and powerful. Admittedly, there is some subtle colouration, but it is compensated by the remarkable physical sensation they give off. Thus, the result is a very accomplished low-end, with strength and physicality, and a presence that does not muddy the rest of the sound.
The very dirty, unfiltered bass test is perhaps the most complex test for headphones. But even here, the B80s have shown control in keeping bass in check, avoiding the distortion, vibration and reverberation that their small capsules could produce. In this way, the B80s demonstrate control, discipline and the ability to follow difficult bass lines without being facile or simplistic, generating a good level of texture, retrieval and moderate punch despite the level of power on display. They are very enjoyable.


Mids
It is true that the PK capsule has some endemic shortcomings, such as its propensity to have a somewhat muddy first half. And it's true that the B80s don't try to avoid that feeling altogether. What is true is that their sound is clearer and more open to compensate for this perception. Thus, the first part of the mids feels dense, although it does not totally dominate. The male vocals have a large base, but they get thinner as the frequencies increase. In this way, the sensation is that of a firm substratum that thins and dilutes until it ends in a sweeter, finer and more delicate way. Thus, male voices do not feel completely dense or impenetrable, but more graceful and detailed, maintaining a good level of warmth and body. However, unlike the voices, the lower strings can experience this impression that clouds them and shifts them to a less natural level of projection. In this respect, one misses a little more finesse in the tuning of this first half.
Female vocals are perceived as warm and maintain that characteristic body and thickness of these capsules. But it's worth noting that the sense of separation and openness greatly decongests the sound, giving it the necessary, even life-saving, amount of air. In this way, larger and more spacious mids are appreciated, with a superior facility for showing detail, without the notes ending up thin, but rather average.
Finally, the upper mids are controlled, there is a point of excitement that attracts cleanliness and clarity. But it is a softened profile at that point. Even so, there remains a glimmer of transparency, clarity and liveliness that brightens the sound within the projection of the mids.


Treble
The first treble has two flares and a marked control zone. In this way, a double expression is created: a more highlighted base and a later flare joined by a central softness. It is like a spark and a flash, two small controlled flashes. Admittedly, this may be commonplace, but in this case that sensation seems more apparent, so that controlled but sparkling treble is achieved.
There is a slight air fringe as the extension weakens after that point.

Soundstage, Separation
The strong point is the sense of openness, the scenery is wide and open, there is great laterality and it is accompanied by a gaseous, volatile and enveloping point. The level of definition and detail is somewhat more complex. The good feeling of openness and separation favours the detection of macro detail. The lack of density and finer sparkle and thinner notes prevents micro-detail from being more evident. The use of doughnut-type foams can enhance the perception of the tiniest detail, but I feel that the level of resolution is tight. A little more layering capability and a cleaner, sharper, more evident background is lacking.

Comparisons
ISN Rambo
Almost five years have passed between the two models. Both are the same in design, same PK capsule with the same cover, but the surface of the B80s is polished, while that of the ISN Rambo is microrough. The cable is different: thick, two-stranded black PVC-coated cable on the B80s, and four thin silver wires on the Rambo. The Rambo's cable is more flexible and manageable, but feels a little thin and delicate when it splits in two towards the capsules. The metal parts of the cable are small and flashy on the ISNs, while on the B80s they are large, regular and gold-plated, more solid and heavy. I like the minimalism of the Rambo. As for the accessories, both are very similar: both have zippered cases and six pairs of full foams. The difference is that the B80s have three pairs of full foams and three pairs of donuts. The ISNs come with a small carabiner and a black plastic clip. The starting price of the B80 is $33, while the Rambo was $65 and can still be found for $49.
Although the glossy, satin-finish surface of the B80s is the same, their fit is slippery. In contrast, the Rambo's fit better and are more secure thanks to their micro-texture.
For the audio tests I used the same full foams that came with the B80s. The Rambo's are harder to move than the B80s. They also sound muddier and more distant, with less clarity and brightness.
In the low end, the excellent improvement in bass reproduction of the new B80s is noticeable. Bass sounds with authority, presence, power, realism, depth, darkness and naturalness. You can even feel the sub-bass. In contrast, the Rambo's bass is rather coloured, less natural sounding, displaced, there is no sense of sub-bass and it vibrates less realistically. The only advantage is that their punch is drier, but their sonority and behaviour are unnatural. The great virtue of the B80s is that their low end is reminiscent of an IEMS, which is very surprising.
In the midrange, the lack of bass makes the first half of the midrange feel more sterile, less physical and more nasal in the Rambo. There is a noticeable hollowness in this area, creating a comparative gap between the two models. The sound of the B80s is much fuller and fuller, with no trace of nasal feel, although this first half is more exalted. On the Rambo, male voices tend to sound more nasal and thinner. The same is true of the female voices, which are perceived as displaced and coloured in the ISNs. The perception of both voices on the B80s is much more in line with reality, despite the slightly ‘pushed’ impression given by the headphones. The mids are denser, fuller, fuller and more balanced on the B80s. Although female vocals may sound a little sharper and more appropriate on the ISNs.
The only place where the Rambo seems to outdo the B80s is in the highs; their initial sparkle is brighter, a little thinner, not as smooth and nuanced as on the B80s. That sparkle lends more energy and naturalness to the high end.
Isolating detail, neither wins the battle with clarity, as both are dark and struggle to be resolute and defined in the deep layers. It is difficult to distinguish micro-detail in both. Perhaps there is a point of brightness in the ISNs that helps them to be more defined in some areas, while the greater sense of separation and more open scene of the B80s helps at other times. It is difficult to distinguish layers in both models or to discern a clear, sharp background. On the other hand, it is easy to get a fuzzy feeling on both models, although again, the higher spark point improves the perception of nuance on the Rambo.

Conclusion
The NiceHCK B80s successfully revisit the PK capsule. With a spectacular low end, full, deep, punchy, energetic, full, dense and dark, worthy of a good IEM, the B80s achieve a very well grounded, open, wide sound with excellent lateral envelopment. It is a warm profile, in which the notes are perceived well separated and with sufficient clarity, while the treble is smooth and nuanced. On the other hand, NiceHCK has adapted to market trends and offers a thick cable and a balanced 4.4 mm plug to achieve the best result thanks to the extra power provided by this connection. Last but not least, the price and the level of own-brand accessories also make it a key model in its price range.

Sources Used During the Analysis


Purchase Link 1
Purchase Link 2

You can read the full review in Spanish here

NiceHCK is an Aliexpress shop known for its audio products. It is an expert in cables and accessories, as well as IEMS and, of course, headphones. And continuing with its B series (B40 and B70), now comes the NiceHCK B80, headphones that still feature the classic small PK capsule, this time with a 14.8 mm dynamic driver with a diaphragm that combines biomaterials with PU and a topological design to reduce distortion from the vibrations of the diaphragm itself. N52 high-performance magnets. They use an OFC cable mixed with silver-plated OFC and three plug options: 3.5mm SE, 3.5mm SE with microphone and the expected 4.4mm BAL plug. The B80s have been handcrafted with black baked-on paint and are powder-coated with gold dust on the surface, even the cable has traces of gold dust on its sleeve. The anime girl on the cover and the brand's signature good accessories remain, of course. Let's dive deeper into its content, sound and other issues in this review.


Specifications
- Driver Type: Dynamic with 14.8mm TopologyBio PU diaphragm.
- Frequency Response: 20Hz-20kHz.
- Sensitivity: 114db/mW.
- Impedance: 20Ω.
- Jack connector: choice of SE 3.5mm, SE 3.5mm + mic, BAL 4.4mm.
- Cable material: OFC + Silver Plated OFC.
- Starting price: $32.99


Packaging
NiceHCK are presented in a medium-sized, horizontal box measuring 148 x 107 x 41 mm. NiceHCK continues to illustrate the boxes with an anime girl. On the top left is the brand logo and on the right the model and a product description in brown lettering. On the back are the product specifications, the brand's contact details and other details. The outer cardboard slides horizontally to reveal a black box with interlocking circular lines in glossy black. In the centre, the model name can be read in white letters. Lifting the lid, we find a card with the anime girl of the box in a silver frame. Underneath is the brand's classic zipped case in light grey with a fabric surface. Inside is the product and various accessories. In brief, the complete contents are as follows:
- NiceHCK B80 earbuds with 4.4mm BAL cable.
- One zipped case.
- Three pairs of full black foam earbuds.
- Three pairs of black foam donuts.
- Velcro strip for cable management.
- User's guide.
- Warranty certificate card.
- Card with links to social networks.
The headphones are packaged in a clear plastic zipped pouch. The 4.4mm connector is protected by a custom plastic sleeve. The foams come in sealed white plastic bags. The zippered case is the usual branded case, very good and appropriate. Six pairs of foams of both types are fine. The foams are of decent quality.


Construction and Design
There is not much to say about the design of the B80s, as they use the classic PK capsule, one of my favourites for its great comfort. The difference between the two models is usually in the rim, which is a bit thick and rounded. In this case, the rim is flat. NiceHCK wanted to highlight the model and, to do so, they have handmade it using black baked paint. In addition, they are coated with gold powder all over, even the cable has traces of gold powder on its black PVC sheath. The capsules have two horizontal openings at the back and a grey lettering indicating the channel near the cable outlet. The cable is black, has two coiled strands and has traces of gold dots on its surface. The plug sleeve is a metal cylinder coated with the gold dust, with the brand name inscribed lengthwise in white letters. The cable outlet is secured by a small rubber cylinder of the same colour. The 4.4mm BAL plug is gold-plated. The splitter piece is the same, a smaller gold powder coated metal cylinder, I would say half the size. The pin is identical, but about one third the size of the divider piece. It has a plastic inner part with a figure-eight hole through which the two wires pass. Although the sliding is smooth, it is also firm when it comes to securing the fit.
As I say, the shape of the capsule is the classic PK with NiceHCK sprinkling a bit of ‘gold’ on the surface. The cable seems to be good and the plug sleeves are of superior quality. One of the things I appreciate the most is the option to choose a 4.4mm balanced plug. Bravo!


Adjustment and Ergonomics
The PK capsule is one of my favourite capsules in terms of fit and ergonomics. Its small diameter and thin spike are a design achievement, combining minimalism, simplicity and practicality. In this case, the thickness of the lid is the only thing that could limit the comfort of these capsules.
The cable is another point that may influence the overall comfort of the set. It consists of two coiled strands of a certain thickness, which have a slight stiffness. Perhaps this is the only critical point, it is a good cable that can become stiffer over time.


Sound
Profile
It's been over a year since I've tried new earbuds and it can be a surprise to hear a new model again. They say it's the first impressions that matter. When I tried the new NiceHCK, I was surprised by the power and cleanness of the bass. And, of course, the openness and richness of their sound. The NiceHCK B80s are warm, dense and smooth on top, but with enough clarity to appreciate good separation, which bodes well for a wide stage and powerful sound. The B80s make me believe that the loudness of the earbuds is close to that of the IEMS, and without feeling that full contact inside the canal that gives them that sensory advantage.


Bass
Bass is always tricky in earbuds, but the B80s impart a sense of presence, punch, energy and power without sounding dark or sluggish. Bass is much more technical than you'd expect from such a small, open, space-constrained capsule. The very low frequency pure tone test is usually not appropriate for this type of headphone and demonstrates some physical limitations of the PK capsule in reproducing very low frequency continuous bass. However, the B80s tolerate a remarkable level of energy and are able to reproduce LFO from 30 Hz onwards in a very realistic and natural way. Below this value, the behaviour is more vibratory and audible than sensory. Nevertheless, I find it quite satisfactory. But the most surprising thing is that above 30 Hz, the tones are audible, clearly discernible and powerful. Admittedly, there is some subtle colouration, but it is compensated by the remarkable physical sensation they give off. Thus, the result is a very accomplished low-end, with strength and physicality, and a presence that does not muddy the rest of the sound.
The very dirty, unfiltered bass test is perhaps the most complex test for headphones. But even here, the B80s have shown control in keeping bass in check, avoiding the distortion, vibration and reverberation that their small capsules could produce. In this way, the B80s demonstrate control, discipline and the ability to follow difficult bass lines without being facile or simplistic, generating a good level of texture, retrieval and moderate punch despite the level of power on display. They are very enjoyable.


Mids
It is true that the PK capsule has some endemic shortcomings, such as its propensity to have a somewhat muddy first half. And it's true that the B80s don't try to avoid that feeling altogether. What is true is that their sound is clearer and more open to compensate for this perception. Thus, the first part of the mids feels dense, although it does not totally dominate. The male vocals have a large base, but they get thinner as the frequencies increase. In this way, the sensation is that of a firm substratum that thins and dilutes until it ends in a sweeter, finer and more delicate way. Thus, male voices do not feel completely dense or impenetrable, but more graceful and detailed, maintaining a good level of warmth and body. However, unlike the voices, the lower strings can experience this impression that clouds them and shifts them to a less natural level of projection. In this respect, one misses a little more finesse in the tuning of this first half.
Female vocals are perceived as warm and maintain that characteristic body and thickness of these capsules. But it's worth noting that the sense of separation and openness greatly decongests the sound, giving it the necessary, even life-saving, amount of air. In this way, larger and more spacious mids are appreciated, with a superior facility for showing detail, without the notes ending up thin, but rather average.
Finally, the upper mids are controlled, there is a point of excitement that attracts cleanliness and clarity. But it is a softened profile at that point. Even so, there remains a glimmer of transparency, clarity and liveliness that brightens the sound within the projection of the mids.


Treble
The first treble has two flares and a marked control zone. In this way, a double expression is created: a more highlighted base and a later flare joined by a central softness. It is like a spark and a flash, two small controlled flashes. Admittedly, this may be commonplace, but in this case that sensation seems more apparent, so that controlled but sparkling treble is achieved.
There is a slight air fringe as the extension weakens after that point.

Soundstage, Separation
The strong point is the sense of openness, the scenery is wide and open, there is great laterality and it is accompanied by a gaseous, volatile and enveloping point. The level of definition and detail is somewhat more complex. The good feeling of openness and separation favours the detection of macro detail. The lack of density and finer sparkle and thinner notes prevents micro-detail from being more evident. The use of doughnut-type foams can enhance the perception of the tiniest detail, but I feel that the level of resolution is tight. A little more layering capability and a cleaner, sharper, more evident background is lacking.

Comparisons
ISN Rambo
Almost five years have passed between the two models. Both are the same in design, same PK capsule with the same cover, but the surface of the B80s is polished, while that of the ISN Rambo is microrough. The cable is different: thick, two-stranded black PVC-coated cable on the B80s, and four thin silver wires on the Rambo. The Rambo's cable is more flexible and manageable, but feels a little thin and delicate when it splits in two towards the capsules. The metal parts of the cable are small and flashy on the ISNs, while on the B80s they are large, regular and gold-plated, more solid and heavy. I like the minimalism of the Rambo. As for the accessories, both are very similar: both have zippered cases and six pairs of full foams. The difference is that the B80s have three pairs of full foams and three pairs of donuts. The ISNs come with a small carabiner and a black plastic clip. The starting price of the B80 is $33, while the Rambo was $65 and can still be found for $49.
Although the glossy, satin-finish surface of the B80s is the same, their fit is slippery. In contrast, the Rambo's fit better and are more secure thanks to their micro-texture.
For the audio tests I used the same full foams that came with the B80s. The Rambo's are harder to move than the B80s. They also sound muddier and more distant, with less clarity and brightness.
In the low end, the excellent improvement in bass reproduction of the new B80s is noticeable. Bass sounds with authority, presence, power, realism, depth, darkness and naturalness. You can even feel the sub-bass. In contrast, the Rambo's bass is rather coloured, less natural sounding, displaced, there is no sense of sub-bass and it vibrates less realistically. The only advantage is that their punch is drier, but their sonority and behaviour are unnatural. The great virtue of the B80s is that their low end is reminiscent of an IEMS, which is very surprising.
In the midrange, the lack of bass makes the first half of the midrange feel more sterile, less physical and more nasal in the Rambo. There is a noticeable hollowness in this area, creating a comparative gap between the two models. The sound of the B80s is much fuller and fuller, with no trace of nasal feel, although this first half is more exalted. On the Rambo, male voices tend to sound more nasal and thinner. The same is true of the female voices, which are perceived as displaced and coloured in the ISNs. The perception of both voices on the B80s is much more in line with reality, despite the slightly ‘pushed’ impression given by the headphones. The mids are denser, fuller, fuller and more balanced on the B80s. Although female vocals may sound a little sharper and more appropriate on the ISNs.
The only place where the Rambo seems to outdo the B80s is in the highs; their initial sparkle is brighter, a little thinner, not as smooth and nuanced as on the B80s. That sparkle lends more energy and naturalness to the high end.
Isolating detail, neither wins the battle with clarity, as both are dark and struggle to be resolute and defined in the deep layers. It is difficult to distinguish micro-detail in both. Perhaps there is a point of brightness in the ISNs that helps them to be more defined in some areas, while the greater sense of separation and more open scene of the B80s helps at other times. It is difficult to distinguish layers in both models or to discern a clear, sharp background. On the other hand, it is easy to get a fuzzy feeling on both models, although again, the higher spark point improves the perception of nuance on the Rambo.

Conclusion
The NiceHCK B80s successfully revisit the PK capsule. With a spectacular low end, full, deep, punchy, energetic, full, dense and dark, worthy of a good IEM, the B80s achieve a very well grounded, open, wide sound with excellent lateral envelopment. It is a warm profile, in which the notes are perceived well separated and with sufficient clarity, while the treble is smooth and nuanced. On the other hand, NiceHCK has adapted to market trends and offers a thick cable and a balanced 4.4 mm plug to achieve the best result thanks to the extra power provided by this connection. Last but not least, the price and the level of own-brand accessories also make it a key model in its price range.

Sources Used During the Analysis
- EPZ TP50.
- ifi GO Link Max.
- iFi GO bar Kensei.
- Tempotec V3.
- Burson Audio Playmate 2.
- Aune X8 XVIII Magic DAC + EarMen ST-Amp.

NiceHCK offered me this model, in exchange for writing an honest review. I want to make it clear that all my opinions written in this review have not been conditioned by this fact, nor will I ever write anything that I do not really think or feel here. I will only write about my personal opinion in relation to the revised product.

Purchase Link 1
Purchase Link 2

You can read the full review in Spanish here

cqtek
1000+ Head-Fier
Pros: Simple, well-built and well-cabled.
- Supports microphone.
- Neutral sound with a bright tendency, very detailed, clear, clean and informative.
- Very good bass quality.
- Great value for money.
- Choice of 3.5mm SE or 4.4mm BAL audio output.
- Supports microphone.
- Neutral sound with a bright tendency, very detailed, clear, clean and informative.
- Very good bass quality.
- Great value for money.
- Choice of 3.5mm SE or 4.4mm BAL audio output.
Cons: There is no USB Type-A adapter.
- The 3.5mm SE version only has an output voltage of 1V RMS. This may be a bit tight for more power-hungry headphones.
- The 3.5mm SE version only has an output voltage of 1V RMS. This may be a bit tight for more power-hungry headphones.
Introduction
I believe this is the first time BQEYZ has released a DAC/AMP. It is a small integrated dongle with a USB Type-C cable and a 3.5mm SE or 4.4mm BAL headphone output of your choice. On this occasion the Conexant (USA) DAC CX31993 has been used, which can deliver an SNR of 110dB and a dynamic range of 110dB. It can play formats up to 32bit/384kHz. The DAT4332ZY USB decoder chip is used and is compatible with Android, Win10/11, IOS and MacOS. The entire assembly is 12cm long and the aluminium alloy parts are coated with a high-strength oxidation process and have an ergonomic, non-slip design. It is capable of delivering 60mW for 32Ω and is compatible with headphones from 16Ω to 600Ω. Finally, 392 0.05mm silver-plated monocrystalline copper wires have been used for the cable, divided into groups of 14 wires, strands of 7 groups, bonded in two polarities for each channel. The current price is quite affordable, with the 4.4mm version available for less than $20. Let's see what this little dongle cable can do.

Specifications

Packaging
The BQEYZ Lin comes in a small square white box. On its front side there is a realistic photo of the product. It specifies the DAC used and a short description of the product and its main features. On the back side are the product specifications and the brand name. The box is double sealed in its two possible openings. The dongle is inserted in a custom-made cardboard box and only the warranty certificate is included as the only accessory/documentation. Nothing else. Simple. No USB Type-A adapter included.

Construction and Design
The BQEYZ Lin has a USB Type-C interface covered by an aluminium alloy casing on which a high-strength oxidation process has been used. The brand name can be read in white letters on the surface. The metal part is oval. The cable outlet is a black rubber cone. The cable consists of two coiled strands. A total of 392 strands of 0.05mm silver-plated monocrystalline copper wires have been used, divided into groups of 14 wires, strands of 7 groups, joined in two polarities for each channel. The headphone output is a cylinder whose inlet has the same black rubber cone to protect the cable. The part near the output has an ergonomic non-slip design. Afterwards the cylinder is smooth up to the 3.5mm SE output (in my case). A choice of 4.4mm BAL output is available. The connection is gold plated. The length of the whole assembly is 120mm.
The metal parts are sufficiently robust, pleasant to the touch and of an elegant colour. The cable is thick, well constructed, a far cry from some thin cables of more expensive dongles. I really liked that you can choose a 4.4mm balanced option. Again, simple, but elegant as well as durable.

Connectivity and Operativity
The BQEYZ Lin is compatible with Android, Win10/11, IOS and MacOS, and is fully Plug & Play, with no drivers required. It supports formats up to 384kHz/32bit. Connected to Windows it becomes an efficient headphone output and microphone input all in one. Volume control is via Windows itself. Connected to my Android smartphone it supports headphones with microphone, just as with Windows. I have had no problems using it in conjunction with the HiBy Music App. In the same way, the volume setting must be controlled via the device to which it is connected. I have not found any compatible ASIO drivers.

Measures
The specified power is 60mW for 32Ω. Applying Ohm's Law that would mean that the Lin should have an output of 1.39V RMS. This is not the case because the maximum no-load output is 1V RMS.
On the other hand, the output impedance is ridiculously low, almost zero, less than 0.1Ω.

No load
As can be seen, the maximum no-load output is 1V RMS.

15Ω
The output voltage with 15Ω connected is 0.896V RMS. Some distortion is observed at 10kHz and above. Lowering the output to correct this is the solution, but the power output suffered too much. With this value the output power is 53.5mW. Decent.

33Ω
The output voltage with 33Ω connected is 1.004V RMS with no distortion throughout the audible range. The output power is 30mW, half of what is specified. Do they mean the power of the balanced version?

100Ω
The output voltage with 100Ω connected is 1.004V RMS with no distortion over the entire audible range. The output power is 10mW. As you can see using this dongle for headphones over 100Ω may be insufficient.

Frequency Response
As the output voltage is extremely equal over the entire 20Hz to 20kHz range, the response is also flat, with no need to look at other graphs.
Sound
The sound of the BQEYZ Lin is quite clean and bright, with a neutral profile and a clear bright tendency. It is not a warm dongle, but has good informative capabilities without falling into pure analytical coolness. On the other hand, the Conexant CX31993 DAC is widely known and has received very good reviews in those very low-budget dongles in which it has been correctly implemented. And this is the case with the new Lin. The sound quality of this dongle for less than $20 is surprisingly high.
The bass is punchy, voluminous and textured, powerful, tight and fast. Pure, very low frequency tones are reproduced quite naturally and there is not that much difference in texture or colour compared to $100 dongles. With this test it can be noted that the very low frequency notes are not as pure and have a slightly higher wave character, but compared to one of the best $100 dongles I own. In the dirty, unfiltered bass reproduction test the Lin resolves tricky passages without falling back on facile. It is able to recreate complex bass lines without reduction to absurdity, layering the bass, separating bass drums from those lines, with plenty of resolution and descriptiveness.
The midrange is clean, concrete, descriptive, neutral, even luminous. But it is also somewhat thinner, something that gives it a slight luminous emphasis that makes vocals sound subtly more forward, but not as refined or smooth as on $100 dongles. However, this feature can be beneficial on many occasions. For vocal tracks, guitars, rock and the like the Lin comes across as very powerful, well shaped and highly descriptive. Without sounding harsh but energetic, those looking for a more musical or softer DAC might find the Lin too neutral or too sharp. In my opinion the Lin has a very high level of resolution, being a little raw, without being harsh or sibilant. Superior refinement comes at a price.
The brighter character is evident in the treble. The first part is very sparkling and crisp. The first treble is marked and energetic, clearly expressed, high, bright, slightly abrupt or rougher if you are looking for some softness. The high end is extended, while the first treble is felt in the foreground, the feeling of air and other harmonics is less expressed in the ambience.
As for the image, it is quite precise and focused, it is easy to intuit the origin of the sounds and the instrumental positioning, although it is mainly shown frontally. There is good laterality, but the brighter focus and leaner thickness of the notes returns Lin to a dongle with a more direct, concentrated, close-up scene, with greater emphasis on the foreground and middle ground. So detail is quite clearly perceived, even at the micro level, with a level of refinement beyond its price.

Conclusion
The BQEYZ Lin is a safe bet for under $20 when choosing a dongle for smartphones without a headphone output. It's small, microphone compatible and has enough power to drive a lot of common headphones. It's true that for those who are more demanding the power level is a little fair. In terms of sound the Lin has a very clean, neutral profile with a bright tendency, tight bass, clear and energetic mids and highs. This subtly analytical profile is very descriptive, detailed and informative. It is available with 3.5mm SE and 4.4mm BAL output, and it is worth noting that the cable is better than even more expensive competitors. Without a doubt, the BQEYZ is great value for money.

Earphones and Sources Used During Analysis


Purchase Link

You can read the full review in Spanish here

I believe this is the first time BQEYZ has released a DAC/AMP. It is a small integrated dongle with a USB Type-C cable and a 3.5mm SE or 4.4mm BAL headphone output of your choice. On this occasion the Conexant (USA) DAC CX31993 has been used, which can deliver an SNR of 110dB and a dynamic range of 110dB. It can play formats up to 32bit/384kHz. The DAT4332ZY USB decoder chip is used and is compatible with Android, Win10/11, IOS and MacOS. The entire assembly is 12cm long and the aluminium alloy parts are coated with a high-strength oxidation process and have an ergonomic, non-slip design. It is capable of delivering 60mW for 32Ω and is compatible with headphones from 16Ω to 600Ω. Finally, 392 0.05mm silver-plated monocrystalline copper wires have been used for the cable, divided into groups of 14 wires, strands of 7 groups, bonded in two polarities for each channel. The current price is quite affordable, with the 4.4mm version available for less than $20. Let's see what this little dongle cable can do.

Specifications
- DAC: Conexant CX31993.
- DAT USB: DAT4332ZY.
- USB interface: Type-C.
- Frequency response: 20Hz-40kHz.
- SNR: 95 ~ 105dB for 32Ω.
- PCM: 384kHz/32bit.
- Output power: 60mW @ 32Ω.
- Headphone output: Choice of SE 3.5mm, BAL 4.4mm.
- THD+N: 0.0007% ~ 0.0015% @ 32Ω.
- Crosstalk: -60 ~ 50dB @ 32Ω.
- Length: 120mm.
- Weight: 8 grams.
- Supports Android, Win10/11, IOS and MacOS.

Packaging
The BQEYZ Lin comes in a small square white box. On its front side there is a realistic photo of the product. It specifies the DAC used and a short description of the product and its main features. On the back side are the product specifications and the brand name. The box is double sealed in its two possible openings. The dongle is inserted in a custom-made cardboard box and only the warranty certificate is included as the only accessory/documentation. Nothing else. Simple. No USB Type-A adapter included.

Construction and Design
The BQEYZ Lin has a USB Type-C interface covered by an aluminium alloy casing on which a high-strength oxidation process has been used. The brand name can be read in white letters on the surface. The metal part is oval. The cable outlet is a black rubber cone. The cable consists of two coiled strands. A total of 392 strands of 0.05mm silver-plated monocrystalline copper wires have been used, divided into groups of 14 wires, strands of 7 groups, joined in two polarities for each channel. The headphone output is a cylinder whose inlet has the same black rubber cone to protect the cable. The part near the output has an ergonomic non-slip design. Afterwards the cylinder is smooth up to the 3.5mm SE output (in my case). A choice of 4.4mm BAL output is available. The connection is gold plated. The length of the whole assembly is 120mm.
The metal parts are sufficiently robust, pleasant to the touch and of an elegant colour. The cable is thick, well constructed, a far cry from some thin cables of more expensive dongles. I really liked that you can choose a 4.4mm balanced option. Again, simple, but elegant as well as durable.

Connectivity and Operativity
The BQEYZ Lin is compatible with Android, Win10/11, IOS and MacOS, and is fully Plug & Play, with no drivers required. It supports formats up to 384kHz/32bit. Connected to Windows it becomes an efficient headphone output and microphone input all in one. Volume control is via Windows itself. Connected to my Android smartphone it supports headphones with microphone, just as with Windows. I have had no problems using it in conjunction with the HiBy Music App. In the same way, the volume setting must be controlled via the device to which it is connected. I have not found any compatible ASIO drivers.

Measures
The specified power is 60mW for 32Ω. Applying Ohm's Law that would mean that the Lin should have an output of 1.39V RMS. This is not the case because the maximum no-load output is 1V RMS.
On the other hand, the output impedance is ridiculously low, almost zero, less than 0.1Ω.

No load
As can be seen, the maximum no-load output is 1V RMS.

15Ω
The output voltage with 15Ω connected is 0.896V RMS. Some distortion is observed at 10kHz and above. Lowering the output to correct this is the solution, but the power output suffered too much. With this value the output power is 53.5mW. Decent.

33Ω
The output voltage with 33Ω connected is 1.004V RMS with no distortion throughout the audible range. The output power is 30mW, half of what is specified. Do they mean the power of the balanced version?

100Ω
The output voltage with 100Ω connected is 1.004V RMS with no distortion over the entire audible range. The output power is 10mW. As you can see using this dongle for headphones over 100Ω may be insufficient.

Frequency Response
As the output voltage is extremely equal over the entire 20Hz to 20kHz range, the response is also flat, with no need to look at other graphs.
Sound
The sound of the BQEYZ Lin is quite clean and bright, with a neutral profile and a clear bright tendency. It is not a warm dongle, but has good informative capabilities without falling into pure analytical coolness. On the other hand, the Conexant CX31993 DAC is widely known and has received very good reviews in those very low-budget dongles in which it has been correctly implemented. And this is the case with the new Lin. The sound quality of this dongle for less than $20 is surprisingly high.
The bass is punchy, voluminous and textured, powerful, tight and fast. Pure, very low frequency tones are reproduced quite naturally and there is not that much difference in texture or colour compared to $100 dongles. With this test it can be noted that the very low frequency notes are not as pure and have a slightly higher wave character, but compared to one of the best $100 dongles I own. In the dirty, unfiltered bass reproduction test the Lin resolves tricky passages without falling back on facile. It is able to recreate complex bass lines without reduction to absurdity, layering the bass, separating bass drums from those lines, with plenty of resolution and descriptiveness.
The midrange is clean, concrete, descriptive, neutral, even luminous. But it is also somewhat thinner, something that gives it a slight luminous emphasis that makes vocals sound subtly more forward, but not as refined or smooth as on $100 dongles. However, this feature can be beneficial on many occasions. For vocal tracks, guitars, rock and the like the Lin comes across as very powerful, well shaped and highly descriptive. Without sounding harsh but energetic, those looking for a more musical or softer DAC might find the Lin too neutral or too sharp. In my opinion the Lin has a very high level of resolution, being a little raw, without being harsh or sibilant. Superior refinement comes at a price.
The brighter character is evident in the treble. The first part is very sparkling and crisp. The first treble is marked and energetic, clearly expressed, high, bright, slightly abrupt or rougher if you are looking for some softness. The high end is extended, while the first treble is felt in the foreground, the feeling of air and other harmonics is less expressed in the ambience.
As for the image, it is quite precise and focused, it is easy to intuit the origin of the sounds and the instrumental positioning, although it is mainly shown frontally. There is good laterality, but the brighter focus and leaner thickness of the notes returns Lin to a dongle with a more direct, concentrated, close-up scene, with greater emphasis on the foreground and middle ground. So detail is quite clearly perceived, even at the micro level, with a level of refinement beyond its price.

Conclusion
The BQEYZ Lin is a safe bet for under $20 when choosing a dongle for smartphones without a headphone output. It's small, microphone compatible and has enough power to drive a lot of common headphones. It's true that for those who are more demanding the power level is a little fair. In terms of sound the Lin has a very clean, neutral profile with a bright tendency, tight bass, clear and energetic mids and highs. This subtly analytical profile is very descriptive, detailed and informative. It is available with 3.5mm SE and 4.4mm BAL output, and it is worth noting that the cable is better than even more expensive competitors. Without a doubt, the BQEYZ is great value for money.

Earphones and Sources Used During Analysis
- BQEYZ Frost.
- BQEYZ Cloud.
- Kiwi Ears KE4.
- LetShuoer S12 2024.
- LetShuoer Cadenza 4.
- Simgot SuperMix 4.
- NiceHCK NX8.
- 7Hz Timeless II.
- Apevoix Grit.
- Hidizs MP143 Titanium Edition.
- Kiwi Ears Division.
- Xiaomi 13T.

BQEYZ offered me this model, in exchange for writing an honest review. I want to make it clear that all my opinions written in this review have not been conditioned by this fact, nor will I ever write anything that I do not really think or feel here. I will only write about my personal opinion in relation to the revised product.

Purchase Link

You can read the full review in Spanish here

cqtek
1000+ Head-Fier
Pros: Powerful, big, voluminous, dark, dense and weighty bass.
- Midrange with forward and very full voices.
- Benefit from more analytical and neutral sources.
- Elegant and ergonomic design.
- Interchangeable mouthpieces.
- Good set of accessories, including the new C04 transparent silicone tips in four sizes.
- Midrange with forward and very full voices.
- Benefit from more analytical and neutral sources.
- Elegant and ergonomic design.
- Interchangeable mouthpieces.
- Good set of accessories, including the new C04 transparent silicone tips in four sizes.
Cons: Treble and smooth tuning.
- The thickness of the notes prevents it from being more defined.
- NiceHCK knows how to make better cables, at least, more eye-catching.
- The thickness of the notes prevents it from being more defined.
- NiceHCK knows how to make better cables, at least, more eye-catching.
Introduction
All CHI-FI fans know the NiceHCK Audio store. It not only sells audio accessories, such as cables and silicone tips, but also has a real tradition in the manufacture of headphones and IEMS. For this occasion, the brand has created a new model of the NX series, called NX8, which consists, of course, of 8 drivers per capsule inside a resin unit printed with a high precision technology. The driver configuration is 1DDD + 6BA + 1PZT. Two of the BA drivers are used for mid frequencies, four for high and very high frequencies, and one piezo ceramic driver for ultra high frequencies. For the dynamic driver, NiceHCK has adopted a large, high-performance dual magnetic transducer. The 10mm diaphragm is titanium coated. The assembly is completed with a frequency divider plate of its own design. In tuning, a different profile than the classic Harman profile has been chosen to emphasize the sub-bass and smooth the upper mids without losing too much energy in the treble. The NX8s use replaceable mouthpieces that are compatible with others on the market, so that the user can play with different tunings or replace them when they become unusable for other reasons.
The outer face of the capsules has a starry texture simulating the deep universe and an aluminum alloy frame. As it could not be otherwise, the NX8s use the 0.78mm 2-pin connection interface, while the cable used is made of high-purity OCC copper wires with silver plating. Finally, it is worth mentioning that the NiceHCK NX8 comes with the new C04 transparent silicone tips, which help to expand the scene, and with the classic 07 tips. Let's see what this new model has to offer in this review.



Specifications



Packaging
The NiceHCK NX8 comes in a dark and relatively elongated 200x127x50mm box. The bottom of the case is similar to the outer face of the IEMS, with a star pattern that simulates a view of the universe. At the top left is the brand logo and, in the center, the model name and a short description of the model. In the center is an actual photo of each capsule and, below, another product description. All the text is written in white letters. On the back side, the model name and description are repeated. Below is an exploded view of the capsule, revealing all its components and internal construction. Underneath are the specifications in Chinese and English, as well as the brand indications, maintaining the white color of the lettering. Removing the outer cardboard reveals a black box with silver stars and the model name in the center. Inside is a black cardboard lid that protects the product and exposes the two capsules at the top. In the center is the brand logo and, underneath, a product legend in silver lettering. When the cardboard is removed, a black foam mold containing the capsules can be seen, along with a small box containing the two sets of silicone tips. At the bottom is the classic rectangular, large, black box with a faux-leather zipper and the brand logo in the center. The complete contents are as follows:
As usual with NiceHCK products, the NX8 includes the entire classic battery of accessories. Highlights include the case and the new C04 clear silicone tips in four sizes. Among so many good cables manufactured by the brand, the cable of the NX8 (as well as that of other models of the brand) seems simple to me.



Construction and Design
The NiceHCK NX8 are made of resin printed by high precision 3D printing. The capsules are black and their outer face has an aluminum alloy frame, on the edge of which is written the model name and the topo indicating the channel. There is a small groove between the frame and the edge of the capsule. The outer face has a star pattern, as if it were a view of the universe. On the edge of the capsule there are two holes between the 2Pin 0.78mm connection interface. This interface consists of a rectangular, transparent plate completely integrated into the surface. The connections are gold-plated. The inner side is smooth, rounded at the edges and without protrusions. The slope towards the mouthpieces is slight and starts from the center of the capsule. The mouthpieces are screw-in, brass, with a length of 3.6mm, a minor diameter of 5.25mm and a crown diameter of 6mm. The protection grid consists of a perforated metal plate. It is worth mentioning that as an accessory there are other mouthpieces exactly the same as the ones installed in the capsules and that they are compatible with other tuning mouthpieces available on the market.
The cable consists of two coiled strands of pale copper color. The connector sleeve is a metal cylinder that has the brand name longitudinally in white. There is a textured pattern below while the cylinder is rounded in a decreasing fashion at the cable exit. The splitter piece is made in the same way, without the textured part. The pin is just that textured part missing from the divider piece, with a through oval. The cable adjustment is relative, it slides smoothly and the adjustment function is performed because the cable has a tendency to open or coil. The cable has transparent plastic ear guides. The sleeves of the 2Pin 0.78mm connectors are two rounded metal cylinders with a decreasing shape at the cable outlet, with two grooves colored in red or blue to indicate the channel. On the connector plate there is a dot to indicate the polarity of the cable. All cable sheath finishes are metallic with micro texturing. As I said, the cable is somewhat simple compared to the high quality and quantity of cables in the brand's catalog. I think it is the same as the one used in the M5 model.



Adjustment and Ergonomics
It could be said that the size of the capsules is medium and their weight is light. They are made of polished resin and the surface is very smooth. The ergonomics are simple, but well resolved. It is a proven and efficient design, with no annoying protrusions. The angle of the nozzles is quite good, although they are slightly short. The fit is medium to shallow and with suitable tips the level of sound insulation is high. They fit the pinna very well and can hardly rotate inside the ear. The low weight, great fit and minimal friction make them very comfortable for long sessions and if an occlusive and durable fit is achieved they can be very valid for daily use, such as for light sports.



Sound
Profile
I would say that the NiceHCKs aim for a current planar tuning, but with differences in the upper mids and treble. Thus, a W profile is maintained with emphasis on the sub-bass, clean drop towards the mids and slightly softened treble, but with a sustained energy level. The first thing I have to say is that I like this tuning, because the bass is present, the upper mids are smoothed out and the treble maintains a moderate but continuous energy profile, making it sound present and natural. The result is a sound in which the first two bands have a lot of representation, achieving a sound that is quite full, dense, rich and with that wall-of-sound style that impresses so much.

Bass
The bass is undeniably powerful, big, voluminous, dark, heavy and even dense. They are quite textured and have a medium degree of gumminess. They are also quite physical and sensory. In the very low frequency pure tone test, one senses that darkness and physicality at the first audible note. There is a wave character that fits the nature of the wave, as it does not generate color or excessive loudness from its vibration. In this sense, it feels controlled, but it is not a canonical behavior, but it escapes that more explosive character that the NX8 bass possesses. In this way, there is a feeling that it is difficult to contain the punch of the bass kicks. However, the NX8s manage to do so almost entirely. Even so, these bass kicks have elasticity, they linger subtly in the environment and their dissipation is not immediate. It is not a slow bass, but one of those whose energy level is a little difficult to dissipate. It is not a dry bass, but rather juicy, with a predominance of depth and a darker color in which the physical part, energy and punch are accentuated.
But it is in the dirty, complex and unfiltered bass test that a model has to prove its worth. This is where control and technical skill are put to the test when it comes to bass performance. And the NX8s don't flinch at all, demonstrating plenty of control despite the darkness, physicality and volume that they pack. At no point do the basses lose control, their characteristic sonority remains unchanged and they are relatively adept at following fast bass lines, although this is where they suffer the most. So much energy, darkness, volume and that not-so-fast character can subtly blur the more complex bass lines, making them more diffuse and less marked and outlined than those of other more technical IEMS. The NX8s don't miss a beat, but they don't have the resolution to maintain a completely clean and tight profile on all bass notes. However, the physical feel is high, something that, combined with the sense of volume, darkness, elasticity and that rubbery point, makes it very fun and even addictive. It also slightly resents the layering by presenting the lines more united and persistent, which gives the impression of a more uniform and, above all, dense bass.


Mids
The mids have warmth and feel accompanied by that generalized darkness throughout the sound of the ensemble. This favors the fullness of the first half of the mids, where much of the physical and corporeal presence that already existed in abundance in the bass is maintained. Thus, the male voices are dense and full from the beginning, they are not in the foreground, but they are perceived in a close and almost protagonist way when they stand out in the mix. The full-bodied feel alternates with upper mids with just the right amount of excitement to enhance the details and highs that reinforce the harmonics. In this way, the vocals feel very full, very well represented throughout and exposed, with a slight dark touch, but very well garnished by the presentation of all the upper frequencies. Thus, the richness expands quite analogically, almost sweet, very musical, but also very informative. In the same way, the instrumentation of the first half is imposing and forms an integral part of the wall of sound erected by the NX8s. On the other hand, despite the maintained energy level of the treble, the detail is still somewhat diffuse and the bass presentation and its persistence in the ambience can become nuanced, drowning out such details slightly. This is not an analytical ensemble, but is slightly softened at the edges. Therefore, the female voices are not perceived as piercing, but thicker, silky and sweet, where the base and the body are more protagonists, maintaining the physical part that makes them dense and lush. On the other hand, the sibilances are kept completely under control and softened. There is no trace of sharp notes; this is not a splashy sound, but a warmer, musical, analog and controlled one. It is true that a certain sense of transparency and brightness is lost, accentuating the thickness of the notes. At this point, the female vocals and instruments in this second half are perceived as relaxed and relatively muted, less vivid and with a somewhat lower level of excitement.


Treble
The treble has an extended and sustained, but diminishing energy level. The resulting exposure is smooth and controlled, perhaps too much so. I was hoping for a little more sparkle from the graphic and a little more expressiveness, both informative and luminous. But that was not the case. In this respect, the NX8s benefit from somewhat cooler sources to expand their treble level and achieve a more appropriate level of brightness. In this situation, the NX8s seem to be sensitive to the profile of the sources: those that are neutral and warm will muffle the character of the NX8s with evidence, while with those that are brighter and/or analytical they will be able to express the upper range more adequately and realistically, but within that commented softness. At no point will the treble be sharp, crisp, sharp or elevated, but will retain that thickness and level of density existing from the low end. The sensation of extension is good, although it seems to lack a little more air and separation above.


Soundstage, Separation
As I said, the NX8s are sensitive to sources and with those of a cooler or more analytical character they can give a more satisfactory result. With dongles like the EZP TP50 or the Aune Yuki they sound very good and these combinations are more successful in order to highlight detail, maximizing the sense of scene and separation.
The wall-of-sound sensation makes all the elements feel close together and the higher density makes the separation less, as well as generating layers. When there are few elements, the background detail is more noticeable. However, the volume and energy of the bass can overpower the micro-detail, preventing it from being more explicit. It follows, therefore, that the NX8s are expressive in many instances, but not in all scenarios. They are capable of showing microdetail, but they are not as defined or neat as in other sets. The thickness of the notes and their density work against them. However, it does possess enough resolution to show it. In short, it is capable of doing so, but only when conditions permit.
The scene is wide, lateral, deep, high and eminently frontal. The layers are not very prominent, but their presence is imposing. The physical part, the sense of volume and energy, are remarkable. The sound is clean and clear, and has good crispness, but it is not as neat and sharp. It is more warm, musical, analog and smooth than analytical. This limits the sense of a dark, clean, fully defined and empty background. Separation is clear, although the distance is not as great, especially in depth, but stands out more in width. Thus, although the scene is wide, there is not a very high three-dimensional sensation, as the notes feel more attached to their base, with a limited expansive sensation.


Comparisons
LetShuoer S12 2024
Being priced at $199 means rubbing shoulders with a lot of competition. And among those worth exactly the same are the Letshuoer S12 2024. Although a limited edition, their frequency response is very close to that of the NX8s. It is clear that the S12 2024s have special anniversary packaging. The cable is better, as it is detachable. As for tips, the S12 2024s have good sets, three for them and two for the NX8s. Both bring their classic packaging boxes and here the taste of each one will be the one to decide (cylindrical screw-on rubber box vs large rectangular box with zipper in black leather). As for the design, I really like the shape of the S12 2024, but I'm not convinced by the gold. The NX8s are a bit simpler, but the outer face is nice. The NX8s are larger in size, with a thicker and larger capsule. The S12 2024s are smaller and fit better in the ear pinna. However, their problem is that the nozzles are somewhat short, which creates a problem for me between the ear canal and the choice of tips, versus the greater versatility of the shape of the NX8s, despite their larger size.
The first major difference is the amount of power needed to level the volume of both models: the NX8s are much easier to move. As you know, planar models need considerably more power.
Starting with the bass, the S12 2024s are more accurate, faster and have good texture. The NX8s are more elastic and rubbery. Of note is the energy both models have and the sense of volume generated by each, which is very similar. In the pure tone test, the NX8s sound natural, without the undulating character that the S12 2024s do have in the lower frequencies. However, the bass of the S12 2024s is somewhat darker, with a deeper position, while the NX8s sound with a lighter timbre and are better integrated into the mix.
In the midrange, the S12 2024s sound more blended and with a longer distance to the listener. Vocals sound clearer and more evident in the NX8s, with more prominence and closeness. Vocally speaking, I prefer the NX8s. There is also more light and brightness in the center range over the S12 2024s. However, the S12 2024s have a punch and a superior wall-of-sound feel in the center range. In information-rich environments, the planar models stand out very strikingly. The NX8s are somewhat softer in this respect and are not as expressive, informative and dramatic as the S12 2024s.
Up to now, the ranges were very evenly matched. However, the clear difference is in the treble, which is clearly superior in the S12 2024. They are more natural, have more energy, more adequate brightness and more extension.
At the detail level, the two are at similar points. The greater darkness of the S12 2024s may hinder this aspect. While that extra point of light in the NX8s seems to give a bit more light in the background.
Neither model stands out too much in scene or separation. The S12 2024s are deep, front and wide, while the NX8s are closer, showing more foreground elements, which detracts from their depth and gives the sense of a wider scene, with more volume and a gauzy, ethereal feel.



Conclusion
In my opinion, the NiceHCK NX8s are the best IEMS in the NX series. They have evolved from previous tunings, adopted a more attractive and practical design, and incorporate more drivers than ever before. The result is quite satisfactory. The NX8s are IEMS with a tuning similar to current planars, but with a tribrid configuration of 1DDD+6BA+1PZT. The sound is based on a powerful and voluminous low end, with organic, defined and present mids, whose voices have enough presence and prominence, while the treble is more relaxed than expected. The result is a sound that is not dark, with a neutral level of clarity that exploits the lower range and mids. NiceHCK will always be criticized for the competition they have within their same price range. But I can't help but comment that the NiceHCK NX8s are to my taste and a nice model to turn to when I don't know what else to choose. Also, as always, the brand's accessory set is very complete and includes interchangeable mouthpieces compatible with many of the existing ones on the market, so you can experiment and alter the sound.


Sources Used During the Analysis




Purchase Link


https://hiendportable.com/2025/01/12/nicehck-nx8-review/


All CHI-FI fans know the NiceHCK Audio store. It not only sells audio accessories, such as cables and silicone tips, but also has a real tradition in the manufacture of headphones and IEMS. For this occasion, the brand has created a new model of the NX series, called NX8, which consists, of course, of 8 drivers per capsule inside a resin unit printed with a high precision technology. The driver configuration is 1DDD + 6BA + 1PZT. Two of the BA drivers are used for mid frequencies, four for high and very high frequencies, and one piezo ceramic driver for ultra high frequencies. For the dynamic driver, NiceHCK has adopted a large, high-performance dual magnetic transducer. The 10mm diaphragm is titanium coated. The assembly is completed with a frequency divider plate of its own design. In tuning, a different profile than the classic Harman profile has been chosen to emphasize the sub-bass and smooth the upper mids without losing too much energy in the treble. The NX8s use replaceable mouthpieces that are compatible with others on the market, so that the user can play with different tunings or replace them when they become unusable for other reasons.
The outer face of the capsules has a starry texture simulating the deep universe and an aluminum alloy frame. As it could not be otherwise, the NX8s use the 0.78mm 2-pin connection interface, while the cable used is made of high-purity OCC copper wires with silver plating. Finally, it is worth mentioning that the NiceHCK NX8 comes with the new C04 transparent silicone tips, which help to expand the scene, and with the classic 07 tips. Let's see what this new model has to offer in this review.



Specifications
- Driver Type: 1DDD+6BA+1PZT.
- Frequency Response: 20Hz - 30kHz.
- Sensitivity: 111dB/mW.
- Impedance: 19Ω
- Jack Connector: SE 3.5mm / BAL 4.4mm.
- Cartridge Connection Type: 2Pin 0.78mm.
- Capsule Material: Resin with aluminum alloy frame.
- Cable Material: OCC+Silver plated mixed.
- Starting Price: $199.



Packaging
The NiceHCK NX8 comes in a dark and relatively elongated 200x127x50mm box. The bottom of the case is similar to the outer face of the IEMS, with a star pattern that simulates a view of the universe. At the top left is the brand logo and, in the center, the model name and a short description of the model. In the center is an actual photo of each capsule and, below, another product description. All the text is written in white letters. On the back side, the model name and description are repeated. Below is an exploded view of the capsule, revealing all its components and internal construction. Underneath are the specifications in Chinese and English, as well as the brand indications, maintaining the white color of the lettering. Removing the outer cardboard reveals a black box with silver stars and the model name in the center. Inside is a black cardboard lid that protects the product and exposes the two capsules at the top. In the center is the brand logo and, underneath, a product legend in silver lettering. When the cardboard is removed, a black foam mold containing the capsules can be seen, along with a small box containing the two sets of silicone tips. At the bottom is the classic rectangular, large, black box with a faux-leather zipper and the brand logo in the center. The complete contents are as follows:
- The two NiceHCK NX8 capsules.
- One cable with BAL 4.4mm connector.
- One Velcro strip.
- One cleaning brush.
- Two spare nozzles of the same size.
- Four pairs of silicone tips C04 sizes SxMxLxLxXL.
- Three pairs of silicone tips 07 sizes SxMxL.
- Zippered carrying case.
- User's manual.
- Warranty certificate.
- QR link card.
As usual with NiceHCK products, the NX8 includes the entire classic battery of accessories. Highlights include the case and the new C04 clear silicone tips in four sizes. Among so many good cables manufactured by the brand, the cable of the NX8 (as well as that of other models of the brand) seems simple to me.



Construction and Design
The NiceHCK NX8 are made of resin printed by high precision 3D printing. The capsules are black and their outer face has an aluminum alloy frame, on the edge of which is written the model name and the topo indicating the channel. There is a small groove between the frame and the edge of the capsule. The outer face has a star pattern, as if it were a view of the universe. On the edge of the capsule there are two holes between the 2Pin 0.78mm connection interface. This interface consists of a rectangular, transparent plate completely integrated into the surface. The connections are gold-plated. The inner side is smooth, rounded at the edges and without protrusions. The slope towards the mouthpieces is slight and starts from the center of the capsule. The mouthpieces are screw-in, brass, with a length of 3.6mm, a minor diameter of 5.25mm and a crown diameter of 6mm. The protection grid consists of a perforated metal plate. It is worth mentioning that as an accessory there are other mouthpieces exactly the same as the ones installed in the capsules and that they are compatible with other tuning mouthpieces available on the market.
The cable consists of two coiled strands of pale copper color. The connector sleeve is a metal cylinder that has the brand name longitudinally in white. There is a textured pattern below while the cylinder is rounded in a decreasing fashion at the cable exit. The splitter piece is made in the same way, without the textured part. The pin is just that textured part missing from the divider piece, with a through oval. The cable adjustment is relative, it slides smoothly and the adjustment function is performed because the cable has a tendency to open or coil. The cable has transparent plastic ear guides. The sleeves of the 2Pin 0.78mm connectors are two rounded metal cylinders with a decreasing shape at the cable outlet, with two grooves colored in red or blue to indicate the channel. On the connector plate there is a dot to indicate the polarity of the cable. All cable sheath finishes are metallic with micro texturing. As I said, the cable is somewhat simple compared to the high quality and quantity of cables in the brand's catalog. I think it is the same as the one used in the M5 model.



Adjustment and Ergonomics
It could be said that the size of the capsules is medium and their weight is light. They are made of polished resin and the surface is very smooth. The ergonomics are simple, but well resolved. It is a proven and efficient design, with no annoying protrusions. The angle of the nozzles is quite good, although they are slightly short. The fit is medium to shallow and with suitable tips the level of sound insulation is high. They fit the pinna very well and can hardly rotate inside the ear. The low weight, great fit and minimal friction make them very comfortable for long sessions and if an occlusive and durable fit is achieved they can be very valid for daily use, such as for light sports.



Sound
Profile
I would say that the NiceHCKs aim for a current planar tuning, but with differences in the upper mids and treble. Thus, a W profile is maintained with emphasis on the sub-bass, clean drop towards the mids and slightly softened treble, but with a sustained energy level. The first thing I have to say is that I like this tuning, because the bass is present, the upper mids are smoothed out and the treble maintains a moderate but continuous energy profile, making it sound present and natural. The result is a sound in which the first two bands have a lot of representation, achieving a sound that is quite full, dense, rich and with that wall-of-sound style that impresses so much.

Bass
The bass is undeniably powerful, big, voluminous, dark, heavy and even dense. They are quite textured and have a medium degree of gumminess. They are also quite physical and sensory. In the very low frequency pure tone test, one senses that darkness and physicality at the first audible note. There is a wave character that fits the nature of the wave, as it does not generate color or excessive loudness from its vibration. In this sense, it feels controlled, but it is not a canonical behavior, but it escapes that more explosive character that the NX8 bass possesses. In this way, there is a feeling that it is difficult to contain the punch of the bass kicks. However, the NX8s manage to do so almost entirely. Even so, these bass kicks have elasticity, they linger subtly in the environment and their dissipation is not immediate. It is not a slow bass, but one of those whose energy level is a little difficult to dissipate. It is not a dry bass, but rather juicy, with a predominance of depth and a darker color in which the physical part, energy and punch are accentuated.
But it is in the dirty, complex and unfiltered bass test that a model has to prove its worth. This is where control and technical skill are put to the test when it comes to bass performance. And the NX8s don't flinch at all, demonstrating plenty of control despite the darkness, physicality and volume that they pack. At no point do the basses lose control, their characteristic sonority remains unchanged and they are relatively adept at following fast bass lines, although this is where they suffer the most. So much energy, darkness, volume and that not-so-fast character can subtly blur the more complex bass lines, making them more diffuse and less marked and outlined than those of other more technical IEMS. The NX8s don't miss a beat, but they don't have the resolution to maintain a completely clean and tight profile on all bass notes. However, the physical feel is high, something that, combined with the sense of volume, darkness, elasticity and that rubbery point, makes it very fun and even addictive. It also slightly resents the layering by presenting the lines more united and persistent, which gives the impression of a more uniform and, above all, dense bass.


Mids
The mids have warmth and feel accompanied by that generalized darkness throughout the sound of the ensemble. This favors the fullness of the first half of the mids, where much of the physical and corporeal presence that already existed in abundance in the bass is maintained. Thus, the male voices are dense and full from the beginning, they are not in the foreground, but they are perceived in a close and almost protagonist way when they stand out in the mix. The full-bodied feel alternates with upper mids with just the right amount of excitement to enhance the details and highs that reinforce the harmonics. In this way, the vocals feel very full, very well represented throughout and exposed, with a slight dark touch, but very well garnished by the presentation of all the upper frequencies. Thus, the richness expands quite analogically, almost sweet, very musical, but also very informative. In the same way, the instrumentation of the first half is imposing and forms an integral part of the wall of sound erected by the NX8s. On the other hand, despite the maintained energy level of the treble, the detail is still somewhat diffuse and the bass presentation and its persistence in the ambience can become nuanced, drowning out such details slightly. This is not an analytical ensemble, but is slightly softened at the edges. Therefore, the female voices are not perceived as piercing, but thicker, silky and sweet, where the base and the body are more protagonists, maintaining the physical part that makes them dense and lush. On the other hand, the sibilances are kept completely under control and softened. There is no trace of sharp notes; this is not a splashy sound, but a warmer, musical, analog and controlled one. It is true that a certain sense of transparency and brightness is lost, accentuating the thickness of the notes. At this point, the female vocals and instruments in this second half are perceived as relaxed and relatively muted, less vivid and with a somewhat lower level of excitement.


Treble
The treble has an extended and sustained, but diminishing energy level. The resulting exposure is smooth and controlled, perhaps too much so. I was hoping for a little more sparkle from the graphic and a little more expressiveness, both informative and luminous. But that was not the case. In this respect, the NX8s benefit from somewhat cooler sources to expand their treble level and achieve a more appropriate level of brightness. In this situation, the NX8s seem to be sensitive to the profile of the sources: those that are neutral and warm will muffle the character of the NX8s with evidence, while with those that are brighter and/or analytical they will be able to express the upper range more adequately and realistically, but within that commented softness. At no point will the treble be sharp, crisp, sharp or elevated, but will retain that thickness and level of density existing from the low end. The sensation of extension is good, although it seems to lack a little more air and separation above.


Soundstage, Separation
As I said, the NX8s are sensitive to sources and with those of a cooler or more analytical character they can give a more satisfactory result. With dongles like the EZP TP50 or the Aune Yuki they sound very good and these combinations are more successful in order to highlight detail, maximizing the sense of scene and separation.
The wall-of-sound sensation makes all the elements feel close together and the higher density makes the separation less, as well as generating layers. When there are few elements, the background detail is more noticeable. However, the volume and energy of the bass can overpower the micro-detail, preventing it from being more explicit. It follows, therefore, that the NX8s are expressive in many instances, but not in all scenarios. They are capable of showing microdetail, but they are not as defined or neat as in other sets. The thickness of the notes and their density work against them. However, it does possess enough resolution to show it. In short, it is capable of doing so, but only when conditions permit.
The scene is wide, lateral, deep, high and eminently frontal. The layers are not very prominent, but their presence is imposing. The physical part, the sense of volume and energy, are remarkable. The sound is clean and clear, and has good crispness, but it is not as neat and sharp. It is more warm, musical, analog and smooth than analytical. This limits the sense of a dark, clean, fully defined and empty background. Separation is clear, although the distance is not as great, especially in depth, but stands out more in width. Thus, although the scene is wide, there is not a very high three-dimensional sensation, as the notes feel more attached to their base, with a limited expansive sensation.


Comparisons
LetShuoer S12 2024
Being priced at $199 means rubbing shoulders with a lot of competition. And among those worth exactly the same are the Letshuoer S12 2024. Although a limited edition, their frequency response is very close to that of the NX8s. It is clear that the S12 2024s have special anniversary packaging. The cable is better, as it is detachable. As for tips, the S12 2024s have good sets, three for them and two for the NX8s. Both bring their classic packaging boxes and here the taste of each one will be the one to decide (cylindrical screw-on rubber box vs large rectangular box with zipper in black leather). As for the design, I really like the shape of the S12 2024, but I'm not convinced by the gold. The NX8s are a bit simpler, but the outer face is nice. The NX8s are larger in size, with a thicker and larger capsule. The S12 2024s are smaller and fit better in the ear pinna. However, their problem is that the nozzles are somewhat short, which creates a problem for me between the ear canal and the choice of tips, versus the greater versatility of the shape of the NX8s, despite their larger size.
The first major difference is the amount of power needed to level the volume of both models: the NX8s are much easier to move. As you know, planar models need considerably more power.
Starting with the bass, the S12 2024s are more accurate, faster and have good texture. The NX8s are more elastic and rubbery. Of note is the energy both models have and the sense of volume generated by each, which is very similar. In the pure tone test, the NX8s sound natural, without the undulating character that the S12 2024s do have in the lower frequencies. However, the bass of the S12 2024s is somewhat darker, with a deeper position, while the NX8s sound with a lighter timbre and are better integrated into the mix.
In the midrange, the S12 2024s sound more blended and with a longer distance to the listener. Vocals sound clearer and more evident in the NX8s, with more prominence and closeness. Vocally speaking, I prefer the NX8s. There is also more light and brightness in the center range over the S12 2024s. However, the S12 2024s have a punch and a superior wall-of-sound feel in the center range. In information-rich environments, the planar models stand out very strikingly. The NX8s are somewhat softer in this respect and are not as expressive, informative and dramatic as the S12 2024s.
Up to now, the ranges were very evenly matched. However, the clear difference is in the treble, which is clearly superior in the S12 2024. They are more natural, have more energy, more adequate brightness and more extension.
At the detail level, the two are at similar points. The greater darkness of the S12 2024s may hinder this aspect. While that extra point of light in the NX8s seems to give a bit more light in the background.
Neither model stands out too much in scene or separation. The S12 2024s are deep, front and wide, while the NX8s are closer, showing more foreground elements, which detracts from their depth and gives the sense of a wider scene, with more volume and a gauzy, ethereal feel.



Conclusion
In my opinion, the NiceHCK NX8s are the best IEMS in the NX series. They have evolved from previous tunings, adopted a more attractive and practical design, and incorporate more drivers than ever before. The result is quite satisfactory. The NX8s are IEMS with a tuning similar to current planars, but with a tribrid configuration of 1DDD+6BA+1PZT. The sound is based on a powerful and voluminous low end, with organic, defined and present mids, whose voices have enough presence and prominence, while the treble is more relaxed than expected. The result is a sound that is not dark, with a neutral level of clarity that exploits the lower range and mids. NiceHCK will always be criticized for the competition they have within their same price range. But I can't help but comment that the NiceHCK NX8s are to my taste and a nice model to turn to when I don't know what else to choose. Also, as always, the brand's accessory set is very complete and includes interchangeable mouthpieces compatible with many of the existing ones on the market, so you can experiment and alter the sound.


Sources Used During the Analysis
- EPZ TP50.
- Aune Yuki.
- iFi GO bar Kensei.
- Tempotec V3.
- Burson Audio Playmate 2.
- Aune X8 XVIII Magic DAC + EarMen ST-Amp.


NiceHCK offered me this model, in exchange for writing an honest review. I want to make it clear that all my opinions written in this review have not been conditioned by this fact, nor will I ever write anything that I do not really think or feel here. I will only write about my personal opinion in relation to the revised product.


Purchase Link


https://hiendportable.com/2025/01/12/nicehck-nx8-review/


cqtek
1000+ Head-Fier
Pros: Neutral, musical, rich, slightly warm sound, very well harmonised in all three bands.
- Again, excellent low end, volumetric, deep and punchy.
- Great lateral and stereo feel.
- Impeccable design and construction.
- Outstanding ergonomics.
- Very good accessory set, beautiful cable.
- Excellent value for money.
- Again, excellent low end, volumetric, deep and punchy.
- Great lateral and stereo feel.
- Impeccable design and construction.
- Outstanding ergonomics.
- Very good accessory set, beautiful cable.
- Excellent value for money.
Cons: To say the least, he is not a detail monster, nor is his scene three-dimensional or 360 degrees.
Introduction
The BQEYZ Frost is the third IEMS in their Weather series. Originally, I wrote that this series was going to consist of the Wind, Cloud, Rain and Mist models. Wind and Cloud have already been reviewed by this humble reviewer. The third is not Rain, but Frost, an IEMS with a 10mm dual-cavity dynamic driver, PU and PEEK composite diaphragm, plus a custom microplanar transducer that enhances mid and high frequency performance. Tuning is balanced and detailed. As usual, BQEYZ designs beautiful pieces. For this occasion, the design of the outer plate is new and made of slightly curved, high-transparency crystal glass. Its base is ice blue with a frosted textured pattern that lives up to its name. The body of the capsule is made of aluminium alloy using high-precision 5-axis CNC machining. The aluminium has been anodised to create an oxide film on its surface by electrolysis, making it resistant to corrosion and continuous use. The cable has a mixed coaxial construction of silver-plated and monocrystalline copper wires. The monocrystalline copper wires used are 0.04mm and form a 32-wire strand. The oxygen-free copper wires are 0.05mm and form a 20-wire strand for the inner shaft, while the 0.06mm silver-plated wires are used as a 38-wire mesh to recreate the outer ring. Finally, the outer sheath measures 2.3mm. The capsule interface is the classic and secure 0.78mm 2Pin, with 3.5mm SE or 4.4mm BAL pins. Let's take a look at what this new BQEYZ model from the Weather series has to offer in this review.



Specifications


Packaging
The BQEYZ Frost comes in a white box with dimensions 159x120x48mm. On the main side you can see a real capsule in all its glory, located on the right side. On its left side you can read the model name and a description of the model. The brand name is in the upper left corner. On the back are the model specifications in three languages and the brand name in black letters. When the outer cardboard is removed, a black box appears with the brand name inscribed in the centre. It opens like a book and reveals a black cardboard with an oval at the top, revealing the capsules inserted in a thick black foam mould. Underneath are the name of the model and its description. Underneath the cardboard is the mould and, underneath it, the classic black zipped case with the brand name in the centre. Inside are the rest of the accessories, including the cable and the metal blister with the silicone tips in two models. In short, the complete contents are as follows:
The content is the brand's classic, but of high quality, without artifice, elegant and very appropriate. The beautiful cable (it's a pity I didn't choose the version with the 4.4mm BAL plug), the blister pack containing the silicone strips and the black leatherette zipped case, large enough to fit the whole model without any sacrifice.


Construction and Design
For this occasion, the BQEYZ Frost capsules have a more conventional shape. It is an uneven oval silver-grey capsule with three very rounded corners. It is relatively thick and smooth on the inside. The outer face is made of a slightly curved, highly transparent glass. The dark blue inner base has a classic frost pattern. On the outer side of the right side of the capsule you can read the brand name and on the left side the model in letters in the same ink as the frosted pattern. On the edge is the 2Pin 0.78mm interface, slightly recessed in a rectangular hole machined from the same metal. Next to it is a mole with white lettering indicating the channel and then an oval slot. The inner face is smooth and rounded at the edges. You could say that there is a machined oval in one corner that has a circular hole in its centre. As I say, the inner face is smooth until the nozzles, at which point there is a small sloping elevation. Above it are the mouthpieces, which are made of polished metal, unlike the textured and anodised body of the capsules. The mouthpieces have three phases, the conical base, the central cylinder of 5.1mm diameter and the outer crown of 5.8mm diameter. The approximate length is 5.3mm and the interior is protected by a thick metal grid. Finally, it should be noted that there is another hole at the base of the nozzles.
The cable consists of two coiled strands protected by a 2.3mm bright blue sheath. It is a mixed silver plated and monocrystalline copper coaxial cable. The monocrystalline copper wires used are 0.04mm and form a 32-wire strand. The oxygen-free copper wires are 0.05mm and form a 20-wire strand for the inner shaft, while the 0.06mm silver-plated wires are used as a 38-wire mesh to recreate the outer ring. The sleeve of the 3.5mm gold-plated SE plug is a simple smooth cylinder with a rounded cable exit and a protective translucent plastic sleeve. The name of the brand can be read longitudinally engraved in white. The splitter piece is another cylinder with the same characteristics, but shorter, which also has the brand name engraved on it. The pin is a metal ring with a hole in it that is somewhat large for its use. The sleeve for the 0.78mm 2-pin connectors is another smooth metal cylinder with a groove near the rounded cable exit. The gold-plated 2-pin connector is mounted on a rectangular piece of semi-transparent hard plastic. The cable has ear guides.
There is no doubt about the design power of BQEYZ, capable of creating very elegant, beautiful and eye-catching unique pieces. The Frost are beautiful and their simple frosted pattern goes far beyond their simplicity to become eye-catching. The shiny metal capsules and their subtly rough texture have the perfect finish for the dark blue outer face. The cable is no different, with a thick, shiny blue sheath and metal parts with a smooth, polished and shiny silver finish. It's a pity I didn't choose the 4.4mm balanced plug. Last but not least, the cable comes with a black velcro strip to tuck it away and the capsules come with transparent foil to protect the outside of the cable.


Adjustment and Ergonomics
Sometimes, the fact that the capsules have a smooth inner side can be a blessing. The protrusions must be very well calculated to form a secure anchor, but they can be annoying. Frost's do not have this bulge and are slightly shorter. With a very rounded and stubby shape, they fit very well and evenly in my ear. The design is sized to fit perfectly, resting completely inside the pinna, with no rotation or movement possible. Despite being slightly thick, they fit very well and hardly protrude. The over-ear cable is unobtrusive and surrounds the ears efficiently.
The inclination of the nozzles is very good and the insertion can be average. However, in my case, as usual, I use my home-made large foam-filled tips. With them I get the perfect fit, efficient transmission of sound waves and a high level of isolation. Outstanding.


Sound
Profile
I can't deny that BQEYZ usually looks for a middle ground between their previous models. On this occasion, the profile of the Frost is very similar to that of the Winter, as you can see, there is also some coolness implicit in the names. It's a smooth tuning that aims for that neutral W profile, with more upper midrange enhancement and extended treble, after a slight control zone. The profile is very balanced and homogeneous, moving in a sub-10dB band between 20Hz and 12kHz. This indicates the neutrality of the profile.

Bass
BQEYZ usually makes dynamic drivers with tight, precise, concise, technical and fast bass. The Frost's are clearly of that style. Again, it is not very pronounced in the sub-bass, but slightly focused in the mid-bass, although it is slightly rounded towards the midrange, with an energy below the rest of the frequencies. However, the weight and volume of the bass is easily perceived. It is not a dedicated bass-heads model, but it has a very good bass range, above neutrality, very enjoyable.
In the very low-frequency pure tone test, a slightly oscillatory 20 Hz first tone is observed, but with very little loudness. However, its physical level is evident, one feels the sensory power of the note and its depth. The 25 Hz tone leaves me somewhat cold in its reproduction, but the 30 Hz tone is close to the BQEYZ level I am used to in this kind of tests: a quite pure tone, compact, subtly coloured, full of physical strength, natural and realistic sonority, with very good balance, without sonorous undulating character and with a lot of volume. One can even notice that the texture is there to add more realism to the note. The translation to real music coincides with what was explained at the beginning of the paragraph: the bass drums are dry, quick to play and recover, with no aftertaste, slightly rubbery and elastic, which adds just the right naturalness and enjoyment to the bass, as well as enhancing the volume and depth.
In the dirty, unwieldy and unfiltered bass test, the Frost's feel like a fish in water, giving a lesson in depth, volume, realism and tuning in the reproduction of complex bass lines. It's true that the Frost's good work slightly sweetens the worst conditions, making them even pleasant. But it does so naturally, uncoloured and true to the original. The result is a deft, fast, voluminous, deep, powerful and technically accurate recreation, capable of reproducing all bass lines and layering the layers without blending them.
It's not neutral bass, it's not just anything: the Frost's give more in bass than the frequency response might indicate, especially in terms of volume, energy and depth. But they are also very good technically and capable of separating bass lines and multiple layers. They are very enjoyable for a bass lover like me. And all this while being very respectful of the rest of the frequencies.


Mids
The first half is quite neutral. There is a slight warmth which is matched by the luminosity, transparency and clarity of the whole register. Again, I note an average balance between body, physicality, presence and thickness of notes. The physicality is not very high, but it exists. Presence is not predominant, but the male voices are felt in all their splendour from start to finish, without standing out in the mix above the rest. And the thickness of the notes is relatively delicate, but taut and strong when necessary. In this way, the mids don't come across as dense or heavy, but expansive, balanced, free and expansive.
Frost also maintains a good balance between the first and second halves of the midfield. It is true that the upper mids are more advanced, but not enough to leave the first half behind. Thus, the female voices are more prominent, but without losing their neutrality to the male voices. The result is a very full mid-range, in which nothing is overemphasised or relegated. There is a good balance between detail, nuances, body, base and harmonics, so that the whole persists in the idea of neutrality and a centred timbre, which does not tend towards anything, but is more natural and realistic.
The brightness is relaxed, but the mix is transparent, the mids are ample and details are perceived as vivid, crisp and well separated. The wide soundstage allows the midrange to feel very explicit, rich, delicate, smooth and musical, despite the large amount of information it offers the listener. This characteristic means that they do not sound intimate and the planes are very well distinguished, as is the stereo recreation, which places great emphasis on the ability to break down the channels independently, but generates the vocals in the centre, at a measured distance from the listener, when the recording suggests it. In this respect, the vocals feel almost tactile, with the instrumentation enveloping them between the channels, achieving a rich and pleasingly immersive sensation, where everything seems within easy reach.


Treble
The treble of the Frost is perceived as softer, maintaining the neutral balance of the rest of the bands. They start with a control zone (slight roll-off) that makes the energy level slightly mitigated. In this way, the treble is not too sharp. However, I feel that there is something in the microplanar driver that corrects the loudness of the treble and makes a more homogeneous and extensive mix than what is shown in the graph. In this way, the treble does not stand out from the whole, but it does show up quite fully and, above all, effectively and extensively in the music. In this way, its timbre comes across as real and the initial softening doesn't seem to affect its loudness or thickness; the notes feel fine even if their energy level isn't too high. I think BQEYZ has used the micro-planar driver in the right way to recreate a high end with the virtues of that driver, but neutralising the energy level that could be excessive at times. This is how it achieves a rich, smooth, neutral and balanced upper range with the rest of the strips.


Soundstage, Separation
One of the strengths of the Frost is its special ability to distinguish, isolate and then mix the channels. These IEMs show great skill in recreating the instrumental image, as they are able to discern where the instruments are coming from and on which side they are played. They also know how to blend them so that everything sounds together and balanced. The stage is wide, with a good amount of volume, expansive capacity, great laterality and evident height. But they are not volatile or gassy, but more attached to the stage. In that sense, their stage is more frontal, without being too enveloping or spherical, but more realistic.
There is a good level of separation and a very good sense of volume, depth, transparency and clarity. But this is not an analytical IEMS where the distance between notes is overly wide. I think it is more realistic and restrained in this respect. It's able to show micro detail, but not in a very obvious or detached way. It feels more analogue, without being confusing. Micro detail is appreciated, but not in an explicit way, but in a more natural and restrained way. But the way the music, notes, instruments and voices are recreated is richer than expected and shows great skill in this regard, showing a lot of detail and nuance very naturally in the scene. In this way, its informative character is high, but realistic and very pleasant.


Comparisons
BQEYZ Winter
This time, the new BQEYZ Frost's worst enemy is at home. It's the Winter, an IEMS with a 12mm dual-cavity dynamic driver, PAR diaphragm, plus another 11.6mm PZT bone-conduction driver. In the Winter, the dynamic driver is larger, 12mm versus 10mm in the Frost. The bone conduction transducer has been replaced by a custom microplanar transducer. The new Frost drivers are smaller and have a slightly curved, high-transparency glass outer face. The Winter's are all-metal, thicker and have a bulge on the inner edge of the capsule. This profile can be critical in the fit for some morphologies and I prefer the smooth surface of the Frost, as well as their smaller size and thickness. The design is beautiful on both models, so it is very difficult to choose one or the other. The cable is not as flashy as the Frost's, but the Winter's four-strand grey cable is somewhat softer and more manageable. The rest of the accessories are the same.
The profile of both IEMS is very similar and I think the differences in the graphical comparison might even be negligible. However, the new Frost's are easier to handle and sound louder with the same power.
For the comparison I used the same home-made foam-filled tips. The differences in fit could also lead to audible differences.
I said that the bass of the Winter was very good, how are the Frost's? Well, I would say as good or better, at least for my personal taste. It seems that the Winter's are a bit more sensory in the lower frequencies, but the Frost's have a bit more power, punch, volume and even more texture. The bass of the Winter is a bit more relaxed, with less energy, with a sonority with a bit more colour, not so dark, but it is also drier, more technical, with a bit more speed, less punch and a quicker decay. The Frost are more fun and also denser, they give the sensation of moving more air, generating more auditory pressure.
The Frost's greater sense of bass pressure makes the Winter's sound a little freer and uncluttered. For some, the bass weight may be a plus on the Frost, but it may also be a detriment to those looking for a more neutral profile.
The upper mids of the Winter's are more splashy and obvious, while the Frost's are a little more muted. It might seem that the Winter's should have more detail, but the Frost's microplanar driver is noticeable in definition, winning out by a little, despite its darker sound. This is noticeable in the first half of the mids, where the Winters seem thinner, but also cleaner, more transparent and brighter. In contrast, the Frost's are fuller, more physical, fuller and denser, but maintain that relatively darker level. Those who want more clarity will opt for the Winter; I go for that fuller, slightly thicker, sweeter feel at the base of the Frost. There's no doubt that this affects the timbre of both IEMS, with that shift to a warmer tendency for the Frost and a slightly more neutral/brighter one for the Winter.
The trebles are tuned very similarly, the difference being in the sonority and timbre of their performance. The Frost's seem a little brighter and thinner, a little punchier, while the Winter's are driven by the rounder characteristic of the PZT driver.
The Frost's soundstage has more volume and, being more splashy, the Winter's are closer, with a more frontal presentation. The Frost's are notable for their laterality, which makes the soundstage wider and almost surrounds the head, though not in a holographic way.

Conclusion
BQEYZ continues to improve and offers us a beautiful new model that seeks to refine its concept of neutral frequency response with a warm touch. The BQEYZ Frost is a hybrid IEMS from the Weather series that combines a dynamic 10mm dual-cavity driver with a PU and PEEK composite diaphragm and a custom microplanar transducer. With outstanding design and construction, the Frost is a mid-sized IEMS with very good ergonomics and a neutral profile with a slight warm tendency and very well balanced. It is smooth and expressive in the high end, subtly dark, deep, dense, physical and voluminous in the low end, while in the mids, the warmth, richness and informative musicality of the ensemble is noticeable. In addition, the Frost's are notable for their great sense of lateral openness, which creates a large, enveloping scene for the ears. All this without forgetting the dexterity to show detail and nuance. Yet another success for the brand.


Sources Used During the Analysis




Purchase Link


You can read the full review in Spanish here


The BQEYZ Frost is the third IEMS in their Weather series. Originally, I wrote that this series was going to consist of the Wind, Cloud, Rain and Mist models. Wind and Cloud have already been reviewed by this humble reviewer. The third is not Rain, but Frost, an IEMS with a 10mm dual-cavity dynamic driver, PU and PEEK composite diaphragm, plus a custom microplanar transducer that enhances mid and high frequency performance. Tuning is balanced and detailed. As usual, BQEYZ designs beautiful pieces. For this occasion, the design of the outer plate is new and made of slightly curved, high-transparency crystal glass. Its base is ice blue with a frosted textured pattern that lives up to its name. The body of the capsule is made of aluminium alloy using high-precision 5-axis CNC machining. The aluminium has been anodised to create an oxide film on its surface by electrolysis, making it resistant to corrosion and continuous use. The cable has a mixed coaxial construction of silver-plated and monocrystalline copper wires. The monocrystalline copper wires used are 0.04mm and form a 32-wire strand. The oxygen-free copper wires are 0.05mm and form a 20-wire strand for the inner shaft, while the 0.06mm silver-plated wires are used as a 38-wire mesh to recreate the outer ring. Finally, the outer sheath measures 2.3mm. The capsule interface is the classic and secure 0.78mm 2Pin, with 3.5mm SE or 4.4mm BAL pins. Let's take a look at what this new BQEYZ model from the Weather series has to offer in this review.



Specifications
- Driver Type: 10mm dual cavity dynamic driver with PU and PEEK composite diaphragm + custom microplanar driver.
- Frequency Response: 5Hz-40kHz.
- Sensitivity: 113dB.
- Impedance: 32Ω.
- Jack connector: Choice of SE 3.5mm or BAL 4.4mm.
- Cable length: 1.2m.
- Capsule Connection Type: 2Pin 0.78mm.
- Starting price: $179.


Packaging
The BQEYZ Frost comes in a white box with dimensions 159x120x48mm. On the main side you can see a real capsule in all its glory, located on the right side. On its left side you can read the model name and a description of the model. The brand name is in the upper left corner. On the back are the model specifications in three languages and the brand name in black letters. When the outer cardboard is removed, a black box appears with the brand name inscribed in the centre. It opens like a book and reveals a black cardboard with an oval at the top, revealing the capsules inserted in a thick black foam mould. Underneath are the name of the model and its description. Underneath the cardboard is the mould and, underneath it, the classic black zipped case with the brand name in the centre. Inside are the rest of the accessories, including the cable and the metal blister with the silicone tips in two models. In short, the complete contents are as follows:
- The two BQEYZ Frost capsules.
- A blue 2Pin 0.78mm cable and 3.5mm SE plug.
- One metal blister pack containing the silicone tips.
- Three pairs of Atmosphere grey silicone tips, sizes SxMxL.
- Three pairs of white silicone Reference tips, sizes SxMxL.
- One pair of medium sized foam tips.
- One cleaning brush.
- One user manual.
- One warranty certificate.
The content is the brand's classic, but of high quality, without artifice, elegant and very appropriate. The beautiful cable (it's a pity I didn't choose the version with the 4.4mm BAL plug), the blister pack containing the silicone strips and the black leatherette zipped case, large enough to fit the whole model without any sacrifice.


Construction and Design
For this occasion, the BQEYZ Frost capsules have a more conventional shape. It is an uneven oval silver-grey capsule with three very rounded corners. It is relatively thick and smooth on the inside. The outer face is made of a slightly curved, highly transparent glass. The dark blue inner base has a classic frost pattern. On the outer side of the right side of the capsule you can read the brand name and on the left side the model in letters in the same ink as the frosted pattern. On the edge is the 2Pin 0.78mm interface, slightly recessed in a rectangular hole machined from the same metal. Next to it is a mole with white lettering indicating the channel and then an oval slot. The inner face is smooth and rounded at the edges. You could say that there is a machined oval in one corner that has a circular hole in its centre. As I say, the inner face is smooth until the nozzles, at which point there is a small sloping elevation. Above it are the mouthpieces, which are made of polished metal, unlike the textured and anodised body of the capsules. The mouthpieces have three phases, the conical base, the central cylinder of 5.1mm diameter and the outer crown of 5.8mm diameter. The approximate length is 5.3mm and the interior is protected by a thick metal grid. Finally, it should be noted that there is another hole at the base of the nozzles.
The cable consists of two coiled strands protected by a 2.3mm bright blue sheath. It is a mixed silver plated and monocrystalline copper coaxial cable. The monocrystalline copper wires used are 0.04mm and form a 32-wire strand. The oxygen-free copper wires are 0.05mm and form a 20-wire strand for the inner shaft, while the 0.06mm silver-plated wires are used as a 38-wire mesh to recreate the outer ring. The sleeve of the 3.5mm gold-plated SE plug is a simple smooth cylinder with a rounded cable exit and a protective translucent plastic sleeve. The name of the brand can be read longitudinally engraved in white. The splitter piece is another cylinder with the same characteristics, but shorter, which also has the brand name engraved on it. The pin is a metal ring with a hole in it that is somewhat large for its use. The sleeve for the 0.78mm 2-pin connectors is another smooth metal cylinder with a groove near the rounded cable exit. The gold-plated 2-pin connector is mounted on a rectangular piece of semi-transparent hard plastic. The cable has ear guides.
There is no doubt about the design power of BQEYZ, capable of creating very elegant, beautiful and eye-catching unique pieces. The Frost are beautiful and their simple frosted pattern goes far beyond their simplicity to become eye-catching. The shiny metal capsules and their subtly rough texture have the perfect finish for the dark blue outer face. The cable is no different, with a thick, shiny blue sheath and metal parts with a smooth, polished and shiny silver finish. It's a pity I didn't choose the 4.4mm balanced plug. Last but not least, the cable comes with a black velcro strip to tuck it away and the capsules come with transparent foil to protect the outside of the cable.


Adjustment and Ergonomics
Sometimes, the fact that the capsules have a smooth inner side can be a blessing. The protrusions must be very well calculated to form a secure anchor, but they can be annoying. Frost's do not have this bulge and are slightly shorter. With a very rounded and stubby shape, they fit very well and evenly in my ear. The design is sized to fit perfectly, resting completely inside the pinna, with no rotation or movement possible. Despite being slightly thick, they fit very well and hardly protrude. The over-ear cable is unobtrusive and surrounds the ears efficiently.
The inclination of the nozzles is very good and the insertion can be average. However, in my case, as usual, I use my home-made large foam-filled tips. With them I get the perfect fit, efficient transmission of sound waves and a high level of isolation. Outstanding.


Sound
Profile
I can't deny that BQEYZ usually looks for a middle ground between their previous models. On this occasion, the profile of the Frost is very similar to that of the Winter, as you can see, there is also some coolness implicit in the names. It's a smooth tuning that aims for that neutral W profile, with more upper midrange enhancement and extended treble, after a slight control zone. The profile is very balanced and homogeneous, moving in a sub-10dB band between 20Hz and 12kHz. This indicates the neutrality of the profile.

Bass
BQEYZ usually makes dynamic drivers with tight, precise, concise, technical and fast bass. The Frost's are clearly of that style. Again, it is not very pronounced in the sub-bass, but slightly focused in the mid-bass, although it is slightly rounded towards the midrange, with an energy below the rest of the frequencies. However, the weight and volume of the bass is easily perceived. It is not a dedicated bass-heads model, but it has a very good bass range, above neutrality, very enjoyable.
In the very low-frequency pure tone test, a slightly oscillatory 20 Hz first tone is observed, but with very little loudness. However, its physical level is evident, one feels the sensory power of the note and its depth. The 25 Hz tone leaves me somewhat cold in its reproduction, but the 30 Hz tone is close to the BQEYZ level I am used to in this kind of tests: a quite pure tone, compact, subtly coloured, full of physical strength, natural and realistic sonority, with very good balance, without sonorous undulating character and with a lot of volume. One can even notice that the texture is there to add more realism to the note. The translation to real music coincides with what was explained at the beginning of the paragraph: the bass drums are dry, quick to play and recover, with no aftertaste, slightly rubbery and elastic, which adds just the right naturalness and enjoyment to the bass, as well as enhancing the volume and depth.
In the dirty, unwieldy and unfiltered bass test, the Frost's feel like a fish in water, giving a lesson in depth, volume, realism and tuning in the reproduction of complex bass lines. It's true that the Frost's good work slightly sweetens the worst conditions, making them even pleasant. But it does so naturally, uncoloured and true to the original. The result is a deft, fast, voluminous, deep, powerful and technically accurate recreation, capable of reproducing all bass lines and layering the layers without blending them.
It's not neutral bass, it's not just anything: the Frost's give more in bass than the frequency response might indicate, especially in terms of volume, energy and depth. But they are also very good technically and capable of separating bass lines and multiple layers. They are very enjoyable for a bass lover like me. And all this while being very respectful of the rest of the frequencies.


Mids
The first half is quite neutral. There is a slight warmth which is matched by the luminosity, transparency and clarity of the whole register. Again, I note an average balance between body, physicality, presence and thickness of notes. The physicality is not very high, but it exists. Presence is not predominant, but the male voices are felt in all their splendour from start to finish, without standing out in the mix above the rest. And the thickness of the notes is relatively delicate, but taut and strong when necessary. In this way, the mids don't come across as dense or heavy, but expansive, balanced, free and expansive.
Frost also maintains a good balance between the first and second halves of the midfield. It is true that the upper mids are more advanced, but not enough to leave the first half behind. Thus, the female voices are more prominent, but without losing their neutrality to the male voices. The result is a very full mid-range, in which nothing is overemphasised or relegated. There is a good balance between detail, nuances, body, base and harmonics, so that the whole persists in the idea of neutrality and a centred timbre, which does not tend towards anything, but is more natural and realistic.
The brightness is relaxed, but the mix is transparent, the mids are ample and details are perceived as vivid, crisp and well separated. The wide soundstage allows the midrange to feel very explicit, rich, delicate, smooth and musical, despite the large amount of information it offers the listener. This characteristic means that they do not sound intimate and the planes are very well distinguished, as is the stereo recreation, which places great emphasis on the ability to break down the channels independently, but generates the vocals in the centre, at a measured distance from the listener, when the recording suggests it. In this respect, the vocals feel almost tactile, with the instrumentation enveloping them between the channels, achieving a rich and pleasingly immersive sensation, where everything seems within easy reach.


Treble
The treble of the Frost is perceived as softer, maintaining the neutral balance of the rest of the bands. They start with a control zone (slight roll-off) that makes the energy level slightly mitigated. In this way, the treble is not too sharp. However, I feel that there is something in the microplanar driver that corrects the loudness of the treble and makes a more homogeneous and extensive mix than what is shown in the graph. In this way, the treble does not stand out from the whole, but it does show up quite fully and, above all, effectively and extensively in the music. In this way, its timbre comes across as real and the initial softening doesn't seem to affect its loudness or thickness; the notes feel fine even if their energy level isn't too high. I think BQEYZ has used the micro-planar driver in the right way to recreate a high end with the virtues of that driver, but neutralising the energy level that could be excessive at times. This is how it achieves a rich, smooth, neutral and balanced upper range with the rest of the strips.


Soundstage, Separation
One of the strengths of the Frost is its special ability to distinguish, isolate and then mix the channels. These IEMs show great skill in recreating the instrumental image, as they are able to discern where the instruments are coming from and on which side they are played. They also know how to blend them so that everything sounds together and balanced. The stage is wide, with a good amount of volume, expansive capacity, great laterality and evident height. But they are not volatile or gassy, but more attached to the stage. In that sense, their stage is more frontal, without being too enveloping or spherical, but more realistic.
There is a good level of separation and a very good sense of volume, depth, transparency and clarity. But this is not an analytical IEMS where the distance between notes is overly wide. I think it is more realistic and restrained in this respect. It's able to show micro detail, but not in a very obvious or detached way. It feels more analogue, without being confusing. Micro detail is appreciated, but not in an explicit way, but in a more natural and restrained way. But the way the music, notes, instruments and voices are recreated is richer than expected and shows great skill in this regard, showing a lot of detail and nuance very naturally in the scene. In this way, its informative character is high, but realistic and very pleasant.


Comparisons
BQEYZ Winter
This time, the new BQEYZ Frost's worst enemy is at home. It's the Winter, an IEMS with a 12mm dual-cavity dynamic driver, PAR diaphragm, plus another 11.6mm PZT bone-conduction driver. In the Winter, the dynamic driver is larger, 12mm versus 10mm in the Frost. The bone conduction transducer has been replaced by a custom microplanar transducer. The new Frost drivers are smaller and have a slightly curved, high-transparency glass outer face. The Winter's are all-metal, thicker and have a bulge on the inner edge of the capsule. This profile can be critical in the fit for some morphologies and I prefer the smooth surface of the Frost, as well as their smaller size and thickness. The design is beautiful on both models, so it is very difficult to choose one or the other. The cable is not as flashy as the Frost's, but the Winter's four-strand grey cable is somewhat softer and more manageable. The rest of the accessories are the same.
The profile of both IEMS is very similar and I think the differences in the graphical comparison might even be negligible. However, the new Frost's are easier to handle and sound louder with the same power.
For the comparison I used the same home-made foam-filled tips. The differences in fit could also lead to audible differences.
I said that the bass of the Winter was very good, how are the Frost's? Well, I would say as good or better, at least for my personal taste. It seems that the Winter's are a bit more sensory in the lower frequencies, but the Frost's have a bit more power, punch, volume and even more texture. The bass of the Winter is a bit more relaxed, with less energy, with a sonority with a bit more colour, not so dark, but it is also drier, more technical, with a bit more speed, less punch and a quicker decay. The Frost are more fun and also denser, they give the sensation of moving more air, generating more auditory pressure.
The Frost's greater sense of bass pressure makes the Winter's sound a little freer and uncluttered. For some, the bass weight may be a plus on the Frost, but it may also be a detriment to those looking for a more neutral profile.
The upper mids of the Winter's are more splashy and obvious, while the Frost's are a little more muted. It might seem that the Winter's should have more detail, but the Frost's microplanar driver is noticeable in definition, winning out by a little, despite its darker sound. This is noticeable in the first half of the mids, where the Winters seem thinner, but also cleaner, more transparent and brighter. In contrast, the Frost's are fuller, more physical, fuller and denser, but maintain that relatively darker level. Those who want more clarity will opt for the Winter; I go for that fuller, slightly thicker, sweeter feel at the base of the Frost. There's no doubt that this affects the timbre of both IEMS, with that shift to a warmer tendency for the Frost and a slightly more neutral/brighter one for the Winter.
The trebles are tuned very similarly, the difference being in the sonority and timbre of their performance. The Frost's seem a little brighter and thinner, a little punchier, while the Winter's are driven by the rounder characteristic of the PZT driver.
The Frost's soundstage has more volume and, being more splashy, the Winter's are closer, with a more frontal presentation. The Frost's are notable for their laterality, which makes the soundstage wider and almost surrounds the head, though not in a holographic way.

Conclusion
BQEYZ continues to improve and offers us a beautiful new model that seeks to refine its concept of neutral frequency response with a warm touch. The BQEYZ Frost is a hybrid IEMS from the Weather series that combines a dynamic 10mm dual-cavity driver with a PU and PEEK composite diaphragm and a custom microplanar transducer. With outstanding design and construction, the Frost is a mid-sized IEMS with very good ergonomics and a neutral profile with a slight warm tendency and very well balanced. It is smooth and expressive in the high end, subtly dark, deep, dense, physical and voluminous in the low end, while in the mids, the warmth, richness and informative musicality of the ensemble is noticeable. In addition, the Frost's are notable for their great sense of lateral openness, which creates a large, enveloping scene for the ears. All this without forgetting the dexterity to show detail and nuance. Yet another success for the brand.


Sources Used During the Analysis
- iFi GO bar Kensei.
- EPZ TP50.
- Tempotec V3.
- Burson Audio Playmate 2.
- Aune X8 XVIII Magic DAC + EarMen ST-Amp.


BQEYZ offered me this model, in exchange for writing an honest review. I want to make it clear that all my opinions written in this review have not been conditioned by this fact, nor will I ever write anything that I do not really think or feel here. I will only write about my personal opinion in relation to the revised product.


Purchase Link


You can read the full review in Spanish here


cqtek
1000+ Head-Fier
Pros: Powerful, voluminous, energetic, physical, resolving, effective and technical low end.
- Full upper mids and even more remarkable treble.
- Very good level of construction.
- Great ergonomics, comfort, fit and isolation.
- Good cable for the price range.
- Surprisingly large and original rubberized zippered Pac-Man case.
- Five sizes of silicone tips.
- Full upper mids and even more remarkable treble.
- Very good level of construction.
- Great ergonomics, comfort, fit and isolation.
- Good cable for the price range.
- Surprisingly large and original rubberized zippered Pac-Man case.
- Five sizes of silicone tips.
Cons: Sunken central range.
- Evidence of macro detail obfuscates micro detail.
- Excited and energetic profile at the extremes, moving away from balance and homogeneity.
- Evidence of macro detail obfuscates micro detail.
- Excited and energetic profile at the extremes, moving away from balance and homogeneity.
Introduction
It seems that China-based brands are going in spurts. In a very short time 7Hz has presented several models: the long-awaited Timekess II, the collaboration with HBB Elua and also the G1. And it is precisely the G1 IEMS that I am going to analyze in this review. They are IEMS with a dynamic driver with a 10mm DLC diaphragm and double magnetic cavity, which mounts N52 magnets. As it is obvious from their name, they are part of the G series, they are HiFi gaming headphones that offer a precise tuning, adapted to the Harman curve, with a careful and ergonomic design, which seeks to ensure comfort during continuous and prolonged use, even suitable for wearing them while sleeping. Its tuning has been meticulously tuned to offer smooth transitions in all three bands, balancing deep and powerful bass, transparent mids and crisp treble to ensure an immersive listening experience. It comes with an oxygen-free copper braided cable with 2Pin 0.78mm interface that can incorporate microphone as an option. Let's take a closer look at this new 7Hz G1 model.


Specifications


Packaging
The 7Hz G1 comes in a white box with dimensions 148x106x47mm. The main side shows a real photo of the capsules. At the top you can read the model name in large black letters, a small description and the brand logo on the right side. On the left side, vertically, the brand name is written. The content of the upper part of the main side is repeated on the back. Underneath is an exploded view of the capsule, the specifications in Chinese and the rest is information about the brand's own headquarters, importers and the standards it meets. After removing the cardboard the box is still white with the silver logo in its center and the name at the bottom. After lifting the lid you can see a translucent plastic sheet with an introduction to the product. The capsules are inside a block of white foam at the top of the box, lined with cardboard of the same color with the brand and model information. Underneath is a curious zippered case containing the accessories. To summarize:
The silicone tip set is the classic set in five sizes. The cable is not bad at all. But the rubber case is surprising, large and spacious, it reminds me of a Pac-Man.


Construction and Design
The capsules are metallic and black, the material is not specified, but they are certainly made of aluminum alloy due to their light weight. They have a somewhat different shape, moving between a design with flat faces with very rounded vertices. The logo is shown in gold ink in the center of the outer face. The 0.78mm 2Pin connection interface is fully integrated into the capsule and consists of a circular black piece and gold-plated connectors. A red dot indicates its polarity. The edges are very rounded and tend to taper as you get to them. The inner face has a smooth curve, without protrusions, with three curved holes near the rim and another one very close to the mouthpieces. The mouthpieces are gold-plated, possibly brass, with a small ring as a base, a 5.6mm central cylinder and a 6.2mm crown. The approximate length is 5mm. To protect the interior is a perforated gold foil in the shape of a five-petal flower with a soft textile filter underneath. There is a gold letter on the inner side to indicate the channel.
The cable is composed of two gray strands wound together. The gold-plated 3.5mm SE plug has a gray metal sleeve, with a depressed cylindrical shape in its center. The cable outlet is protected by a black rubber sleeve. The splitter is a black plastic-rimmed tablet with mirror-like faces with the make and model engraved on each. The pin is a small oval plastic piece with two open holes inside. It has an over-ear guide formed by a transparent plastic sleeve. The sleeves of the 2Pin 0.78mm gold-plated connectors are black plastic pieces in the shape of a curve and a silver-plated ring.
The construction is very good and I'm glad it has a slightly alternative design, with an effort to find an ergonomic and durable shape. The cable is fine, not immediately inviting to be changed, manageable, not too stiff and nicely colored.


Adjustment and Ergonomics
Slightly surprising is the shape of these IEMS and the manufacturer's description that blatantly seeks comfort for long sessions, even for sleeping. I am one of those who listens to music in bed and I have not even tried it for this occasion. But I do have to comment that the G1s are very comfortable. Their shape adapts very well to my pinna, with no room for rotation. There are no protrusions on the inner side so nothing rubs on the inside of my ear. The mouthpieces are thick, it may be necessary to look for suitable tips for those with narrow ear canals. But, in my case, since my canals are quite wide, using my very large foam-filled tips homemade I achieve a very high occlusive level, a great long-lasting and fixed fit, plus high isolation. It is true that it is very comfortable for long sessions and the weight is not noticeable. The shape of the cable sleeves ensures that the guides over the ears are not annoying.


Sound
Profile
The 7Hz G1 profile is a clear V-U, with clear emphasis on the sub-bass and noticeable energy in the high end. The profile is not overly balanced and the midrange sag is more pronounced, with a 12-13dB difference from the sub-bass and upper mids. The downward slope of the bass is sustained, leaving hardly any hump in the mid-bass, while the rise towards the upper midrange is rapid and more abrupt. Then, from that point, a remarkable level of energy is maintained with hardly any control zone in the treble, all the way to the air zone. Undoubtedly, this is a more emphasized, less homogeneous profile with a higher degree of energy at the extremes.

Bass
The 7Hz G1s are focused on the sub-bass while maintaining a good level of energy and power in this lower band. In this way the lower band is deep, dark, volumetric and forceful. In the very low frequency pure tone test a physical sub-bass is observed, quite sensory, with low undulatory/oscillatory character and little audible. The coloration level is low and you feel that power from quite low, as well as a realistic and natural feel. The power is noticeable from the first note and the energy level floods the ears. As I say, it has a good degree of darkness and physicality, but, in practice, it has a slight coloring that brings it back to earth, affirming that this is a very good low-priced IEM because of the excellent behavior of the lower range. The result is clear: fairly tight and dry bass, with a low elastic feel to bring some rubbery aura and help remarking the texture, quick recovery, low aftertaste, clean but powerful execution, full of energy. Technically it is very competent, quite precise, well marked and resolute.
In the dirty, complex, unfiltered bass test the G1s don't suffer one iota in reproducing the worst conditions. It adjusts quite well to the worst situations, executing the complex passages clearly, with plenty of control, but trying to simplify the situations slightly, but without being overly noticeable. It does not use the path of reduction to the minimum expression, but shows muscle and control in the worst scenarios, but without reaching a level of excellent resolution, that would be reserved for distinctly higher levels. In any case, the level of fidelity is very good for its range, as well as the level of realism. It is very competent at following bass lines, generating layers and discerning those elements from each other. Although the power level is very high and the energy level feels powerful and prominent, the G1s are capable of sounding quite clean and careful with the rest of the frequencies.


Mids
The transition between bass and midrange is steep, but not as abrupt. The first half of the midrange retains a certain level of power and energy to ensure a good physical and corporeal base for the beginning of the male voices. As the frequencies advance the notes become thinner and slimmer, moving away from both that base and the listener. In this way, the male voices seem to thin out slightly. They have a marked and evident body, but the central part is somewhat less represented, while the high details become somewhat more prominent. The lower voices will feel fuller and more complete, while the higher ones will be very clear, but less physical, due to that central sinking. However, the energy level in the sibilances, details and harmonic nuances will be favored.
I can't claim that this is a warm profile, while the notes are hardly thick, but veer toward the resolving, even technical and descriptive side. The energy and volume of the lower range might deliver some of that warmth, but, again, the central sinking and powerful second half of the mids, thins out the central range, bringing more light, clarity and emphasis on the top end. This is how darker compositions come across as lighter and cleaner. Density is lightened, even the distance between elements seems to be revived. It is not a sharp or analytical profile, but more neutral in this respect. But it is true that it is fast, decisive, expressive and well defined. The driver is agile in fast compositions and is not slow in any case, being very capable of following fast transitions in an effective and reliable way. The upper middle notes are fine, thin and deft. But they possess a certain control that keeps them from being too sharp or piercing. The G1s have that splashy, obvious sound, but without becoming too exposed or obtrusive. Though of course, there are always tolerance levels around the 4kHz range. But I feel that slight drop in the early treble is much appreciated in this regard. In this way, the female vocals are described almost the other way around than the male ones, they may start with a weaker base, but they gain strength and body as they extend, to end in a quite explicit and extensive way, with very well described and evident details.
The highest details shine with pristine clarity and alternate with the bass in a power hand in hand, evidencing that V-U sound with the central part clearly farther away that can generate a sonorous hollowness in more than one occasion. In this way it acquires a more spectacular presence for its strength and energy, but it moves away from a more musical and calm balance or homogeneity.


Treble
The treble is barely restrained, sparkling and crisp from the very first moment. Although the range starts with a slight control zone, it is almost a mirage. The energy level remains high until almost reaching the air zone, which means a first and second treble band full of power and presence. The result is obvious: a powerful, marked, full, forceful, elevated high zone, where the treble is very protagonist, showing fine, sharp, bright, luminous, crisp and extensive. In addition, although it may be a bit exaggerated, the behavior is not far from a somewhat more augmented and excited reality, but with a sound that is not unreal. Very good level of resolution and descriptive ability, despite the high energy level.


Soundstage, Separation
The clear, evident and powerful presence of the macro detail and brighter elements that stand out in the foreground is superimposed on the micro detail in the background. The latter can be perceived thanks to the good level of resolution of the driver, but it is transposed, even drowned out. The energy level of the foreground mutes that micro detail, losing the opportunity to show itself as such. The exposure level of the foreground is energetic, very vivid, but very unsupportive.
The low zone is voluminous and wide, with which depth is obtained. Although much of the sound is shown in very close planes, leaving the middle part less visible. This generates a sensation of few planes: one very evident, close and very full, and another more expanded one that has a wider range, although not enough. The result achieves a good level of laterality and stereo feeling, although the scene is not too big. There are many splashy and vibrant elements in close proximity that produce a very dynamic feel, while the bass fills the scene, offering a sense of volume and space. In this way, the music seems large, but only up close, with a round image, also with height, but eminently frontal.
The distance between elements is good, but not if they are in different layers. In that case, the elements tend to overlap. And since much of the music is shown in the foreground, though well placed and shaped, the background is less discernible.


Comparisons
Kiwi Ears Dolce
As usual, I like to compare models with similar tunings. In this case, the candidate has been the economical Kiwi Ears Dolce, whose current price is $25 versus $35 for the 7Hz G1. 10$ in such a reduced range can be a differential jump and that is something that is noticeable in the construction and accessories of both models. The Dolce's are made of ultra-durable medical grade resin, while the G1's are metal. The cable of the Dolce is a double strand of high purity OCC cable, which has a memory effect and a single set of tips in three sizes. On the G1s the cable is better, there are more tips and it comes with a large zippered rubber case. So these aspects of construction, presentation and content win the 7Hz. The most hard-fought section is ergonomics, with the Dolce's very low weight and very good fit. But the G1s are slightly smaller and shaped to fit the pinna very well, and they protrude less than the Dolce. Perhaps the smaller size of the G1s would make them better, as well as the better integration into the pinna. But the Dolce are lighter, it's like wearing nothing. There could be a technical tie but I prefer the G1s.
The G1s are easier to move, with the same power they sound louder.
There are similarities in the curve of both models, as you can see. But the G1s are more polarized: they have more sub-bass and more treble. In contrast, the Dolce seem to have a bit more air, and a more full-bodied first half of the mids.
Although the Dolce's frequency response seems more balanced, the G1s sound more refined, clearer and more defined. There is a bit more warmth and haze in the Dolce, as well as sounding a bit louder when set at the same volume, with lower dynamics and a more congested sound.
Dolce bass is simpler, with less texture, roughness and depth. But they are also drier and more restrained, even with less aftertaste, and they collect sooner. In the very low frequency pure tone test the G1s behave better, with a more natural character, without that wavy, colored feel of the Dolce. They are more physical and sensory, their timbre is more realistic and both the level of resolution and definition are better.
The Dolce's better balance in the ratio of lower and upper mids gives them a sonic advantage, generating a more homogeneous, fuller and denser midrange. The G1s are more polarized, with deeper, more distant and less grounded male voices. In contrast, the female voices of the G1s sound crisper, clearer and more defined, while the Dolce's are more nuanced and rounder, but also live up to their name, sweet.
The G1's treble is more energetic, bright, thin, incisive, crisp and clear. The Dolce's treble is softer and a bit more displaced, although you can see from the curve that they follow a very similar pattern. The energy level is different and so is the resolution and definition in favor of the G1s, sounding crisper and sharper, with more sparkle and realism.
The soundstage is closer on the Dolce's, it feels fuller. On the G1s the soundstage is more oval, with that central dip, but with good depth. There is more of a wall feel in the Dolce, but more separation and volatility in the G1.

Conclusion
I remember a few years ago, the lower range IEMS were more polarized, with steeper profiles, more V-tendency and less balanced. There was more risk and less refinement, but there was always a standout set that provided great bass and treble. For some time now, the economic range has gained in neutrality and has balanced its profile, thanks to more complete and more economical drivers that have allowed to achieve a more homogeneous sound, without showing flaws, being much more all-round and resolute. The 7Hz G1 seems to go back to that older profile, but improving all the weak aspects of then. It certainly loses balance and wastes energy at the extremes. But it shows plenty of power, volume, resolution, technique and control in the lower range, as well as remarkable expertise in the upper mids and treble. The 7Hz G1s are a twist, a higher position, better executed and for the same money, from those IEMS of a few years ago.


Sources Used During the Analysis




Purchase Link

You can read the full review in Spanish here

It seems that China-based brands are going in spurts. In a very short time 7Hz has presented several models: the long-awaited Timekess II, the collaboration with HBB Elua and also the G1. And it is precisely the G1 IEMS that I am going to analyze in this review. They are IEMS with a dynamic driver with a 10mm DLC diaphragm and double magnetic cavity, which mounts N52 magnets. As it is obvious from their name, they are part of the G series, they are HiFi gaming headphones that offer a precise tuning, adapted to the Harman curve, with a careful and ergonomic design, which seeks to ensure comfort during continuous and prolonged use, even suitable for wearing them while sleeping. Its tuning has been meticulously tuned to offer smooth transitions in all three bands, balancing deep and powerful bass, transparent mids and crisp treble to ensure an immersive listening experience. It comes with an oxygen-free copper braided cable with 2Pin 0.78mm interface that can incorporate microphone as an option. Let's take a closer look at this new 7Hz G1 model.


Specifications
- Type of Drivers: dual-cavity dynamic with 10mm DLC diaphragm and N52 magnets.
- Frequency Response: 10Hz-20kHz.
- Sound pressure level: 107 dB/V at 1 kHz.
- Impedance: 18Ω.
- THD (Total Harmonic Distortion): < 0.5% at 1 kHz.
- Jack Connector: 3.5mm SE.
- Capsule Connection Type: 2Pin 0.78mm.
- Starting Price: $34.99.


Packaging
The 7Hz G1 comes in a white box with dimensions 148x106x47mm. The main side shows a real photo of the capsules. At the top you can read the model name in large black letters, a small description and the brand logo on the right side. On the left side, vertically, the brand name is written. The content of the upper part of the main side is repeated on the back. Underneath is an exploded view of the capsule, the specifications in Chinese and the rest is information about the brand's own headquarters, importers and the standards it meets. After removing the cardboard the box is still white with the silver logo in its center and the name at the bottom. After lifting the lid you can see a translucent plastic sheet with an introduction to the product. The capsules are inside a block of white foam at the top of the box, lined with cardboard of the same color with the brand and model information. Underneath is a curious zippered case containing the accessories. To summarize:
- The two G1 capsules.
- One braided cable with 3.5mm SE plug and 0.78mm 2Pin interface.
- One black rubber case with zipper.
- Five pairs of silicone tips sizes XsxSxMxLxLxXL.
- One user's manual.
The silicone tip set is the classic set in five sizes. The cable is not bad at all. But the rubber case is surprising, large and spacious, it reminds me of a Pac-Man.


Construction and Design
The capsules are metallic and black, the material is not specified, but they are certainly made of aluminum alloy due to their light weight. They have a somewhat different shape, moving between a design with flat faces with very rounded vertices. The logo is shown in gold ink in the center of the outer face. The 0.78mm 2Pin connection interface is fully integrated into the capsule and consists of a circular black piece and gold-plated connectors. A red dot indicates its polarity. The edges are very rounded and tend to taper as you get to them. The inner face has a smooth curve, without protrusions, with three curved holes near the rim and another one very close to the mouthpieces. The mouthpieces are gold-plated, possibly brass, with a small ring as a base, a 5.6mm central cylinder and a 6.2mm crown. The approximate length is 5mm. To protect the interior is a perforated gold foil in the shape of a five-petal flower with a soft textile filter underneath. There is a gold letter on the inner side to indicate the channel.
The cable is composed of two gray strands wound together. The gold-plated 3.5mm SE plug has a gray metal sleeve, with a depressed cylindrical shape in its center. The cable outlet is protected by a black rubber sleeve. The splitter is a black plastic-rimmed tablet with mirror-like faces with the make and model engraved on each. The pin is a small oval plastic piece with two open holes inside. It has an over-ear guide formed by a transparent plastic sleeve. The sleeves of the 2Pin 0.78mm gold-plated connectors are black plastic pieces in the shape of a curve and a silver-plated ring.
The construction is very good and I'm glad it has a slightly alternative design, with an effort to find an ergonomic and durable shape. The cable is fine, not immediately inviting to be changed, manageable, not too stiff and nicely colored.


Adjustment and Ergonomics
Slightly surprising is the shape of these IEMS and the manufacturer's description that blatantly seeks comfort for long sessions, even for sleeping. I am one of those who listens to music in bed and I have not even tried it for this occasion. But I do have to comment that the G1s are very comfortable. Their shape adapts very well to my pinna, with no room for rotation. There are no protrusions on the inner side so nothing rubs on the inside of my ear. The mouthpieces are thick, it may be necessary to look for suitable tips for those with narrow ear canals. But, in my case, since my canals are quite wide, using my very large foam-filled tips homemade I achieve a very high occlusive level, a great long-lasting and fixed fit, plus high isolation. It is true that it is very comfortable for long sessions and the weight is not noticeable. The shape of the cable sleeves ensures that the guides over the ears are not annoying.


Sound
Profile
The 7Hz G1 profile is a clear V-U, with clear emphasis on the sub-bass and noticeable energy in the high end. The profile is not overly balanced and the midrange sag is more pronounced, with a 12-13dB difference from the sub-bass and upper mids. The downward slope of the bass is sustained, leaving hardly any hump in the mid-bass, while the rise towards the upper midrange is rapid and more abrupt. Then, from that point, a remarkable level of energy is maintained with hardly any control zone in the treble, all the way to the air zone. Undoubtedly, this is a more emphasized, less homogeneous profile with a higher degree of energy at the extremes.

Bass
The 7Hz G1s are focused on the sub-bass while maintaining a good level of energy and power in this lower band. In this way the lower band is deep, dark, volumetric and forceful. In the very low frequency pure tone test a physical sub-bass is observed, quite sensory, with low undulatory/oscillatory character and little audible. The coloration level is low and you feel that power from quite low, as well as a realistic and natural feel. The power is noticeable from the first note and the energy level floods the ears. As I say, it has a good degree of darkness and physicality, but, in practice, it has a slight coloring that brings it back to earth, affirming that this is a very good low-priced IEM because of the excellent behavior of the lower range. The result is clear: fairly tight and dry bass, with a low elastic feel to bring some rubbery aura and help remarking the texture, quick recovery, low aftertaste, clean but powerful execution, full of energy. Technically it is very competent, quite precise, well marked and resolute.
In the dirty, complex, unfiltered bass test the G1s don't suffer one iota in reproducing the worst conditions. It adjusts quite well to the worst situations, executing the complex passages clearly, with plenty of control, but trying to simplify the situations slightly, but without being overly noticeable. It does not use the path of reduction to the minimum expression, but shows muscle and control in the worst scenarios, but without reaching a level of excellent resolution, that would be reserved for distinctly higher levels. In any case, the level of fidelity is very good for its range, as well as the level of realism. It is very competent at following bass lines, generating layers and discerning those elements from each other. Although the power level is very high and the energy level feels powerful and prominent, the G1s are capable of sounding quite clean and careful with the rest of the frequencies.


Mids
The transition between bass and midrange is steep, but not as abrupt. The first half of the midrange retains a certain level of power and energy to ensure a good physical and corporeal base for the beginning of the male voices. As the frequencies advance the notes become thinner and slimmer, moving away from both that base and the listener. In this way, the male voices seem to thin out slightly. They have a marked and evident body, but the central part is somewhat less represented, while the high details become somewhat more prominent. The lower voices will feel fuller and more complete, while the higher ones will be very clear, but less physical, due to that central sinking. However, the energy level in the sibilances, details and harmonic nuances will be favored.
I can't claim that this is a warm profile, while the notes are hardly thick, but veer toward the resolving, even technical and descriptive side. The energy and volume of the lower range might deliver some of that warmth, but, again, the central sinking and powerful second half of the mids, thins out the central range, bringing more light, clarity and emphasis on the top end. This is how darker compositions come across as lighter and cleaner. Density is lightened, even the distance between elements seems to be revived. It is not a sharp or analytical profile, but more neutral in this respect. But it is true that it is fast, decisive, expressive and well defined. The driver is agile in fast compositions and is not slow in any case, being very capable of following fast transitions in an effective and reliable way. The upper middle notes are fine, thin and deft. But they possess a certain control that keeps them from being too sharp or piercing. The G1s have that splashy, obvious sound, but without becoming too exposed or obtrusive. Though of course, there are always tolerance levels around the 4kHz range. But I feel that slight drop in the early treble is much appreciated in this regard. In this way, the female vocals are described almost the other way around than the male ones, they may start with a weaker base, but they gain strength and body as they extend, to end in a quite explicit and extensive way, with very well described and evident details.
The highest details shine with pristine clarity and alternate with the bass in a power hand in hand, evidencing that V-U sound with the central part clearly farther away that can generate a sonorous hollowness in more than one occasion. In this way it acquires a more spectacular presence for its strength and energy, but it moves away from a more musical and calm balance or homogeneity.


Treble
The treble is barely restrained, sparkling and crisp from the very first moment. Although the range starts with a slight control zone, it is almost a mirage. The energy level remains high until almost reaching the air zone, which means a first and second treble band full of power and presence. The result is obvious: a powerful, marked, full, forceful, elevated high zone, where the treble is very protagonist, showing fine, sharp, bright, luminous, crisp and extensive. In addition, although it may be a bit exaggerated, the behavior is not far from a somewhat more augmented and excited reality, but with a sound that is not unreal. Very good level of resolution and descriptive ability, despite the high energy level.


Soundstage, Separation
The clear, evident and powerful presence of the macro detail and brighter elements that stand out in the foreground is superimposed on the micro detail in the background. The latter can be perceived thanks to the good level of resolution of the driver, but it is transposed, even drowned out. The energy level of the foreground mutes that micro detail, losing the opportunity to show itself as such. The exposure level of the foreground is energetic, very vivid, but very unsupportive.
The low zone is voluminous and wide, with which depth is obtained. Although much of the sound is shown in very close planes, leaving the middle part less visible. This generates a sensation of few planes: one very evident, close and very full, and another more expanded one that has a wider range, although not enough. The result achieves a good level of laterality and stereo feeling, although the scene is not too big. There are many splashy and vibrant elements in close proximity that produce a very dynamic feel, while the bass fills the scene, offering a sense of volume and space. In this way, the music seems large, but only up close, with a round image, also with height, but eminently frontal.
The distance between elements is good, but not if they are in different layers. In that case, the elements tend to overlap. And since much of the music is shown in the foreground, though well placed and shaped, the background is less discernible.


Comparisons
Kiwi Ears Dolce
As usual, I like to compare models with similar tunings. In this case, the candidate has been the economical Kiwi Ears Dolce, whose current price is $25 versus $35 for the 7Hz G1. 10$ in such a reduced range can be a differential jump and that is something that is noticeable in the construction and accessories of both models. The Dolce's are made of ultra-durable medical grade resin, while the G1's are metal. The cable of the Dolce is a double strand of high purity OCC cable, which has a memory effect and a single set of tips in three sizes. On the G1s the cable is better, there are more tips and it comes with a large zippered rubber case. So these aspects of construction, presentation and content win the 7Hz. The most hard-fought section is ergonomics, with the Dolce's very low weight and very good fit. But the G1s are slightly smaller and shaped to fit the pinna very well, and they protrude less than the Dolce. Perhaps the smaller size of the G1s would make them better, as well as the better integration into the pinna. But the Dolce are lighter, it's like wearing nothing. There could be a technical tie but I prefer the G1s.
The G1s are easier to move, with the same power they sound louder.
There are similarities in the curve of both models, as you can see. But the G1s are more polarized: they have more sub-bass and more treble. In contrast, the Dolce seem to have a bit more air, and a more full-bodied first half of the mids.
Although the Dolce's frequency response seems more balanced, the G1s sound more refined, clearer and more defined. There is a bit more warmth and haze in the Dolce, as well as sounding a bit louder when set at the same volume, with lower dynamics and a more congested sound.
Dolce bass is simpler, with less texture, roughness and depth. But they are also drier and more restrained, even with less aftertaste, and they collect sooner. In the very low frequency pure tone test the G1s behave better, with a more natural character, without that wavy, colored feel of the Dolce. They are more physical and sensory, their timbre is more realistic and both the level of resolution and definition are better.
The Dolce's better balance in the ratio of lower and upper mids gives them a sonic advantage, generating a more homogeneous, fuller and denser midrange. The G1s are more polarized, with deeper, more distant and less grounded male voices. In contrast, the female voices of the G1s sound crisper, clearer and more defined, while the Dolce's are more nuanced and rounder, but also live up to their name, sweet.
The G1's treble is more energetic, bright, thin, incisive, crisp and clear. The Dolce's treble is softer and a bit more displaced, although you can see from the curve that they follow a very similar pattern. The energy level is different and so is the resolution and definition in favor of the G1s, sounding crisper and sharper, with more sparkle and realism.
The soundstage is closer on the Dolce's, it feels fuller. On the G1s the soundstage is more oval, with that central dip, but with good depth. There is more of a wall feel in the Dolce, but more separation and volatility in the G1.

Conclusion
I remember a few years ago, the lower range IEMS were more polarized, with steeper profiles, more V-tendency and less balanced. There was more risk and less refinement, but there was always a standout set that provided great bass and treble. For some time now, the economic range has gained in neutrality and has balanced its profile, thanks to more complete and more economical drivers that have allowed to achieve a more homogeneous sound, without showing flaws, being much more all-round and resolute. The 7Hz G1 seems to go back to that older profile, but improving all the weak aspects of then. It certainly loses balance and wastes energy at the extremes. But it shows plenty of power, volume, resolution, technique and control in the lower range, as well as remarkable expertise in the upper mids and treble. The 7Hz G1s are a twist, a higher position, better executed and for the same money, from those IEMS of a few years ago.


Sources Used During the Analysis
- iFi GO bar Kensei.
- EPZ TP50.
- Tempotec V3.
- Burson Audio Playmate 2.
- Aune X8 XVIII Magic DAC + EarMen ST-Amp.


Linsoul Audio Store, offered me this model, in exchange for writing an honest review. I want to make it clear that all my opinions written in this review have not been conditioned by this fact, nor will I ever write anything that I do not really think or feel here. I will only write about my personal opinion in relation to the revised product.


Purchase Link

You can read the full review in Spanish here

cqtek
1000+ Head-Fier
Pros: Outstanding sound/price ratio,
- Familiar but improved tuning.
- Bass with texture and volume.
- Very full and complete mids, without hollows, dynamic, rich, warm and melodious.
- Treble with a touch of sparkle.
- Very good level of detail, separation, voluminous and wide soundstage, even with height.
- Good cable.
- Two sets of silicone tips.
- Excellent ergonomics despite a somewhat classic design, but low weight.
- Familiar but improved tuning.
- Bass with texture and volume.
- Very full and complete mids, without hollows, dynamic, rich, warm and melodious.
- Treble with a touch of sparkle.
- Very good level of detail, separation, voluminous and wide soundstage, even with height.
- Good cable.
- Two sets of silicone tips.
- Excellent ergonomics despite a somewhat classic design, but low weight.
Cons: It does not come with a carrying bag.
- Perhaps the color of the bass and its texture level will not be to the liking of those looking for a more technical, natural low end, above the power and fun.
- Perhaps the color of the bass and its texture level will not be to the liking of those looking for a more technical, natural low end, above the power and fun.
Introduction
I have reviewed three Tripowin models and two have been collaborations. The first was from HBB and this second is from another youtuber named 0DiBi. 0DiBi is one of South Korea's most influential audio reviewers, with over 64 000 YouTube subscribers, a Hi-Fi audio store, a dedicated online audio community and active participation in numerous Korean audiophile forums. With a background in engineering and music, 0DiBi is one of Korea's most trusted reviewers, focused on using measurements to objectively evaluate audio products. The model he has collaborated on is called Vivace. It is an IEMS designed around a new 10 mm PET transducer with a nanoscale titanium powder coating. The result is an ultra-lightweight diaphragm with extreme tensile strength for sensitive sound. Its tuning offers a natural and balanced tonality, with a powerful and clean bass. The mid-bass has a subtle warmth that enhances the voices and body of the instruments, while the mids are natural and well suited to male and female voices. The treble follows the brand's tuning strategy to deliver a pleasing tonal response, while maintaining a high degree of micro-detail retrieval and airy ambience. Let's see what these new IEMS from the Shenzhen, China-based brand can deliver.


Specifications


Packaging
The Tripowin Vivace are presented in a small black-backed box with dimensions of 85x115x37mm. The realistic photos of the capsules are in black and white. On the top of the main side you can read the name of the brand and the partner of this model. In the center is a real photo of the capsules. Below, in large letters, is the name of the model. At the bottom is a two-line description of the model. On the back side, the information is repeated and only the importer's data, information about the brand, the distributor and the logos of the certificates it complies with, in addition to the Made in China logo, are provided. Removing the outer carton shows a black box with the brand name in the center, in gray letters. Under the lid, the capsules are inside a black foam mold. The capsules have a clear plastic protection on their outer face. Underneath the mold are more accessories. The cable and silicone tips come in separate plastic zipper bags. In summary, the complete contents are as follows:
For $30, the Vivace includes two sets of tips and a decent cable, but does not include any accessories to protect the capsules. Right.


Construction and Design
The capsules are made of opaque black resin. They are triangular in shape with two rounded corners. On one of the faces (the right one) there is a logo with a lightning bolt that reminds me of another brand/store on Aliexpress. On the left face you can read the brand name near the bottom edge. The outer face is composed of a rounded plastic plate with a mirror effect in the shape of a water drop. They have a textured rim that separates them from the inner body. The inner face is smooth and shiny. On the rim, the connection interface is completely integrated into the capsule and does not protrude. Near it there is a hole. The inner face does not have too many curves and the rim is relatively flat until it begins the ascent towards the nozzles. There is another hole in the skirt. The nozzles are part of the same body. They have two diameters: 5.2mm on the inside and 6mm on the crown. Both have a dense, black, metallic grid that protects the interior.
The cable is very classic, but would approach simplicity were it not for the thicker strands. It is a black cable with four strands wound in pairs, giving the feel of links. The sleeves are simple black metal cylinders, both the plug sleeve and the divider piece and the pin, which is a simple ring that performs its function perfectly. It has transparent guides over the ear and the 0.78mm 2-pin connection interface sleeves are the classic black plastic ones in two levels with embossed channel lettering. All connections are gold plated.
A sober but elegant design without too many frills. I don't like the cable because it looks too basic. Its coating is matte and rubbery, and it is somewhat microphonic. However, I have to admit that its thickness is superior.


Adjustment and Ergonomics
The capsules are of medium size and thickness, very light and with an inner shape that barely comes in contact with my ears. The capsules rest firmly in my pinna and rotation is minimal. I almost always use my large foam-filled home-made tips, but I am looking for different alternatives and have found the Penon Liqueur in black and size XL, which fit perfectly in my ear canal. The fit is very occlusive, no need to squeeze, they adhere very well and the sound is quite good, with just the right balance of bass and clarity. The isolation is superior and the set is very firm for outdoor use, even for sports, due to the low weight and great adhesion of the capsules, plus minimal rubbing against the outer parts of my ears. Outstanding.


Sound
Profile
There is nothing new in the Vivace profile, as there are many models with that profile or immediately above it in price. It is a tiny U or W profile, with very rounded curves and no peaks. There is a slight accent in the sub-bass, but it is a balanced curve in which all of it oscillates in a 10 dB range. It is a smooth profile in treble, warm overall, but sufficiently clear, bright and transparent, without losing the overall musicality.

Bass
The Vivace uses a dynamic driver with a 10 mm PET titanium-plated diaphragm, and it shows. Thanks to the properties of that diaphragm, bass can be punchy, dry and restrained, but also springy, textured and subtly rubbery. They combine precision and fun in an economical model. The elasticity gives them a certain rubberiness that makes the feel more fun. However, this also makes them a bit slower and with a medium recovery. The hits are sufficiently contained to not sound too puffy, but the volume is clearly perceived. The improvement is in the texture, as it is not a smooth bass on its surface, but rough, which gives it an added and descriptive value in the low notes.
In the very low frequency pure tone test, it is noted that the Vivace arrives very low, with a sound and vibration level at fifty percent. There is a good sensory level, but there is also that less desirable undulatory character that brings some coloring to the low frequencies. There is a lot of energy in the LFOs and maintains a good balance between naturalness, color and realism, but without behaving like other more expensive dynamic drivers. Still, the behavior is quite good for the price.
In the dirty, complex and unfiltered bass test, the Vivace not only sound simple and tidy, but also stand out. They are able to keep the bass in place and control it so that female vocals stand out without being affected. The descriptiveness is not overly explicit and the lines show textures, but without being multi-layered. There is a common thread with some layers, but there is a tendency towards unification to recreate those layers and the various lines, but without falling into reduction to the minimum expression. The good thing is that they don't sound bland, plain or thick, but are able to produce a fairly natural, realistic and well-executed sound, even boosted, slightly dark and with plenty of volume. And best of all, they achieve this without losing control or sounding forced or out of place at any time. It's not easy to recreate a low end like this for so little money: fun, powerful, voluminous, textured and with good control.


Mids
The balance and homogeneity across the entire frequency range results in a smooth curve, without abrupt changes. In this way, the mids are warm and do not feel sunken. I usually look for a balance between the physical base of the first half of the mids, the thickness of the notes and the presence of the male voices. And I have to say that the Vivace do very well in this regard. It is true that the bass drop towards the mids is somewhat rounded, which gives it that warmth and greater physical feel in the body of the male voices and also in the instruments. In this way, the male voices are perceived as very full, complete and quite dense, but without sounding thick. The scaling of the upper mids guarantees a great register of harmonics, details and nuances. At no time do I find hollows in this first half of the central range and I consider it a rich and even lush register, but without losing descriptive ability or musicality. It is not an analytical profile, but for the price it has quite good detail, especially considering its smooth and homogeneous profile.
But, if male voices do not sound bad, female voices are better. They always benefit from a somewhat more emancipated superior means. But, on this occasion, there is not so much distance between them. Neither voice sounds thick or distant, but they move between the foreground and background of the female voices and the step-and-a-half of the male voices. The slight descent towards the treble manages to greatly limit the sibilance, which in this respect becomes quite controlled. And best of all, the center band never sounds congested or overly rounded, but maintains a remarkable level of cleanliness, definition, resolution, clarity, brightness and transparency. And all of this manifests itself in a great midrange for the instruments.

Treble
The treble is smooth, controlled and crisp, and well shaped. They are not too thick, but they do not stand out for their finesse either. They have a good level of sparkle, although this is not the most representative characteristic of the Vivace sound. The high end can stand on its own, as it has a good level of initial presence. However, the gradual descent towards the air zone gives it a pleasant, light flavor, without too much energy and a smooth crunch. On the other hand, the extension reaches the notable and works to bring a very adequate amount of harmonics to the rest of the frequencies. Lastly, the Vivace enters the air zone slightly, but more than enough to bring that characteristic halo to the treble.

Soundstage, Separation
The Vivace hold power quite well and can use a little extra current. In fact, the soundstage and detail also benefit from it. The sound is vivid and dynamic, the soundstage is widened and you get great laterality and a noticeable sense of expansion. The bass has plenty of volume, bringing that extra size in depth and even height. But the best thing about this feeling of fullness and occupied space generated by the bass is that it is not invasive or too close, but rather extends in a semi-spherical way. On the other hand, the remarkable level of definition, precision and clarity allows details to be perceived in an evident and surprising way for the price. All this facilitates the feeling of separation and distance between elements, as well as their positioning in the scene. In short, it's amazing.

Comparisons
7Hz x Crinacle Zero 2
Almost a year ago I reviewed the 7Hz x Crinacle Zero 2 and commented that they would be the first IEMS I would recommend to those who wanted to get started in this world, but without spending a lot of money. During this year I have recommended them to friends and acquaintances to whom spending more than $30 on IEMS is no longer justifiable. A year later, these Tripowin Vivace appear from the hand of another recognized youtuber, 0diBi. There are obvious differences between one model and another. I really like the transparent design and different colors to choose from the Zero 2, but it is true that the Vivace seem more solid and are even smaller. The weight is very low on both, but the mouthpieces on the Zero 2 are a bit longer and may work better for some, but I think the integration in my ears is better on the Vivace. The Tripowin's cable seems better to me and both come with two sets of tips without a carrying bag. Design-wise, I like the Zero 2 better, but in ergonomics, construction and accessories I find the Vivace slightly better.
Regarding the profile, the two models have a very similar curve. A higher sub-bass is observed in the Zero 2, while the Vivace have a little more energy in the treble. The rest of the frequency response is very similar.
The Vivace are more sensitive than the Zero 2 and, at the same power, the Tripowin sound louder.
The bass of the Zero 2s is somewhat more restrained and smoother than the Vivace. The Tripowins have a more textured, voluminous and energetic low end. The Zero 2's lower range seems more precise, dry and concrete, and somewhat more technical. The Vivace have more color and vibrancy. The Zero 2's low end seems more pure to me, but the Vivace's low end is more vibrant, fun, and full-bodied.
There is a lot of similarity in the center range of both models, but I find the midrange of the Vivace more dynamic, rich, lush and detailed than that of the Zero 2. The details in the Tripowin are more easily and obviously perceived, there is a bit more light and finer detail. It is possible that the touch of more energy in the treble is felt in the midrange. But there is also a point of greater refinement and smoothness in the Vivace, whereas the Zero 2s are subtly more abrupt.
The Vivace's treble outperforms the Zero 2's. As I said, that greater amount of energy is transformed into a higher end with better presence, more punch, sparkle and finesse, giving way to more realistic and natural treble, not as smoothed out as in the Zero 2s.
There is a lot of detail in both models. It's hard to believe, but that's the way it is. I notice a little more separation between the elements, a little more depth, more volume and height in the Vivace. All of this helps to recreate better defined detail in the Tripowin. The Zero 2 are somewhat flatter, their scene is not as concave, wide or voluminous as that of the Vivace.
A year later, a step up in quality for a mere $30 IEMS for the Vivace.

Conclusion
It is true that a reviewer's predisposition to any model should always be skeptical and unbiased. However, we all want to review high-end and high-priced products. However, very interesting things are happening in the low range that surprise us more and more every day. And models like the Tripowin x 0diBi Vivace are to blame for that pleasant impression. Tripowin's collaboration with 0DiBi exceeds my expectations and, although it doesn't offer a new profile, it does improve it in some aspects. The Vivace are vibrant IEMS, with a powerful, voluminous and textured bass. The midrange is full, meaty, lush, physical and full-bodied, while the treble has a point of controlled sparkle that enhances and enriches the music. Built with quality materials, a more than decent cable, a very low weight and excellent ergonomics, they have a somewhat more classic and not so flashy design. But the sound they hide is above their price and what I expected. They are ideal for unrestricted enjoyment on a daily basis, at any time and in any situation. The Tripowin x 0diBi Vivace are an all-terrain IEMS without complexes.

Sources Used During the Analysis


Purchase Link

You can read the full review in Spanish here

I have reviewed three Tripowin models and two have been collaborations. The first was from HBB and this second is from another youtuber named 0DiBi. 0DiBi is one of South Korea's most influential audio reviewers, with over 64 000 YouTube subscribers, a Hi-Fi audio store, a dedicated online audio community and active participation in numerous Korean audiophile forums. With a background in engineering and music, 0DiBi is one of Korea's most trusted reviewers, focused on using measurements to objectively evaluate audio products. The model he has collaborated on is called Vivace. It is an IEMS designed around a new 10 mm PET transducer with a nanoscale titanium powder coating. The result is an ultra-lightweight diaphragm with extreme tensile strength for sensitive sound. Its tuning offers a natural and balanced tonality, with a powerful and clean bass. The mid-bass has a subtle warmth that enhances the voices and body of the instruments, while the mids are natural and well suited to male and female voices. The treble follows the brand's tuning strategy to deliver a pleasing tonal response, while maintaining a high degree of micro-detail retrieval and airy ambience. Let's see what these new IEMS from the Shenzhen, China-based brand can deliver.


Specifications
- Driver Type: dynamic driver with 10mm PET titanium plated diaphragm.
- Frequency Response: 10Hz-28kHz.
- Sensitivity: 106dB (1khz/mw).
- Impedance: 18Ω.
- Nominal power: 5mW.
- Maximum power: 10mW.
- Distortion: <0.5% (1KHz).
- L/R difference: <1.5dB (1Khz).
- Cable material: Monocrystalline copper.
- Jack Connector: SE 3.5mm gold plated.
- Capsule Connection Type: 2Pin 0.78mm.
- Starting Price: $29.90.


Packaging
The Tripowin Vivace are presented in a small black-backed box with dimensions of 85x115x37mm. The realistic photos of the capsules are in black and white. On the top of the main side you can read the name of the brand and the partner of this model. In the center is a real photo of the capsules. Below, in large letters, is the name of the model. At the bottom is a two-line description of the model. On the back side, the information is repeated and only the importer's data, information about the brand, the distributor and the logos of the certificates it complies with, in addition to the Made in China logo, are provided. Removing the outer carton shows a black box with the brand name in the center, in gray letters. Under the lid, the capsules are inside a black foam mold. The capsules have a clear plastic protection on their outer face. Underneath the mold are more accessories. The cable and silicone tips come in separate plastic zipper bags. In summary, the complete contents are as follows:
- The two Tripowin Vivace capsules.
- One black four-strand coiled cable.
- One set of black silicone tips with narrow core, sizes SxMxL.
- One set of black silicone tips with wide core, sizes SxMxL.
- User's manual/Warranty card.
For $30, the Vivace includes two sets of tips and a decent cable, but does not include any accessories to protect the capsules. Right.


Construction and Design
The capsules are made of opaque black resin. They are triangular in shape with two rounded corners. On one of the faces (the right one) there is a logo with a lightning bolt that reminds me of another brand/store on Aliexpress. On the left face you can read the brand name near the bottom edge. The outer face is composed of a rounded plastic plate with a mirror effect in the shape of a water drop. They have a textured rim that separates them from the inner body. The inner face is smooth and shiny. On the rim, the connection interface is completely integrated into the capsule and does not protrude. Near it there is a hole. The inner face does not have too many curves and the rim is relatively flat until it begins the ascent towards the nozzles. There is another hole in the skirt. The nozzles are part of the same body. They have two diameters: 5.2mm on the inside and 6mm on the crown. Both have a dense, black, metallic grid that protects the interior.
The cable is very classic, but would approach simplicity were it not for the thicker strands. It is a black cable with four strands wound in pairs, giving the feel of links. The sleeves are simple black metal cylinders, both the plug sleeve and the divider piece and the pin, which is a simple ring that performs its function perfectly. It has transparent guides over the ear and the 0.78mm 2-pin connection interface sleeves are the classic black plastic ones in two levels with embossed channel lettering. All connections are gold plated.
A sober but elegant design without too many frills. I don't like the cable because it looks too basic. Its coating is matte and rubbery, and it is somewhat microphonic. However, I have to admit that its thickness is superior.


Adjustment and Ergonomics
The capsules are of medium size and thickness, very light and with an inner shape that barely comes in contact with my ears. The capsules rest firmly in my pinna and rotation is minimal. I almost always use my large foam-filled home-made tips, but I am looking for different alternatives and have found the Penon Liqueur in black and size XL, which fit perfectly in my ear canal. The fit is very occlusive, no need to squeeze, they adhere very well and the sound is quite good, with just the right balance of bass and clarity. The isolation is superior and the set is very firm for outdoor use, even for sports, due to the low weight and great adhesion of the capsules, plus minimal rubbing against the outer parts of my ears. Outstanding.


Sound
Profile
There is nothing new in the Vivace profile, as there are many models with that profile or immediately above it in price. It is a tiny U or W profile, with very rounded curves and no peaks. There is a slight accent in the sub-bass, but it is a balanced curve in which all of it oscillates in a 10 dB range. It is a smooth profile in treble, warm overall, but sufficiently clear, bright and transparent, without losing the overall musicality.

Bass
The Vivace uses a dynamic driver with a 10 mm PET titanium-plated diaphragm, and it shows. Thanks to the properties of that diaphragm, bass can be punchy, dry and restrained, but also springy, textured and subtly rubbery. They combine precision and fun in an economical model. The elasticity gives them a certain rubberiness that makes the feel more fun. However, this also makes them a bit slower and with a medium recovery. The hits are sufficiently contained to not sound too puffy, but the volume is clearly perceived. The improvement is in the texture, as it is not a smooth bass on its surface, but rough, which gives it an added and descriptive value in the low notes.
In the very low frequency pure tone test, it is noted that the Vivace arrives very low, with a sound and vibration level at fifty percent. There is a good sensory level, but there is also that less desirable undulatory character that brings some coloring to the low frequencies. There is a lot of energy in the LFOs and maintains a good balance between naturalness, color and realism, but without behaving like other more expensive dynamic drivers. Still, the behavior is quite good for the price.
In the dirty, complex and unfiltered bass test, the Vivace not only sound simple and tidy, but also stand out. They are able to keep the bass in place and control it so that female vocals stand out without being affected. The descriptiveness is not overly explicit and the lines show textures, but without being multi-layered. There is a common thread with some layers, but there is a tendency towards unification to recreate those layers and the various lines, but without falling into reduction to the minimum expression. The good thing is that they don't sound bland, plain or thick, but are able to produce a fairly natural, realistic and well-executed sound, even boosted, slightly dark and with plenty of volume. And best of all, they achieve this without losing control or sounding forced or out of place at any time. It's not easy to recreate a low end like this for so little money: fun, powerful, voluminous, textured and with good control.


Mids
The balance and homogeneity across the entire frequency range results in a smooth curve, without abrupt changes. In this way, the mids are warm and do not feel sunken. I usually look for a balance between the physical base of the first half of the mids, the thickness of the notes and the presence of the male voices. And I have to say that the Vivace do very well in this regard. It is true that the bass drop towards the mids is somewhat rounded, which gives it that warmth and greater physical feel in the body of the male voices and also in the instruments. In this way, the male voices are perceived as very full, complete and quite dense, but without sounding thick. The scaling of the upper mids guarantees a great register of harmonics, details and nuances. At no time do I find hollows in this first half of the central range and I consider it a rich and even lush register, but without losing descriptive ability or musicality. It is not an analytical profile, but for the price it has quite good detail, especially considering its smooth and homogeneous profile.
But, if male voices do not sound bad, female voices are better. They always benefit from a somewhat more emancipated superior means. But, on this occasion, there is not so much distance between them. Neither voice sounds thick or distant, but they move between the foreground and background of the female voices and the step-and-a-half of the male voices. The slight descent towards the treble manages to greatly limit the sibilance, which in this respect becomes quite controlled. And best of all, the center band never sounds congested or overly rounded, but maintains a remarkable level of cleanliness, definition, resolution, clarity, brightness and transparency. And all of this manifests itself in a great midrange for the instruments.

Treble
The treble is smooth, controlled and crisp, and well shaped. They are not too thick, but they do not stand out for their finesse either. They have a good level of sparkle, although this is not the most representative characteristic of the Vivace sound. The high end can stand on its own, as it has a good level of initial presence. However, the gradual descent towards the air zone gives it a pleasant, light flavor, without too much energy and a smooth crunch. On the other hand, the extension reaches the notable and works to bring a very adequate amount of harmonics to the rest of the frequencies. Lastly, the Vivace enters the air zone slightly, but more than enough to bring that characteristic halo to the treble.

Soundstage, Separation
The Vivace hold power quite well and can use a little extra current. In fact, the soundstage and detail also benefit from it. The sound is vivid and dynamic, the soundstage is widened and you get great laterality and a noticeable sense of expansion. The bass has plenty of volume, bringing that extra size in depth and even height. But the best thing about this feeling of fullness and occupied space generated by the bass is that it is not invasive or too close, but rather extends in a semi-spherical way. On the other hand, the remarkable level of definition, precision and clarity allows details to be perceived in an evident and surprising way for the price. All this facilitates the feeling of separation and distance between elements, as well as their positioning in the scene. In short, it's amazing.

Comparisons
7Hz x Crinacle Zero 2
Almost a year ago I reviewed the 7Hz x Crinacle Zero 2 and commented that they would be the first IEMS I would recommend to those who wanted to get started in this world, but without spending a lot of money. During this year I have recommended them to friends and acquaintances to whom spending more than $30 on IEMS is no longer justifiable. A year later, these Tripowin Vivace appear from the hand of another recognized youtuber, 0diBi. There are obvious differences between one model and another. I really like the transparent design and different colors to choose from the Zero 2, but it is true that the Vivace seem more solid and are even smaller. The weight is very low on both, but the mouthpieces on the Zero 2 are a bit longer and may work better for some, but I think the integration in my ears is better on the Vivace. The Tripowin's cable seems better to me and both come with two sets of tips without a carrying bag. Design-wise, I like the Zero 2 better, but in ergonomics, construction and accessories I find the Vivace slightly better.
Regarding the profile, the two models have a very similar curve. A higher sub-bass is observed in the Zero 2, while the Vivace have a little more energy in the treble. The rest of the frequency response is very similar.
The Vivace are more sensitive than the Zero 2 and, at the same power, the Tripowin sound louder.
The bass of the Zero 2s is somewhat more restrained and smoother than the Vivace. The Tripowins have a more textured, voluminous and energetic low end. The Zero 2's lower range seems more precise, dry and concrete, and somewhat more technical. The Vivace have more color and vibrancy. The Zero 2's low end seems more pure to me, but the Vivace's low end is more vibrant, fun, and full-bodied.
There is a lot of similarity in the center range of both models, but I find the midrange of the Vivace more dynamic, rich, lush and detailed than that of the Zero 2. The details in the Tripowin are more easily and obviously perceived, there is a bit more light and finer detail. It is possible that the touch of more energy in the treble is felt in the midrange. But there is also a point of greater refinement and smoothness in the Vivace, whereas the Zero 2s are subtly more abrupt.
The Vivace's treble outperforms the Zero 2's. As I said, that greater amount of energy is transformed into a higher end with better presence, more punch, sparkle and finesse, giving way to more realistic and natural treble, not as smoothed out as in the Zero 2s.
There is a lot of detail in both models. It's hard to believe, but that's the way it is. I notice a little more separation between the elements, a little more depth, more volume and height in the Vivace. All of this helps to recreate better defined detail in the Tripowin. The Zero 2 are somewhat flatter, their scene is not as concave, wide or voluminous as that of the Vivace.
A year later, a step up in quality for a mere $30 IEMS for the Vivace.

Conclusion
It is true that a reviewer's predisposition to any model should always be skeptical and unbiased. However, we all want to review high-end and high-priced products. However, very interesting things are happening in the low range that surprise us more and more every day. And models like the Tripowin x 0diBi Vivace are to blame for that pleasant impression. Tripowin's collaboration with 0DiBi exceeds my expectations and, although it doesn't offer a new profile, it does improve it in some aspects. The Vivace are vibrant IEMS, with a powerful, voluminous and textured bass. The midrange is full, meaty, lush, physical and full-bodied, while the treble has a point of controlled sparkle that enhances and enriches the music. Built with quality materials, a more than decent cable, a very low weight and excellent ergonomics, they have a somewhat more classic and not so flashy design. But the sound they hide is above their price and what I expected. They are ideal for unrestricted enjoyment on a daily basis, at any time and in any situation. The Tripowin x 0diBi Vivace are an all-terrain IEMS without complexes.

Sources Used During the Analysis
- iFi GO bar Kensei.
- EPZ TP50.
- Tempotec V3.
- Burson Audio Playmate 2.
- Aune X8 XVIII Magic DAC + EarMen ST-Amp.

Linsoul Audio Store, offered me this model, in exchange for writing an honest review. I want to make it clear that all my opinions written in this review have not been conditioned by this fact, nor will I ever write anything that I do not really think or feel here. I will only write about my personal opinion in relation to the revised product.

Purchase Link

You can read the full review in Spanish here

cqtek
1000+ Head-Fier
Pros: Great starting price.
- Good Sabre DAC/AMP.
- Warm and smooth sound, big bass and sharp treble.
- Textile covered cable, metal finish and integrated microphone.
- DAC/AMP design allows you to see inside the circuitry.
- Integrated LED.
- Good sense of power.
- 32 bit/384 kHz PCM and native 64/128 DSD formats.
- Good Sabre DAC/AMP.
- Warm and smooth sound, big bass and sharp treble.
- Textile covered cable, metal finish and integrated microphone.
- DAC/AMP design allows you to see inside the circuitry.
- Integrated LED.
- Good sense of power.
- 32 bit/384 kHz PCM and native 64/128 DSD formats.
Cons: Fade-in effect at the start of playback.
- Extensive bass can be imposed on detail and other frequencies.
- Compact and cohesive micro detail.
- Extensive bass can be imposed on detail and other frequencies.
- Compact and cohesive micro detail.
Introduction
Hidizs is on the bandwagon of combining IEMS with a DSP cable with an integrated DAC-AMP that replaces the audio connector. With today's technology of reducing converter and amplifier devices, it is easy to combine these tasks. This is not the first model I have reviewed with this in mind. This time, it has an integrated microphone and is a more universal DAC/AMP, with 2Pin 0.78mm and MMCX terminations. As Hidizs comments, this cable was born as a response to the limitations of the Bluetooth system in terms of power, high resolution audio, better sound quality, compatibility with many more devices without the need of a Bluetooth emitter, etc. The Hidizs ST2 PRO Nebula cable has the ES9281AC PRO DAC chip, with a power of 70 mW at 32 Ω, a sensitivity of 108 dB and a very low distortion of only 0.0012 %. The advantages are obvious: higher power, zero latency, wider bandwidth (20 Hz-40 kHz), 32-bit resolution and support for PCM formats up to 384 kHz and native 64/128 DSD.
Along with this cable, capsules made of resin and aluminum alloy are supplied, incorporating a dual dynamic driver with a 10 mm PU+PEEK composite diaphragm. The IEMS have been tuned according to the H-2019 target curve for accurate audio response. They offer balanced tonality, powerful bass, rich mids and moderate high-frequency extension, meeting Hi-Res audio standards for a HiFi quality listening experience. HIDIZS liquid silicone earplugs are made of high permeability liquid silicone and feature an ergonomic design that fits perfectly in the ear canal. The custom pouch provided by HIDIZS ensures safe storage and extends the lifetime of the ST2 PRO Nebula without worry.
The Kickstarter launch date will be December 19, 2024, at 10:30 AM (EST):


Specifications


Packaging
The Hidizs ST2 PROs come in a nearly square black box measuring 114x104x38mm. On the main side you can see the Hidizs logo in the upper left corner and the ESS, DSD, MQA and Hi-Res Audio logos in the upper right corner. All this is printed with holographic ink. In the center is a realistic photo of the capsule. Below is the model name in large letters and a description in smaller letters, also in holographic ink. On the back side are the specifications of the set in several languages. Around the edges is more information, as well as a label with the model option, in this case transparent black. After opening the lid, the capsules are in a foam mold lined with black cardboard. At the top is a cloth strip so that the first layer can be removed. Underneath is a black plastic bag. The accessories are inside. At the bottom are two cards. In summary, the complete contents are as follows:
It still carries Hidizs' synthetic leather pouch instead of a zippered case, as is already the case with other, even more expensive, models that only include a set of accessories. But the USB Type-C to Type-A converter is appreciated. Good.


Construction and Design
The capsules have a semi-custom shape and are made of resin, except for the outer part and the mouthpieces, which are made of aluminum alloy. The resin is transparent, so you can see the inside, the wires and the driver. The 2-pin, 0.78 mm thick, oval-shaped connection plate is located on the bottom edge. On the edge, in silver ink, you can read “Hidizs Nebula” and the marking indicating the channel. The mouthpieces are metallic, golden and have three diameters: base (6.6 mm), central part (4.8 mm) and crown (6 mm), and an approximate height of 5.5 mm. There is a hole in the center of the inner face.
The DSP cable is constructed with four wires and 260 cores. It is composed of two braided strands with black and purple textile coating. The metal parts are dark gray and made of aluminum alloy (DAC/AMP sleeve, splitter piece, cylindrical microphone container and button). The DAC/AMP case is oval, flat and has windows through which you can see inside the circuitry. The top face reads MQA on the end opposite the USB Type-C connector. On this side there are several LEDs inside that allow to generate various colors. On the opposite side you can see the ES9281AC PRO chip. Resin has also been used for the transparent parts of this connector. The cable has over-ear guides thanks to a transparent semi-rigid sheath. The connector sleeve is made of slightly angled transparent plastic. The letters indicating the channel are embossed and almost imperceptible. The cable has a branded Velcro strap.
The design of the capsules is quite conventional, with a transparent resin, and the difference is in the external aluminum alloy plate on which the brand and its logo are displayed. On the other hand, I like that the cable has a textile covering that gives it a little more resistance, comfort and softness. The metal parts enhance the look of the DAC/AMP cable, as do the transparent windows that allow you to see inside the circuitry. Other details are the colored LEDs, the USB adapter and the cylinder with microphone and button, which make the product an all-in-one device to replace any Bluetooth system. The next step should be a background noise suppression system for the microphone.


Adjustment and Ergonomics
The most significant thing about the capsules is their low weight of only 7 grams. The semi-custom shape makes for a great fit, but the slightly thicker mouthpieces and the angle to the ear canal can make it difficult to choose the right tips. I have tried my large foam-filled tips with no problems. However, I have found that the sound profile calls for tips with a wider channel to gain clarity and lighten the bass. For this I have used ultra large blue silicone tips, with low profile and large inner core. A good seal is achieved, although the isolation level is not so high. The set is very comfortable, but with these silicone tips the fit can be a bit more critical, as small variations in position can alter the bass response. It is not the fault of the model, but it is true that with my big tips filled with homemade foam, I get a very high bass boost that alters the natural response of the set in an undesirable way. I have looked for alternatives like the Tangzu Tang Sancai Narrow Bore or the black Penon Liqueur Silicone Eartips, but the ones that have worked best for me are these, much cheaper (blue color) and all in extra large size.
https://es.aliexpress.com/item/1005004615505310.html


Sound
Profile
The Hidizs ST2 Pro are a cable-integrated DAC/AMP assembly plus IEMS with a classic V-profile. According to the website, their profile is aligned with the H-2019 target audience. In my opinion, the ST2 Pro's enhance more mid bass and less sub bass. It is also more noticeable in V, with a more sunken midrange and a somewhat steeper rise towards the treble. Then there is a slight area of control in the first treble and an extension that pales in the air area.
Overall, the set is somewhat more emphasized in the bass, with that wide curve in the low area. That's why I've looked for some tips to lower the lower zone and favor the clarity of the whole.

Bass
Bass presence can be noticeable with some tips, but it is an easily correctable problem. I have used low-profile, wide-channel tips to promote separation, clarity and transparency. In this way, the bass does not appear saturated or overly boomy. They offer a clear sense of texture and low-medium speed. They have a moderately compact punch with good retrieval. The bass is rounded, with a sub-bass that is neither too pronounced nor too deep. The low-mid bass is the protagonist, feeling powerful and wide. It has plenty of volume and occupies considerable space, almost with a tendency to overpower.
In the very low frequency pure tone test, the limited emphasis on the sub-bass is noticeable. The audible lower note is barely perceptible, both aurally and sensorially. This detracts from its depth and accentuates its more physical character, centered at 60 Hz. As frequencies rise, the bass becomes more powerful, with a subtle color and wave-like appearance. In reality, this translates into a bass with a rough surface, expansive, powerful and extended, more noticeable than dark and physically powerful, with an obvious and forceful punch.
In the dirty, unfiltered bass test, it is noticeable that the lightness of the sub-bass brings a bit more color than sensory physicality to the sound. In any case, control is better than expected despite the somewhat more conventional sonority of its V-profile. The level of resolution is somewhat limited, although it does its job well in following the bass lines. Its sound is rounder and less defined, which gives a feeling of powerful bass, although relatively simple and not too tight.


Mids
The midrange starts warm and with some strength marked by the extension of the bass. This gives it some physicality in the lower mids and a more powerful base. The rapid descent into V makes the male voices thinner. The sharper they are, the more remote they feel. There is that sense of central hollowness that characterizes this profile. However, the instruments are well represented and are perceived whole and full.
The level of resolution is still on the soft side, appearing more rounded, with a blunt profile, bringing a rather relaxed sense of musicality and with a visible level of macro detail. The central micro detail is perceived as compacted, very attached to the surface, implying a medium level of layering and not too much depth. This micro detail is intuited, but it is not defined in a particular way, but is part of a somewhat thicker and more cohesive line.
The female voices are closer, although their base is not as marked; it is somewhat the reverse of the male voices. However, they are also perceived as warm and round, without too many nuances and with a soft aspect that limits sibilance.
In summary, the mids are musically pleasing, somewhat depressed in their center, cohesive, without too much depth, but remarkably resolved at the macro level.


Treble
The treble begins with a high point, after a slight zone of control, and a second sparkle appears that brings vivacity and a somewhat sharp extension. The level of refinement is medium, relatively pleasant, not too marked, but with a more incisive edge at times. There is a great deal of energy, though it feels somewhat limited in the air zone, already showing drier and more compact. But, although that energy is not predominant in the mix, it is so that the whole does not appear dull, dark or dull. The upper zone has its own entity and shows that it exists on its own and not as a mere accompaniment to the whole. In this way, both the high notes themselves and their harmonic contribution benefit the ensemble.


Soundstage, Separation
What strikes me most about the sound of the ST2 Pro is the volume of the bass. This feature enhances the sense of spaciousness and extension of the soundstage. On the other hand, the layering is simply good, with somewhat cohesive and compact mids. Details are perceived on the surface, while smaller details in the background come closer to it and connect, losing some ability to describe themselves with more rigor and definition.
The scene has good laterality, a level of closeness of the volume more noticeable than the depth itself, and an adequate height. The image is eminently frontal, connected, harmonious and conjunctive, without too much sensation of individuality. In this way, a warm, musical, melodious and soft sensation prevails, which moves away from any forced over-definition. The result is a fairly natural level of separation, with a sense of luminosity, transparency and clarity sufficient to prevent the whole from becoming thick, dark or overly nuanced. I don't miss light, brightness or more transparency. It does lack a little more layering, layer generation and a more evident background.


Comparisons
KBEAR Robin
I like to compare IEMS with similar profiles. Although, in this case, it would have been more appropriate to make a comparison with the INTUAURA Reference 2019, the other IEMS that have a cable with a DAC/AMP. In fact, the Reference 2019 have a DSP that alters the original sound of the IEMS and fixes it to the Reference H2019. For their part, the ST2 Pro have a DSP DAC/AMP cable. The first difference is that both claim to be based on the H2019 curve. Who is closer to the H2019 curve? Judge for yourselves.

My real comparison will be against the KBEAR Robin, an IEMS that are somewhat cheaper than the final price of the Hidizs ST2 Pro set (estimated at $89). Both have a similar capsule, more classic and semi-custom in the Robin. As usual, KBEAR includes a zippered case and two sets of earplugs, though the cable is pretty basic. The Hidizs cable, excluding the DAC/AMP, has a better finish. However, Hidizs only includes a set of tips and a faux-leather pouch.
From an ergonomic standpoint, there should be many similarities, but I find the Robin's fit better and tighter.
As a dongle to play the KBEAR Robin I used the Hidizs SD2.
The Robins have a V profile with a W tendency. They have more sub-bass enhancement and a double peak in the upper mids and first treble.
The similarity in bass is high, as can be seen in the frequency response of both IEMS. The difference lies in the greater presence of sub-bass in the Robins. The bass is large and voluminous in both models. They both have that slightly slower bass style with a longer recovery. It seems darker in the Hidizs, but has more impact and punch in the Robins.
The midrange is also very similar, with a similar transition from bass to midrange, as well as the same valley. Although the Hidizs are a bit darker, I find the male vocals crisper and better defined on the ST2 Pros. The upper mids have more overall energy in the Hidizs, despite that 2 kHz peak in the Robins. This is noticeable in that the ST2 Pro model is subtly more sibilant. However, female vocals seem to have a bit more prominence in the Robins, while there is a sense of overall darkness in the Hidizs, although you could also call it softness.
In the upper range, the highs of the Robins are somewhat softer and less bright. In contrast, I find the treble of the Hidizs to be more natural, distinct, bright, crisp, and realistic. They also have better extension, air and sparkle.
The Robins have a bit more definition, especially in the midrange, with a bit more clarity. The Hidizs are smoother, warmer and more mellow. The greater sense of depth and closer mids make the Robin's soundstage seem a bit larger.

Conclusion
I think Hidizs has joined the new trend of USB DSP cables with integrated DAC/AMP. As smartphones move away from supplying 3.5mm audio output, this new set will become more relevant, especially if the integrated DAC/AMP is as adequate as the ES9281AC PRO. The cable includes microphone and a control button, so it is all-in-one and can be used with any mobile device. The cable can be purchased individually with 2-pin 0.78mm or MMCX interface and is compatible with any IEM on the market that incorporates these connection interfaces.
In this review, the cable is accompanied by IEMS with a V-profile. These are very lightweight capsules, with a dual dynamic driver with a 10mm PU+PEEK composite diaphragm. Their sound is characterized by punchy bass, warm and smooth mids, and bright and energetic highs. The starting price has been set at $39, and on the second pass it will be $49. For that price, the set is excellent.


Sources Used During the Analysis



Purchase Link

You can read the full review in Spanish here

Hidizs is on the bandwagon of combining IEMS with a DSP cable with an integrated DAC-AMP that replaces the audio connector. With today's technology of reducing converter and amplifier devices, it is easy to combine these tasks. This is not the first model I have reviewed with this in mind. This time, it has an integrated microphone and is a more universal DAC/AMP, with 2Pin 0.78mm and MMCX terminations. As Hidizs comments, this cable was born as a response to the limitations of the Bluetooth system in terms of power, high resolution audio, better sound quality, compatibility with many more devices without the need of a Bluetooth emitter, etc. The Hidizs ST2 PRO Nebula cable has the ES9281AC PRO DAC chip, with a power of 70 mW at 32 Ω, a sensitivity of 108 dB and a very low distortion of only 0.0012 %. The advantages are obvious: higher power, zero latency, wider bandwidth (20 Hz-40 kHz), 32-bit resolution and support for PCM formats up to 384 kHz and native 64/128 DSD.
Along with this cable, capsules made of resin and aluminum alloy are supplied, incorporating a dual dynamic driver with a 10 mm PU+PEEK composite diaphragm. The IEMS have been tuned according to the H-2019 target curve for accurate audio response. They offer balanced tonality, powerful bass, rich mids and moderate high-frequency extension, meeting Hi-Res audio standards for a HiFi quality listening experience. HIDIZS liquid silicone earplugs are made of high permeability liquid silicone and feature an ergonomic design that fits perfectly in the ear canal. The custom pouch provided by HIDIZS ensures safe storage and extends the lifetime of the ST2 PRO Nebula without worry.
The Kickstarter launch date will be December 19, 2024, at 10:30 AM (EST):
- ST2 PRO Nebula (Super Early Bird): $39.00 (limited to 500 units).
- ST2 PRO Nebula (Early Bird): $49.00.
- ST2 PRO Nebula USB-C DSP 0.78mm 2-pin/MMCX Headphone Cable (Early Bird): $36.00


Specifications
- Driver Type: Dual dynamic with 10mm PU+PEEK composite diaphragm.
- Frequency Response: 20Hz-40kHz
- Sensitivity: 108dB
- Impedance: 32Ω
- IEM design: resin + aluminum alloy engraving.
- Connector cable: USB Type-C.
- IEMS capsule connection type: 2Pin 0.78mm.
- Cable connection type: Choice of 2Pin 0.78mm/MMCX.
- Weight: 7 grams approx. (excluding headphone cable).
- Cable weight: 16 grams approx.
- Cable color: Silver-Gray/Black-Blue.
- IEMS color: Transparent white/transparent black.
- Cable DAC: ES9281AC PRO
- Chip Architecture: HyperStream®II QUAD DACTM Architecture
- Resolution: 32-bit.
- Sampling Rate: PCM 32-bit/384 kHz. Native DSD 64/128.
- MQA support.
- Distortion: 0.0012%.
- SNR: 118 dB.
- DNR: 122 dB.
- Separation: 63 dB.
- Output power: Up to 70mW+70mW at 32Ω.
- Plug type: USB-C (Type-C/ USB Type-C) (Only compatible with iPhone 15 and later models) (Compatible with 99% of devices with USB-C output port).
- DAC case material: Aluminum alloy + transparent resin.
- Cable core material: High purity oxygen-free copper.
- Cable splitter piece: Aluminum alloy.
- Cable sheathing: Textile yarn.
- Cable core specifications: 4 Wires 260 Cores.
- Diameter: 4mm.
- Length: 1.2m.


Packaging
The Hidizs ST2 PROs come in a nearly square black box measuring 114x104x38mm. On the main side you can see the Hidizs logo in the upper left corner and the ESS, DSD, MQA and Hi-Res Audio logos in the upper right corner. All this is printed with holographic ink. In the center is a realistic photo of the capsule. Below is the model name in large letters and a description in smaller letters, also in holographic ink. On the back side are the specifications of the set in several languages. Around the edges is more information, as well as a label with the model option, in this case transparent black. After opening the lid, the capsules are in a foam mold lined with black cardboard. At the top is a cloth strip so that the first layer can be removed. Underneath is a black plastic bag. The accessories are inside. At the bottom are two cards. In summary, the complete contents are as follows:
- 1 ST2 PRO.
- 3 pairs of ergonomic white silicone ear cushions, sizes SxMxL.
- 1 USB-C to USB-A adapter.
- 1 HIDIZS bag.
- User manual.
- Warranty Card.
- Product Quality Certificate.
It still carries Hidizs' synthetic leather pouch instead of a zippered case, as is already the case with other, even more expensive, models that only include a set of accessories. But the USB Type-C to Type-A converter is appreciated. Good.


Construction and Design
The capsules have a semi-custom shape and are made of resin, except for the outer part and the mouthpieces, which are made of aluminum alloy. The resin is transparent, so you can see the inside, the wires and the driver. The 2-pin, 0.78 mm thick, oval-shaped connection plate is located on the bottom edge. On the edge, in silver ink, you can read “Hidizs Nebula” and the marking indicating the channel. The mouthpieces are metallic, golden and have three diameters: base (6.6 mm), central part (4.8 mm) and crown (6 mm), and an approximate height of 5.5 mm. There is a hole in the center of the inner face.
The DSP cable is constructed with four wires and 260 cores. It is composed of two braided strands with black and purple textile coating. The metal parts are dark gray and made of aluminum alloy (DAC/AMP sleeve, splitter piece, cylindrical microphone container and button). The DAC/AMP case is oval, flat and has windows through which you can see inside the circuitry. The top face reads MQA on the end opposite the USB Type-C connector. On this side there are several LEDs inside that allow to generate various colors. On the opposite side you can see the ES9281AC PRO chip. Resin has also been used for the transparent parts of this connector. The cable has over-ear guides thanks to a transparent semi-rigid sheath. The connector sleeve is made of slightly angled transparent plastic. The letters indicating the channel are embossed and almost imperceptible. The cable has a branded Velcro strap.
The design of the capsules is quite conventional, with a transparent resin, and the difference is in the external aluminum alloy plate on which the brand and its logo are displayed. On the other hand, I like that the cable has a textile covering that gives it a little more resistance, comfort and softness. The metal parts enhance the look of the DAC/AMP cable, as do the transparent windows that allow you to see inside the circuitry. Other details are the colored LEDs, the USB adapter and the cylinder with microphone and button, which make the product an all-in-one device to replace any Bluetooth system. The next step should be a background noise suppression system for the microphone.


Adjustment and Ergonomics
The most significant thing about the capsules is their low weight of only 7 grams. The semi-custom shape makes for a great fit, but the slightly thicker mouthpieces and the angle to the ear canal can make it difficult to choose the right tips. I have tried my large foam-filled tips with no problems. However, I have found that the sound profile calls for tips with a wider channel to gain clarity and lighten the bass. For this I have used ultra large blue silicone tips, with low profile and large inner core. A good seal is achieved, although the isolation level is not so high. The set is very comfortable, but with these silicone tips the fit can be a bit more critical, as small variations in position can alter the bass response. It is not the fault of the model, but it is true that with my big tips filled with homemade foam, I get a very high bass boost that alters the natural response of the set in an undesirable way. I have looked for alternatives like the Tangzu Tang Sancai Narrow Bore or the black Penon Liqueur Silicone Eartips, but the ones that have worked best for me are these, much cheaper (blue color) and all in extra large size.
https://es.aliexpress.com/item/1005004615505310.html


Sound
Profile
The Hidizs ST2 Pro are a cable-integrated DAC/AMP assembly plus IEMS with a classic V-profile. According to the website, their profile is aligned with the H-2019 target audience. In my opinion, the ST2 Pro's enhance more mid bass and less sub bass. It is also more noticeable in V, with a more sunken midrange and a somewhat steeper rise towards the treble. Then there is a slight area of control in the first treble and an extension that pales in the air area.
Overall, the set is somewhat more emphasized in the bass, with that wide curve in the low area. That's why I've looked for some tips to lower the lower zone and favor the clarity of the whole.

Bass
Bass presence can be noticeable with some tips, but it is an easily correctable problem. I have used low-profile, wide-channel tips to promote separation, clarity and transparency. In this way, the bass does not appear saturated or overly boomy. They offer a clear sense of texture and low-medium speed. They have a moderately compact punch with good retrieval. The bass is rounded, with a sub-bass that is neither too pronounced nor too deep. The low-mid bass is the protagonist, feeling powerful and wide. It has plenty of volume and occupies considerable space, almost with a tendency to overpower.
In the very low frequency pure tone test, the limited emphasis on the sub-bass is noticeable. The audible lower note is barely perceptible, both aurally and sensorially. This detracts from its depth and accentuates its more physical character, centered at 60 Hz. As frequencies rise, the bass becomes more powerful, with a subtle color and wave-like appearance. In reality, this translates into a bass with a rough surface, expansive, powerful and extended, more noticeable than dark and physically powerful, with an obvious and forceful punch.
In the dirty, unfiltered bass test, it is noticeable that the lightness of the sub-bass brings a bit more color than sensory physicality to the sound. In any case, control is better than expected despite the somewhat more conventional sonority of its V-profile. The level of resolution is somewhat limited, although it does its job well in following the bass lines. Its sound is rounder and less defined, which gives a feeling of powerful bass, although relatively simple and not too tight.


Mids
The midrange starts warm and with some strength marked by the extension of the bass. This gives it some physicality in the lower mids and a more powerful base. The rapid descent into V makes the male voices thinner. The sharper they are, the more remote they feel. There is that sense of central hollowness that characterizes this profile. However, the instruments are well represented and are perceived whole and full.
The level of resolution is still on the soft side, appearing more rounded, with a blunt profile, bringing a rather relaxed sense of musicality and with a visible level of macro detail. The central micro detail is perceived as compacted, very attached to the surface, implying a medium level of layering and not too much depth. This micro detail is intuited, but it is not defined in a particular way, but is part of a somewhat thicker and more cohesive line.
The female voices are closer, although their base is not as marked; it is somewhat the reverse of the male voices. However, they are also perceived as warm and round, without too many nuances and with a soft aspect that limits sibilance.
In summary, the mids are musically pleasing, somewhat depressed in their center, cohesive, without too much depth, but remarkably resolved at the macro level.


Treble
The treble begins with a high point, after a slight zone of control, and a second sparkle appears that brings vivacity and a somewhat sharp extension. The level of refinement is medium, relatively pleasant, not too marked, but with a more incisive edge at times. There is a great deal of energy, though it feels somewhat limited in the air zone, already showing drier and more compact. But, although that energy is not predominant in the mix, it is so that the whole does not appear dull, dark or dull. The upper zone has its own entity and shows that it exists on its own and not as a mere accompaniment to the whole. In this way, both the high notes themselves and their harmonic contribution benefit the ensemble.


Soundstage, Separation
What strikes me most about the sound of the ST2 Pro is the volume of the bass. This feature enhances the sense of spaciousness and extension of the soundstage. On the other hand, the layering is simply good, with somewhat cohesive and compact mids. Details are perceived on the surface, while smaller details in the background come closer to it and connect, losing some ability to describe themselves with more rigor and definition.
The scene has good laterality, a level of closeness of the volume more noticeable than the depth itself, and an adequate height. The image is eminently frontal, connected, harmonious and conjunctive, without too much sensation of individuality. In this way, a warm, musical, melodious and soft sensation prevails, which moves away from any forced over-definition. The result is a fairly natural level of separation, with a sense of luminosity, transparency and clarity sufficient to prevent the whole from becoming thick, dark or overly nuanced. I don't miss light, brightness or more transparency. It does lack a little more layering, layer generation and a more evident background.


Comparisons
KBEAR Robin
I like to compare IEMS with similar profiles. Although, in this case, it would have been more appropriate to make a comparison with the INTUAURA Reference 2019, the other IEMS that have a cable with a DAC/AMP. In fact, the Reference 2019 have a DSP that alters the original sound of the IEMS and fixes it to the Reference H2019. For their part, the ST2 Pro have a DSP DAC/AMP cable. The first difference is that both claim to be based on the H2019 curve. Who is closer to the H2019 curve? Judge for yourselves.

My real comparison will be against the KBEAR Robin, an IEMS that are somewhat cheaper than the final price of the Hidizs ST2 Pro set (estimated at $89). Both have a similar capsule, more classic and semi-custom in the Robin. As usual, KBEAR includes a zippered case and two sets of earplugs, though the cable is pretty basic. The Hidizs cable, excluding the DAC/AMP, has a better finish. However, Hidizs only includes a set of tips and a faux-leather pouch.
From an ergonomic standpoint, there should be many similarities, but I find the Robin's fit better and tighter.
As a dongle to play the KBEAR Robin I used the Hidizs SD2.
The Robins have a V profile with a W tendency. They have more sub-bass enhancement and a double peak in the upper mids and first treble.
The similarity in bass is high, as can be seen in the frequency response of both IEMS. The difference lies in the greater presence of sub-bass in the Robins. The bass is large and voluminous in both models. They both have that slightly slower bass style with a longer recovery. It seems darker in the Hidizs, but has more impact and punch in the Robins.
The midrange is also very similar, with a similar transition from bass to midrange, as well as the same valley. Although the Hidizs are a bit darker, I find the male vocals crisper and better defined on the ST2 Pros. The upper mids have more overall energy in the Hidizs, despite that 2 kHz peak in the Robins. This is noticeable in that the ST2 Pro model is subtly more sibilant. However, female vocals seem to have a bit more prominence in the Robins, while there is a sense of overall darkness in the Hidizs, although you could also call it softness.
In the upper range, the highs of the Robins are somewhat softer and less bright. In contrast, I find the treble of the Hidizs to be more natural, distinct, bright, crisp, and realistic. They also have better extension, air and sparkle.
The Robins have a bit more definition, especially in the midrange, with a bit more clarity. The Hidizs are smoother, warmer and more mellow. The greater sense of depth and closer mids make the Robin's soundstage seem a bit larger.

Conclusion
I think Hidizs has joined the new trend of USB DSP cables with integrated DAC/AMP. As smartphones move away from supplying 3.5mm audio output, this new set will become more relevant, especially if the integrated DAC/AMP is as adequate as the ES9281AC PRO. The cable includes microphone and a control button, so it is all-in-one and can be used with any mobile device. The cable can be purchased individually with 2-pin 0.78mm or MMCX interface and is compatible with any IEM on the market that incorporates these connection interfaces.
In this review, the cable is accompanied by IEMS with a V-profile. These are very lightweight capsules, with a dual dynamic driver with a 10mm PU+PEEK composite diaphragm. Their sound is characterized by punchy bass, warm and smooth mids, and bright and energetic highs. The starting price has been set at $39, and on the second pass it will be $49. For that price, the set is excellent.


Sources Used During the Analysis
- PC Windows 10.
- Hidizs AP80 PRO-X Red Copper LE


Hidizs offered me this model, in exchange for writing an honest review. I want to make it clear that all my opinions written in this review have not been conditioned by this fact, nor will I ever write anything that I do not really think or feel here. I will only write about my personal opinion in relation to the revised product.

Purchase Link

You can read the full review in Spanish here

cqtek
1000+ Head-Fier
Pros: Simple design, stellar construction and presentation.
- Ultra-natural, analog bass with great texture.
- Superb mids, tremendously musical and slightly prominent.
- Rich and exciting micro detail.
- Extensive and very coherent sound.
- Superior sound at the height of desktop equipment of the same value, even higher.
- It has the best technologies of the brand.
- Enormous amount of power.
- Very good accessory cables and beautiful leather case.
- Ultra-natural, analog bass with great texture.
- Superb mids, tremendously musical and slightly prominent.
- Rich and exciting micro detail.
- Extensive and very coherent sound.
- Superior sound at the height of desktop equipment of the same value, even higher.
- It has the best technologies of the brand.
- Enormous amount of power.
- Very good accessory cables and beautiful leather case.
Cons: As it does not have a screen, the handling of so many functions can be somewhat complex.
- It does not support the highest resolution formats.
- High power consumption for connection to a DAP.
- It heats up a little when it is demanded.
- The IEMatch switch is a little loose.
- High weight for a dongle.
- Surface susceptible to fingerprints and scratches.
- High price.
- It does not support the highest resolution formats.
- High power consumption for connection to a DAP.
- It heats up a little when it is demanded.
- The IEMatch switch is a little loose.
- High weight for a dongle.
- Surface susceptible to fingerprints and scratches.
- High price.
Introduction
Since 2012, iFi, the Southport (UK) based brand with distribution center in the USA, has developed more than 50 products. iFi sources parts from all over the world (Germany, USA, Japan, etc.) to offer the highest quality in all its electronic products (TDK C0G (Class 1) ceramic capacitors, Panasonic OS-CON capacitors, tantalum capacitors, muRata control type high Q and low ESR multilayer multilayer capacitors, etc.).
In its own words, the iFi GO Bar Kensei is similar to a legendary sword meticulously forged for a kensei. Embodying the dedication of a master swordsman, we focus on purity, balance and refinement to reveal the true essence of his music. Kensei is a Japanese term that translates to “saint of the sword” in English, a title bestowed upon the elite who elevate the art of swordsmanship beyond the best masters. With cutting-edge Japanese audio processing technology, K2HD, and enhanced power supply and clock circuitry, the Kensei represents the pinnacle of our journey of refinement in the GO bar range.”
The GO bar Kensei features K2HD technology developed by Victor Studio (JVCKENWOOD) engineers. K2 technology revives the rich, natural harmonics of digital sound, revitalizing the sound of studio recordings.
For this occasion, the iFi GO bar Kensei iFi GO bar features analog circuitry with a balanced design and a symmetrical two-channel output stage. It also has four digital filters and two analog processing modes (Bit Perfect, GTO, Minimum Phase, Standard, XBass+ and XSpace). The 32-bit Cirrus Logic DAC section of the GO bar Kensei uses a powerful 16-core XMOS microcontroller to process audio data received at the USB input. The precision GMT (Global Master Timing) clocking system ensures ultra-low jitter.
The GO Bar Kensei is made of Japanese stainless steel for maximum rigidity. It incorporates two power adjustment technologies: iEMatch for high-sensitivity IEM and Turbo mode for high-power headphones. iFi's unique 3.5 mm S-Balanced* technology reduces crosstalk and noise by 50% compared to standard single-ended headphones.
Finally, it is worth noting that iFi prides itself on being an environmentally friendly company.
Firmware v1.6A has been used for the following review.




Specifications



Packaging
The iFi GO Bar Kensei comes in a medium-sized, white-backed box with dimensions 137 x 96 x 64 mm. In the top left corner is a pair of kanji, in the top center is the brand name in gray and in the top right corner is the Hi-Res Audio logo. In the center of this side is the actual picture of the dongle. Below is the product name and a brief description. On the back, top left, is the product logo. The rest is gray text. It starts with a short introduction about the reasons for using the word Kensei. Then it lists the main features of the product: content, connectivity, specifications, brand signatures and standards it meets. On one side are all the logos of the technologies used and, on the other, a real side picture of the bar. Opening the box reveals a bamboo wood box with a sliding lid. Inside is a quick guide card with the bar's connections that protects the Kensei itself, which is inside a thick black foam mold. In the second layer is the leather carrying case. The complete contents are as follows:
The presentation with the bamboo case is top notch, as is the black leather belt holster. The inner recess is designed to hold at least one adapter cable, although it really does fold up a lot. The GO Bar Kensei is protected by a sheet of paper to prevent scratches.



Construction and Design
The GO Bar Kensei is a Japanese stainless steel bar measuring 65 x 22 x 13.2 mm. Its weight is 65.5 g. Its shape is rectangular and elongated. On the upper face it has two small sharp edges on both sides. On the upper side are the brand logo, the two kanji, the model name and the sticker with the Hi-Res Audio logo. On the rear face are the LEDs indicating the playback formats, as well as the LEDs indicating the filters or modes used. The bar is divided into two parts: a sleeve and the lower cover containing the LEDs. On the upper edge is the USB-C input connection. On the underside are the two audio outputs: one 4.4 mm (BAL) and one 3.5 mm (SE). As usual, the BAL output is gold-plated, while the SE is plastic. At the base there is a small black Torx screw. On one side there is only a white sticker with a QR code. On the other side are the IEMatch controls, two buttons for volume and the mode button.
The two cables are of the same type. The oval, black, plastic sleeve that protects the connections is of the same type. The cable is covered with a gold braided textile fabric. The USB-C to USB-A adapter is metallic and black in color, and bears the brand logo in white lettering.
Without a doubt, this bar is on the larger and heavier end of my dongle collection. You notice its stainless steel construction and its almost minimalist and sober design, with a scratch-sensitive surface. In order to use it, the normal position is upside down, with the flat side containing the LEDs facing up.
The GO Bar Kensei looks like a desktop dongle, rather than a dongle for everyday or street use.



Connectivity
The GO bar Kensei is compatible with Apple cell phones, Mac tablets and other IOS systems. It is also compatible with Android and Windows systems. From Windows 10 onwards no drivers are required. It has ASIO drivers that can be downloaded from iFi's own website.



Operativity
The truth is that the GO Bar Kensei has many additional features, such as IEMatch. Its function is to reduce the output level, so that even the most sensitive IEMs can be matched to the GO Bar Kensei. It has three positions: the center one is disabled and can be activated for both the 4.4mm BAL output and the 3.5mm SE. To tell the truth, this switch seems to me a little sensitive and with little travel, it gives the feeling of being somewhat “loose”.
The volume can be synchronized with the volume of the connected mobile or computer. If synchronization is enabled, the connected device will indicate a volume change on its display.
By default, the synchronization function is disabled. To activate or deactivate it, press the button for more than 8 seconds. Activation is indicated by the six white LEDs lighting up. In that order, from the PCM LED to the center.
Turbo mode increases the gain by 6 dB. To activate or deactivate it, press the volume + and - buttons at the same time for more than 2 seconds. Turbo mode is activated when the 2 white LEDs (K2HD - DSD) are lit. Normal gain is indicated by 6 white LEDs (K2HD - PCM), which decrease to two and light up for two seconds.
Pressing the mode button (short press) toggles between Off > XSpace > XBass+ > XSpace and XBass+.
To enter the digital filter setting mode, press and hold the mode button for ≥3 s. The MQA LED will flash with the color of the currently set digital filter. Pressing the - button changes the filter selection. A short press of the mode button will select and exit the filter setting mode.
To activate the K2HD mode, the mode button must be held down for ≥3 s, after the MQA LED starts flashing. Then press the + button and the K2HD LED will light up to indicate that K2HD is activated.
Filters:
Sound effects:
K2HD LED
MQA



Measures
According to the specifications the GO bar Kensei can provide:
It should be remembered that my measurements are based on finding a pure response over the entire frequency range and not just the pure 1kHz tone.
As a general rule, my measurements fall a bit short of what is specified. But there can be many factors for this to be the case. For measurements I have used the Kensei connected to several DAPS with very similar results. But the current delivery may not be the maximum.
I could see that some filters alter the frequency response for high tones, such as the Bit Perfect filter.

On the other hand, the output impedance is really low and almost tends to zero (without using the IEMatch).
Finally, I have not made measurements with the IEMatch on as it is an output attenuator.
The Standard filter has been used for the measurements. I have checked that the use of K2HD mode does not affect the power.


SE No load
At no load the maximum RMS output for low gain is 2V and 3.8V for high gain.


SE 15Ω
1,474VRMS for 15Ω, which means a current of 98.3mA and 140mW. Surpassing the mythical 90mA barrier.

SE 33Ω
This is where the discrepancies begin. According to the specifications, 3.1VRMS should be reached. My maximum measurement at 1khz has been 3VRMS, but that measurement is not reached for the whole frequency range, as distortion is observed in the pure tones. The maximum measured voltage without visible distortion for the whole range has been 2.651VRMS, which means a power of 210mW and a current of 80mA. Somewhat off the specification.


SE 100Ω
Surprise for 100Ω, the maximum voltage of 3.8V is not reached, but remains at 3.354VRMS, with 110mW and 33.5mA.

BAL No load
At no load the maximum RMS output for low gain is 4V and 7.535V for high gain.


BAL 15Ω
As I have seen in other dongles, the output for 15Ω by BAL is less powerful than by SE. 1.323VRMS, which is 120mmW and 88.2mA.

BAL 33Ω
3,562VRMS for 33Ω, which implies a current of 110mA and 380mW. 477mW and 120mA are specified. It falls 10mA and 0.35V short of reaching that figure. Not bad at all because it is a very high value.

BAL 100Ω
5,673VRMS for 100Ω, which means a current of 57mA and 320mW. Again, very high values for a dongle.

Frequency Response
Flat response in the audible frequency range. Only 0.5dB loss at 5Hz, however there is a slight gain at 40kHz.
With the Xbass+ enabled a gain of 8.5dB at 20Hz is achieved, which becomes 4dB at 50Hz and 0.5dB at 200Hz. You notice a fairly steep roll-off and a good job of gaining depth without bloating the mid bass. I like it.
The XSpace filter generates a sustained 5dB drop at 20Hz up to 100Hz, crosses through zero at 1kHz and gradually rises to 3dB at the 20kHz figure.
With both filters at the same time the subwoofer at 20Hz rises to 60dB, but drops 2dB at the 200Hz figure to match the XSpace curve above 1khz.



Sound
As is often the case, the various filters make very little difference. It is true that they exist, but it is difficult to explain the changes in words; they seem more like very subjective sensations.
For the sound review, I used the Standard filter without K2HD activated.
The first thing that makes me feel the GO Bar Kensei is that its sound moves away from that of any conventional dongle and resembles that of any desktop in its price range. I don't have any dongle that can compete on the same level. The Aune Yuki does not generate as good bass as the GO Bar Kensei, and neither does the EPZ TP50.
On a comparative level, the pure tones of the Kensei are very realistic, very analog, with no wave character, which gives it great realism and depth. Compared to other dongles, these generate more oscillations that are less realistic and more noticeable at the sub-bass end. The very low frequency tones appear more natural, colorless and without artifacts that spoil their behavior or sonority. It is the best dongle I have tested in the very low frequency pure tone test. And, of course, the translation to bass response could not be otherwise. Having no wave character, the bass is very restrained, very tight and concise. They are dry and relatively dark, with a very high level of precision, resolution and detail. The Kensei really knows how to extract the best bass from headphones.
En la prueba de graves sucios, mal grabados y sin filtrar, se mantiene la naturalidad y el control por encima de todo. El Kensei sabe cómo mantener los graves en su feudo sin que la sonoridad ni el timbre se vean afectados. Sobresaliente.
I mentioned that the bass is excellent, but the Kensei has the virtue of boosting vocals without being midcentric. In that sense, the GTO filter can be useful. Textually, this filter enhances the detail and density of the sound, especially suitable for vocal tracks. But, in reality, the Kensei is like that by nature. The mids are perceived dense, close and very present, with a certain sense of intimacy, without implying tightness or overwhelming. It also feels sweeter and softer, more analog. Vocals are more velvety, more textured, and move away from the smoothness they present with other dongles or even other desktop DACs/AMPs. And this is where the classic iFi sound comes into play: warm, rich, organic and highly textured, coming across as very analog and engaging, exciting and lush. It is possible that the notes are a bit thicker and their weight heavier, hence the density and texture are predominant in the sound. But that only enhances the impression made by the mids. The midrange moves away from dryness and becomes more focused or analytical. It becomes clear that the mids are profuse, plethoric and very full, highly enjoyable. They move away from any bland or purely informative impression to become much more expressive and exciting. And that is the true paradigm of iFi sound that the brand has achieved with this Kensei dongle.
It could be said that the nature of the Kensei allows the personality of the connected headphones to be expressed. The Kensei does not make all headphones connected to it warm. It is true that it favors and brings out the potential of softer headphones, enhancing those characteristics. But those that are cooler or more analytical also benefit from its level of transparency and resolution. The richness of the sound and all its details are also demonstrated on the other side of the scale. The Kensei does not shy away from a stark or harsh presentation, but instead comes across as softer and more musical, with nicer, rounder edges and profiles. But that doesn't detract from the treble's fuller, even subtly extolled response. The musicality of the ensemble makes the treble come across as more joined-up and harmonious, coming to sound like one long, wide piece. It loses that more focused, individual and concrete feeling, in which each note seems to have its own representation, to sound in a more natural, organic and combined way. All this, while maintaining the definition, clarity, transparency and level of resolution that the Kensei treasures, as can be seen in the frequency response graph, in which a slight emphasis of the harmonics is noted above 20 kHz.
The Kensei's stage is very large for a dongle. The layering capability and the thorough breakdown of background detail are on par with, or even above, the best desktop systems. It is impressive how the Kensei can compete on equal or superiority with desktop systems of the same price point. Despite this level of musicality, the Kensei does not shy away from being explicit with micro-details, displaying them in a precise, elegant, natural, realistic and analog way. The ability to delve into the depths of the sound is one of the virtues that I have most enjoyed about this equipment. But, above all, its differential expression stands out, far from any cold, profiled and over marked representation. The Kensei knows how to breathe life and passion into that micro-detail, generating musicality from the smallest elements. From there, the sound expands and fills the soundstage coherently, big, but without overflowing. The sound is broad, but also dense, full and enveloping. The sense of laterality and height is immediate. The sound immediately passes over the head and surrounds it, but without losing the sense of attachment and blending of all the notes together. It is not a gaseous and ethereal sound, but rather a powerful and extensive one, which expands thanks to its capacity for depth, prolongation, dilation and propagation of the notes. In this way, the recreated image appears very realistic, even close at times. But it is also full of life.



Conclusion
I can't say for sure that the iFi Go Bar Kensei is the best dongle on the market, but it is the best I have tried. It is true that it is also the most expensive, but its sound and all its special features can justify this price. Starting from the premise that it is a special edition, made of Japanese stainless steel, and presented with the refinement that this level of construction deserves, ifi has wanted to provide this dongle with all the particularities of its best equipment: IEMatch for both outputs, the best electronic components, K2HD technology, XBass+, XSpace, four sound filters, S-Balanced technology for its 3.5 mm output and a huge amount of power to move practically everything. And the best part is that all those special properties do work when it comes to expressing the best sound, the trademark of the house. The sound of the Kensei is big, analog, realistic, natural, organic, powerful and expansive, as well as terrifically musical, expressive and, of course, warm, smooth, highly enjoyable, engaging and enveloping. It is a real pleasure for the ears and also a headache for other desktop devices of the same price. I think the EISA award for best product of 2024-2025 in the compact DAC category is undoubted.



Earphones and Sources Used During Analysis



Since 2012, iFi, the Southport (UK) based brand with distribution center in the USA, has developed more than 50 products. iFi sources parts from all over the world (Germany, USA, Japan, etc.) to offer the highest quality in all its electronic products (TDK C0G (Class 1) ceramic capacitors, Panasonic OS-CON capacitors, tantalum capacitors, muRata control type high Q and low ESR multilayer multilayer capacitors, etc.).
In its own words, the iFi GO Bar Kensei is similar to a legendary sword meticulously forged for a kensei. Embodying the dedication of a master swordsman, we focus on purity, balance and refinement to reveal the true essence of his music. Kensei is a Japanese term that translates to “saint of the sword” in English, a title bestowed upon the elite who elevate the art of swordsmanship beyond the best masters. With cutting-edge Japanese audio processing technology, K2HD, and enhanced power supply and clock circuitry, the Kensei represents the pinnacle of our journey of refinement in the GO bar range.”
The GO bar Kensei features K2HD technology developed by Victor Studio (JVCKENWOOD) engineers. K2 technology revives the rich, natural harmonics of digital sound, revitalizing the sound of studio recordings.
For this occasion, the iFi GO bar Kensei iFi GO bar features analog circuitry with a balanced design and a symmetrical two-channel output stage. It also has four digital filters and two analog processing modes (Bit Perfect, GTO, Minimum Phase, Standard, XBass+ and XSpace). The 32-bit Cirrus Logic DAC section of the GO bar Kensei uses a powerful 16-core XMOS microcontroller to process audio data received at the USB input. The precision GMT (Global Master Timing) clocking system ensures ultra-low jitter.
The GO Bar Kensei is made of Japanese stainless steel for maximum rigidity. It incorporates two power adjustment technologies: iEMatch for high-sensitivity IEM and Turbo mode for high-power headphones. iFi's unique 3.5 mm S-Balanced* technology reduces crosstalk and noise by 50% compared to standard single-ended headphones.
Finally, it is worth noting that iFi prides itself on being an environmentally friendly company.
Firmware v1.6A has been used for the following review.




Specifications
- Input: USB-C.
- Formats: PCM 44.1/48/88.2/96/176.4/192/352.8/384 kHz. DSD 2.8/3.1/5.6/6.1/11.3/12.3MHz. DXD 352.8/384 kHz.
- Full MQA decoder.
- DAC: Bit-Perfect DSD & DXD DAC by Cirrus Logic.
- Headphone output. BAL 4.4mm. S-BAL 3.5mm.
- Output power (RMS): Balanced 477mW@32Ω; 7.2V@600Ω. S-Bal 300mW@32Ω; 3.8V@600Ω.
- Output impedance: ≤1Ω (≤3.6 Ω with iEMatch enabled).
- SNR: 132dB(A) / 121dB(A) (BAL/S-BAL) (With intelligent muting enabled ).
- SNR: 114 dB(A) / 114 dB(A) (BAL/S-BAL).
- DNR: 108dB(A) / 109dB(A) (BAL/S-BAL).
- THD+N: Balanced ≤0.0025% (600Ω 2V) @ (20-20KHz). S-Bal ≤0.009% (16Ω 1.27V) @ (20-20KHz).
- Frequency response: 20Hz-70kHz (-3dB).
- Power consumption: <4W max.
- Dimensions: 65x22x13.2mm.
- Weight: 65.5g (2.3 oz).
- Warranty period 12 months.
- Price at time of review: $449.



Packaging
The iFi GO Bar Kensei comes in a medium-sized, white-backed box with dimensions 137 x 96 x 64 mm. In the top left corner is a pair of kanji, in the top center is the brand name in gray and in the top right corner is the Hi-Res Audio logo. In the center of this side is the actual picture of the dongle. Below is the product name and a brief description. On the back, top left, is the product logo. The rest is gray text. It starts with a short introduction about the reasons for using the word Kensei. Then it lists the main features of the product: content, connectivity, specifications, brand signatures and standards it meets. On one side are all the logos of the technologies used and, on the other, a real side picture of the bar. Opening the box reveals a bamboo wood box with a sliding lid. Inside is a quick guide card with the bar's connections that protects the Kensei itself, which is inside a thick black foam mold. In the second layer is the leather carrying case. The complete contents are as follows:
- The iFi GO bar Kensei.
- USB-C OTG cable.
- USB-C to Lightning cable.
- USB-C to USB-A adapter.
- Leather carrying case.
- Quick guide card.
- Instruction manual.
The presentation with the bamboo case is top notch, as is the black leather belt holster. The inner recess is designed to hold at least one adapter cable, although it really does fold up a lot. The GO Bar Kensei is protected by a sheet of paper to prevent scratches.



Construction and Design
The GO Bar Kensei is a Japanese stainless steel bar measuring 65 x 22 x 13.2 mm. Its weight is 65.5 g. Its shape is rectangular and elongated. On the upper face it has two small sharp edges on both sides. On the upper side are the brand logo, the two kanji, the model name and the sticker with the Hi-Res Audio logo. On the rear face are the LEDs indicating the playback formats, as well as the LEDs indicating the filters or modes used. The bar is divided into two parts: a sleeve and the lower cover containing the LEDs. On the upper edge is the USB-C input connection. On the underside are the two audio outputs: one 4.4 mm (BAL) and one 3.5 mm (SE). As usual, the BAL output is gold-plated, while the SE is plastic. At the base there is a small black Torx screw. On one side there is only a white sticker with a QR code. On the other side are the IEMatch controls, two buttons for volume and the mode button.
The two cables are of the same type. The oval, black, plastic sleeve that protects the connections is of the same type. The cable is covered with a gold braided textile fabric. The USB-C to USB-A adapter is metallic and black in color, and bears the brand logo in white lettering.
Without a doubt, this bar is on the larger and heavier end of my dongle collection. You notice its stainless steel construction and its almost minimalist and sober design, with a scratch-sensitive surface. In order to use it, the normal position is upside down, with the flat side containing the LEDs facing up.
The GO Bar Kensei looks like a desktop dongle, rather than a dongle for everyday or street use.



Connectivity
The GO bar Kensei is compatible with Apple cell phones, Mac tablets and other IOS systems. It is also compatible with Android and Windows systems. From Windows 10 onwards no drivers are required. It has ASIO drivers that can be downloaded from iFi's own website.



Operativity
The truth is that the GO Bar Kensei has many additional features, such as IEMatch. Its function is to reduce the output level, so that even the most sensitive IEMs can be matched to the GO Bar Kensei. It has three positions: the center one is disabled and can be activated for both the 4.4mm BAL output and the 3.5mm SE. To tell the truth, this switch seems to me a little sensitive and with little travel, it gives the feeling of being somewhat “loose”.
The volume can be synchronized with the volume of the connected mobile or computer. If synchronization is enabled, the connected device will indicate a volume change on its display.
By default, the synchronization function is disabled. To activate or deactivate it, press the button for more than 8 seconds. Activation is indicated by the six white LEDs lighting up. In that order, from the PCM LED to the center.
Turbo mode increases the gain by 6 dB. To activate or deactivate it, press the volume + and - buttons at the same time for more than 2 seconds. Turbo mode is activated when the 2 white LEDs (K2HD - DSD) are lit. Normal gain is indicated by 6 white LEDs (K2HD - PCM), which decrease to two and light up for two seconds.
Pressing the mode button (short press) toggles between Off > XSpace > XBass+ > XSpace and XBass+.
To enter the digital filter setting mode, press and hold the mode button for ≥3 s. The MQA LED will flash with the color of the currently set digital filter. Pressing the - button changes the filter selection. A short press of the mode button will select and exit the filter setting mode.
To activate the K2HD mode, the mode button must be held down for ≥3 s, after the MQA LED starts flashing. Then press the + button and the K2HD LED will light up to indicate that K2HD is activated.
Filters:
- Bit-Perfect (Cyan): Provides natural tones, ideal for all genres.
- GTO (Red): Enhances the details and density of the sound, especially suitable for vocal tracks.
- Minimum Phase (Yellow): Produces a warmer sound, blending Bit-Perfect and Standard characteristics, perfect for Soul and Jazz.
- Standard (White): Provides a tighter sound with controlled treble, perfect for pop music and movie soundtracks.
Sound effects:
- Blue: Xspace
- Orange: Xbass+
K2HD LED
- White: On
- Off: Deactivated
MQA
- Green: MQA
- Blue: MQA Studio
- Magenta: Original sample rate



Measures
According to the specifications the GO bar Kensei can provide:
- SE: 300mW at 32Ω, which is a voltage of 3.1V and a current of 97mA.
- SE: 3.8V for 600Ω, which is 24mW power and 6.33mA current.
- BAL: 477mW at 32Ω, which is a voltage of 3.91V and a current of 120mA.
- BAL: 7.2V for 600Ω, which is 86.4mW power and 12mA current.
It should be remembered that my measurements are based on finding a pure response over the entire frequency range and not just the pure 1kHz tone.
As a general rule, my measurements fall a bit short of what is specified. But there can be many factors for this to be the case. For measurements I have used the Kensei connected to several DAPS with very similar results. But the current delivery may not be the maximum.
I could see that some filters alter the frequency response for high tones, such as the Bit Perfect filter.

On the other hand, the output impedance is really low and almost tends to zero (without using the IEMatch).
Finally, I have not made measurements with the IEMatch on as it is an output attenuator.
The Standard filter has been used for the measurements. I have checked that the use of K2HD mode does not affect the power.


SE No load
At no load the maximum RMS output for low gain is 2V and 3.8V for high gain.


SE 15Ω
1,474VRMS for 15Ω, which means a current of 98.3mA and 140mW. Surpassing the mythical 90mA barrier.

SE 33Ω
This is where the discrepancies begin. According to the specifications, 3.1VRMS should be reached. My maximum measurement at 1khz has been 3VRMS, but that measurement is not reached for the whole frequency range, as distortion is observed in the pure tones. The maximum measured voltage without visible distortion for the whole range has been 2.651VRMS, which means a power of 210mW and a current of 80mA. Somewhat off the specification.


SE 100Ω
Surprise for 100Ω, the maximum voltage of 3.8V is not reached, but remains at 3.354VRMS, with 110mW and 33.5mA.

BAL No load
At no load the maximum RMS output for low gain is 4V and 7.535V for high gain.


BAL 15Ω
As I have seen in other dongles, the output for 15Ω by BAL is less powerful than by SE. 1.323VRMS, which is 120mmW and 88.2mA.

BAL 33Ω
3,562VRMS for 33Ω, which implies a current of 110mA and 380mW. 477mW and 120mA are specified. It falls 10mA and 0.35V short of reaching that figure. Not bad at all because it is a very high value.

BAL 100Ω
5,673VRMS for 100Ω, which means a current of 57mA and 320mW. Again, very high values for a dongle.

Frequency Response
Flat response in the audible frequency range. Only 0.5dB loss at 5Hz, however there is a slight gain at 40kHz.
With the Xbass+ enabled a gain of 8.5dB at 20Hz is achieved, which becomes 4dB at 50Hz and 0.5dB at 200Hz. You notice a fairly steep roll-off and a good job of gaining depth without bloating the mid bass. I like it.
The XSpace filter generates a sustained 5dB drop at 20Hz up to 100Hz, crosses through zero at 1kHz and gradually rises to 3dB at the 20kHz figure.
With both filters at the same time the subwoofer at 20Hz rises to 60dB, but drops 2dB at the 200Hz figure to match the XSpace curve above 1khz.



Sound
As is often the case, the various filters make very little difference. It is true that they exist, but it is difficult to explain the changes in words; they seem more like very subjective sensations.
For the sound review, I used the Standard filter without K2HD activated.
The first thing that makes me feel the GO Bar Kensei is that its sound moves away from that of any conventional dongle and resembles that of any desktop in its price range. I don't have any dongle that can compete on the same level. The Aune Yuki does not generate as good bass as the GO Bar Kensei, and neither does the EPZ TP50.
On a comparative level, the pure tones of the Kensei are very realistic, very analog, with no wave character, which gives it great realism and depth. Compared to other dongles, these generate more oscillations that are less realistic and more noticeable at the sub-bass end. The very low frequency tones appear more natural, colorless and without artifacts that spoil their behavior or sonority. It is the best dongle I have tested in the very low frequency pure tone test. And, of course, the translation to bass response could not be otherwise. Having no wave character, the bass is very restrained, very tight and concise. They are dry and relatively dark, with a very high level of precision, resolution and detail. The Kensei really knows how to extract the best bass from headphones.
En la prueba de graves sucios, mal grabados y sin filtrar, se mantiene la naturalidad y el control por encima de todo. El Kensei sabe cómo mantener los graves en su feudo sin que la sonoridad ni el timbre se vean afectados. Sobresaliente.
I mentioned that the bass is excellent, but the Kensei has the virtue of boosting vocals without being midcentric. In that sense, the GTO filter can be useful. Textually, this filter enhances the detail and density of the sound, especially suitable for vocal tracks. But, in reality, the Kensei is like that by nature. The mids are perceived dense, close and very present, with a certain sense of intimacy, without implying tightness or overwhelming. It also feels sweeter and softer, more analog. Vocals are more velvety, more textured, and move away from the smoothness they present with other dongles or even other desktop DACs/AMPs. And this is where the classic iFi sound comes into play: warm, rich, organic and highly textured, coming across as very analog and engaging, exciting and lush. It is possible that the notes are a bit thicker and their weight heavier, hence the density and texture are predominant in the sound. But that only enhances the impression made by the mids. The midrange moves away from dryness and becomes more focused or analytical. It becomes clear that the mids are profuse, plethoric and very full, highly enjoyable. They move away from any bland or purely informative impression to become much more expressive and exciting. And that is the true paradigm of iFi sound that the brand has achieved with this Kensei dongle.
It could be said that the nature of the Kensei allows the personality of the connected headphones to be expressed. The Kensei does not make all headphones connected to it warm. It is true that it favors and brings out the potential of softer headphones, enhancing those characteristics. But those that are cooler or more analytical also benefit from its level of transparency and resolution. The richness of the sound and all its details are also demonstrated on the other side of the scale. The Kensei does not shy away from a stark or harsh presentation, but instead comes across as softer and more musical, with nicer, rounder edges and profiles. But that doesn't detract from the treble's fuller, even subtly extolled response. The musicality of the ensemble makes the treble come across as more joined-up and harmonious, coming to sound like one long, wide piece. It loses that more focused, individual and concrete feeling, in which each note seems to have its own representation, to sound in a more natural, organic and combined way. All this, while maintaining the definition, clarity, transparency and level of resolution that the Kensei treasures, as can be seen in the frequency response graph, in which a slight emphasis of the harmonics is noted above 20 kHz.
The Kensei's stage is very large for a dongle. The layering capability and the thorough breakdown of background detail are on par with, or even above, the best desktop systems. It is impressive how the Kensei can compete on equal or superiority with desktop systems of the same price point. Despite this level of musicality, the Kensei does not shy away from being explicit with micro-details, displaying them in a precise, elegant, natural, realistic and analog way. The ability to delve into the depths of the sound is one of the virtues that I have most enjoyed about this equipment. But, above all, its differential expression stands out, far from any cold, profiled and over marked representation. The Kensei knows how to breathe life and passion into that micro-detail, generating musicality from the smallest elements. From there, the sound expands and fills the soundstage coherently, big, but without overflowing. The sound is broad, but also dense, full and enveloping. The sense of laterality and height is immediate. The sound immediately passes over the head and surrounds it, but without losing the sense of attachment and blending of all the notes together. It is not a gaseous and ethereal sound, but rather a powerful and extensive one, which expands thanks to its capacity for depth, prolongation, dilation and propagation of the notes. In this way, the recreated image appears very realistic, even close at times. But it is also full of life.



Conclusion
I can't say for sure that the iFi Go Bar Kensei is the best dongle on the market, but it is the best I have tried. It is true that it is also the most expensive, but its sound and all its special features can justify this price. Starting from the premise that it is a special edition, made of Japanese stainless steel, and presented with the refinement that this level of construction deserves, ifi has wanted to provide this dongle with all the particularities of its best equipment: IEMatch for both outputs, the best electronic components, K2HD technology, XBass+, XSpace, four sound filters, S-Balanced technology for its 3.5 mm output and a huge amount of power to move practically everything. And the best part is that all those special properties do work when it comes to expressing the best sound, the trademark of the house. The sound of the Kensei is big, analog, realistic, natural, organic, powerful and expansive, as well as terrifically musical, expressive and, of course, warm, smooth, highly enjoyable, engaging and enveloping. It is a real pleasure for the ears and also a headache for other desktop devices of the same price. I think the EISA award for best product of 2024-2025 in the compact DAC category is undoubted.



Earphones and Sources Used During Analysis
- Kiwi Ears Quintet.
- Kiwi Ears KE4.
- LetShuoer S12 2024.
- LetShuoer Cadenza 4.
- Simgot SuperMix 4.
- Simgot EA1000.
- NiceHCK Himalaya.
- BQEYZ Frost.
- Rose QT9 MK3.
- Hidizs MP145 Golden Titanium.
- Hidizs AP80 PRO-X Red Copper LE.
- Tempotec V3.




Ferdinando1968
Have you not encountered any traces of hiss using sensitive low impedance IEMs?
cqtek
1000+ Head-Fier
Pros: Huge sound/price ratio.
- Ultra compact design, low weight.
- Independent volume control with 60 steps and two gain modes.
- 5 adjustable filters.
- USB UAC1.0 Game Mode.
- Ultra compact design, low weight.
- Independent volume control with 60 steps and two gain modes.
- 5 adjustable filters.
- USB UAC1.0 Game Mode.
Cons: It does not give the full voltage for medium impedances.
- Perhaps, with only two buttons, performing all functions is a bit more complex.
- Power slightly below specification.
- The 4.4mm input has a very tight diameter, it is difficult to insert the plug.
- Perhaps, with only two buttons, performing all functions is a bit more complex.
- Power slightly below specification.
- The 4.4mm input has a very tight diameter, it is difficult to insert the plug.
Introduction
EPZ is certainly liking dongles. After its success with the TP50, the Shenzen Jiuzhou Electronics Co. brand wanted to carve out a niche in the sub-$60 dongle segment with a Cirrus Logic CS43198 dual DAC. It is not new to this segment, but now it is doing so with the large DAC that is performing so well in the market. The TP35 is a small dongle constructed of CNC aluminium alloy with a sandblasted anodised surface. It has a clear acrylic window that allows you to see the actual circuitry inside. It weighs only 15g. Supports 384 kHz/32-bit PCM and DSD256 high-definition audio formats. It has a signal-to-noise ratio of 130dB and a distortion rate of 0.0005% (THD+N). It comes with a high-purity oxygen-free copper shielded cable that can reduce interference and provide transparency and sound resolution. It includes USB-C to USB standard and Lightning interface is optional for Apple devices. It has two 3.5mm and 4.4mm BAL audio outputs, two-button volume control, low/high gain, five digital filters and power up to 150mW at 32 Ω. Last but not least, it supports USB UAC1.0 Game Mode. Let's take a look at what this new little dongle from EPZ has to offer.


Specifications


Packaging
The EPZ TP35 comes in a little black square box with dimensions 101x101x41mm. On the front side you can see a portion of the dongle protruding diagonally from the bottom right corner. In its opposite corner is the brand name in blue letters. The model name is in the lower left corner and, in the upper right corner, the formats it can play are listed. On the back side are the multilingual specifications, brand details and icons indicating the certifications it complies with. When you open the box, the dongle is inside a dense black foam base. The rest of the accessories are in a second layer, also inside a foam mould. In summary, the full contents are as follows:
Compact packaging, good USB cable and the inclusion of a quick guide and USB Type-A adapter is appreciated.

Construction and Design
The dongle is characterised by its small size, its textured aluminium chassis and its transparent window that allows you to see the internal circuitry. Inside is a small LED indicator. It has two buttons to control volume and other functions. The body is rounded on the side and on the top face. On the lower face there is a small chamfer containing the brand name in grey letters. On this same face, but on the opposite corner, the supported formats are described. The transparent window has a diagonal in the middle of the piece and, next to its short side, the name of the model and the DAC used are written. The audio outputs are on the other side of the window, while the USB input is next to it. The 4.4mm output is gold-plated, while the 3.5mm output is not, as it is made of black plastic. There is a Philips screw between the two outputs. From the acrylic window you can see the two CS43198 DACs.
The USB cable consists of two USB Type-C plugs with a rounded metal sleeve. The cable consists of four intertwined strands shielded with high-purity oxygen-free copper wires.
I find the design nicer and sleeker than the TP50 and it is significantly smaller. Of course, it has no display and no third button. However, as a dongle for everyday use and for taking on the road, I find it to be a very good size and weight.


Connectivity
The EPZ TP35 is compatible with Apple mobile phones, Mac tablets and other IOS systems. It is also compatible with Android and Windows systems. From Windows 10 onwards no drivers are required. Again, ASIO drivers are still not available.


Operativity
A picture and a video are worth a thousand words. But it is clear that limiting all functions to the combination of just two buttons is not very easy.

https://hiendportable.com/wp-content/uploads/2024/11/TP35.mp4?_=1
Volume+
Volume-
Both keys pressed at the same time


Measures
EPZ has been very specific in the power and voltage output:
Output Voltage: SE 3.5mm 1VRMS Low Gain/2VRMS High Gain. BAL 4.4mm 2VRMS Low Gain/4VRMS High Gain.
Output power: SE: 65mW (32Ω), 75mW (16Ω). BAL: 150mW (32Ω), 100mW (16Ω). THD+N≤1%.
We will see if this holds true.
On the other hand, the output impedances are very low, clearly below 1Ω.


SE No load
At low gain with no load it almost reaches 1VRMS. At high gain it is also very close to 2VRMS.


SE 15Ω
Almost 1VRMS for 15Ω, which is 65mW power. 75mW is specified for 16Ω, which would be 1.1VRMS. It doesn't have much left.

SE 33Ω
1.4VRMS for 33Ω. That's 60mW. It specifies 65mW for 32Ω, which would be 1.44VRMS. You could say it meets it.

SE 100Ω
1.8VRMS for 100Ω. I expected it to reach 2VRMS. 32mW.

BAL No load
As specified 2VRMS for low gain and 4VRMS for high gain.


BAL 15Ω
1,245VRMS for 15Ω which is 100mW. Nails the specs. 83mA of current, close to the mythical 90mA.

BAL 33Ω
2VRMS for 33Ω, which is 120mW. 150mW is specified, which would be 2.19VRMS. That's a bit far off. The amount of current could be enough, as has been demonstrated with 15Ω. But in electronics power, the interpolation of results does not always hold true.

BAL 100Ω
3.178VRM for 100Ω. This is far from 4V, which means that this dongle would not be the most suitable for medium impedance headphones. The power is 100mW.

Frequency Response
The frequency response is completely flat from 20Hz to 20kHz. It loses 0.5dB at 5Hz and just over 1dB at 40kHz. Quite good.

Sound
After many years of using the CS43131 DAC, the era of the CS43198 is dawning, and we are already seeing much cheaper configurations, such as this new TP35 dongle, which is half the price of its big brother, the TP50, and uses the same dual configuration with that CS43198. The difference between the two is, among other things, that the TP50 has two RT6863, a high quality audiophile operational amplifier designed for ESS Sabre ADC/DAC or other chips. While the CS43198 is not a direct evolution of the CS43131, but of the CS4399, the TP35 is not connected to any operational amplifier. And while the CS43198's values are excellent, the first difference you notice when comparing the two products is that scene, clarity, openness, volume, spaciousness, separation and transparency are superior in the TP50. On the other hand, I find that the two share a common profile. Although the TP50 is specified as sounding analytical, controlled and cooler than the rest, I find it to be a new degree of purity and neutrality. The same is true of the TP35, but it's not quite as splendid. Another thing that is noticeable is that the TP35 only has 60 volume steps and the TP50 has 100, and although both have two gain modes, the precise power setting on the TP50 also gives it a higher degree of control.
The TP35's low end is quite precise and controlled, with a good dose of volume and a dry, technical texture. Compared to the TP50, the TP35's bass sounds tighter and punchier. In the TP50's bass there is more space, distance and separation, a little more depth, volume and a more volatile feel. In the very low frequency pure tone test, the response of both dongles is virtually the same. Only a subtle improvement in sensory control can be discerned in the TP50. In summary, one could say that the bass sound of the TP35s is somewhat more direct and compact.
In the mid-range, the male vocals seem to be more forward and fuller on the TP50, while on the TP35 they are more equal to the instrumentation. The level of cleanliness is very high on both dongles, but the TP50 offers a more dynamic and open feel, as well as a slightly greater ability to isolate voices and instruments. The instrumentation seems to be somewhat more blended and integrated with the vocals on the TP35, which creates a slightly calmer, less expressive or vivid sounding feel. This is especially noticeable in the treble. The high end of the TP50 is more sparkling and expressive. It is here that the sense of transparency and expansion is most noticeable, with a freer, finer, more delicate and expressive treble. The TP35's treble is a little sharper, subtly less smooth and also a little tighter. I don't notice any difference in extension between the dongles.
Going back to the beginning, the TP50's soundstage is more expansive and gaseous. The TP35 sounds more direct, earthier and somewhat less cold, more neutral. The level of detail is very similar, but the greater distance between elements and the feeling of more space make the background seem darker in the TP50 and, therefore, the micro-detail is perceived with more thoroughness and evidence, even if the distance is not so great.
The TP50's sound, being more open and less compressed than the TP35, is sweeter and more melodious, even if it is somewhat cooler. The TP35 can sound more explicit, but less musical and subtly more aggressive. It is in these more extreme conditions that the difference in the level of refinement in favour of the TP50 is noticeable.
Finally, it should be noted that the TP35 has 5 filters. Again, to find the differences between them you will have to tune your ear very carefully, especially in the high frequencies.


Conclusion
EPZ has proven that very high quality sound can be offered at a very low price. The EPZ TP35 is small, has the best Dual DAC CS43198, volume control, two gain modes, 5 filters and of course dual 3.5mm and 4.4mm audio outputs. All this in a very compact design, with an acrylic window showing the internal circuitry and an LED indicator. The TP35 is half the price of the TP50, but its sound is not half as good as its big brother. It is only one step below it. It's true that it doesn't have a display, nor a third button, nor is it as powerful. But for the price, it is really very difficult to find competition. In fact, I wish many fans could do a blind test between the two dongles to see that there is not that much difference between them. That is certainly great news for the EPZ TP35.


Earphones Used During Analysis




Purchase Link

You can read the full review in Spanish here

EPZ is certainly liking dongles. After its success with the TP50, the Shenzen Jiuzhou Electronics Co. brand wanted to carve out a niche in the sub-$60 dongle segment with a Cirrus Logic CS43198 dual DAC. It is not new to this segment, but now it is doing so with the large DAC that is performing so well in the market. The TP35 is a small dongle constructed of CNC aluminium alloy with a sandblasted anodised surface. It has a clear acrylic window that allows you to see the actual circuitry inside. It weighs only 15g. Supports 384 kHz/32-bit PCM and DSD256 high-definition audio formats. It has a signal-to-noise ratio of 130dB and a distortion rate of 0.0005% (THD+N). It comes with a high-purity oxygen-free copper shielded cable that can reduce interference and provide transparency and sound resolution. It includes USB-C to USB standard and Lightning interface is optional for Apple devices. It has two 3.5mm and 4.4mm BAL audio outputs, two-button volume control, low/high gain, five digital filters and power up to 150mW at 32 Ω. Last but not least, it supports USB UAC1.0 Game Mode. Let's take a look at what this new little dongle from EPZ has to offer.


Specifications
- Dac used: DUAL CS43198.
- Formats: PCM: 32Bit/384KHZ DSD: Dop128/Native256.
- Input connector: USB Type-C.
- Body material: Aluminium alloy sandblasted grey/black oxidation.
- Cable: High purity oxygen-free copper shielded wire.
- Audio Output: 3.5mm, 4.4mm.
- Output voltage: SE 3.5mm 1VRMS Low Gain/2VRMS High Gain. BAL 4.4mm 2VRMS Low Gain/4VRMS High Gain.
- Output power: SE: 65mW (32Ω), 75mW (16Ω). BAL: 150mW (32Ω), 100mW (16Ω). THD+N≤1%.
- SNR: ≤125dB (SE 3.5mm). ≤130dB (BAL 4.4mm).
- THD+N: ≤0.0005%.
- Background noise: 1µVRMS.
- Dimensions: 43.1x21.7x12.1mm.
- Cable: 132mm.
- Weight: 15g.
- Volume steps: 60.


Packaging
The EPZ TP35 comes in a little black square box with dimensions 101x101x41mm. On the front side you can see a portion of the dongle protruding diagonally from the bottom right corner. In its opposite corner is the brand name in blue letters. The model name is in the lower left corner and, in the upper right corner, the formats it can play are listed. On the back side are the multilingual specifications, brand details and icons indicating the certifications it complies with. When you open the box, the dongle is inside a dense black foam base. The rest of the accessories are in a second layer, also inside a foam mould. In summary, the full contents are as follows:
- EPZ TP35 dongle.
- Warranty certificate card.
- Instruction card.
- USB Type-C to Type-C male cable.
- USB Type-C female to Type-A male adapter.
Compact packaging, good USB cable and the inclusion of a quick guide and USB Type-A adapter is appreciated.

Construction and Design
The dongle is characterised by its small size, its textured aluminium chassis and its transparent window that allows you to see the internal circuitry. Inside is a small LED indicator. It has two buttons to control volume and other functions. The body is rounded on the side and on the top face. On the lower face there is a small chamfer containing the brand name in grey letters. On this same face, but on the opposite corner, the supported formats are described. The transparent window has a diagonal in the middle of the piece and, next to its short side, the name of the model and the DAC used are written. The audio outputs are on the other side of the window, while the USB input is next to it. The 4.4mm output is gold-plated, while the 3.5mm output is not, as it is made of black plastic. There is a Philips screw between the two outputs. From the acrylic window you can see the two CS43198 DACs.
The USB cable consists of two USB Type-C plugs with a rounded metal sleeve. The cable consists of four intertwined strands shielded with high-purity oxygen-free copper wires.
I find the design nicer and sleeker than the TP50 and it is significantly smaller. Of course, it has no display and no third button. However, as a dongle for everyday use and for taking on the road, I find it to be a very good size and weight.


Connectivity
The EPZ TP35 is compatible with Apple mobile phones, Mac tablets and other IOS systems. It is also compatible with Android and Windows systems. From Windows 10 onwards no drivers are required. Again, ASIO drivers are still not available.


Operativity
A picture and a video are worth a thousand words. But it is clear that limiting all functions to the combination of just two buttons is not very easy.

https://hiendportable.com/wp-content/uploads/2024/11/TP35.mp4?_=1
Volume+
- Short press: volume goes up one step.
- Press for 1 second: volume increases continuously.
- Press while powering on: device enters UAC1.0 mode.
Volume-
- Short press: volume goes down one step.
- Press for 1 second: volume goes down continuously.
- Press while powering on: device enters forced burning mode.
Both keys pressed at the same time
- Short press: change gain mode
- Press and hold for 1 second: switch LED on or off.
- Press and hold for 3 seconds: change sound filter.


Measures
EPZ has been very specific in the power and voltage output:
Output Voltage: SE 3.5mm 1VRMS Low Gain/2VRMS High Gain. BAL 4.4mm 2VRMS Low Gain/4VRMS High Gain.
Output power: SE: 65mW (32Ω), 75mW (16Ω). BAL: 150mW (32Ω), 100mW (16Ω). THD+N≤1%.
We will see if this holds true.
On the other hand, the output impedances are very low, clearly below 1Ω.


SE No load
At low gain with no load it almost reaches 1VRMS. At high gain it is also very close to 2VRMS.


SE 15Ω
Almost 1VRMS for 15Ω, which is 65mW power. 75mW is specified for 16Ω, which would be 1.1VRMS. It doesn't have much left.

SE 33Ω
1.4VRMS for 33Ω. That's 60mW. It specifies 65mW for 32Ω, which would be 1.44VRMS. You could say it meets it.

SE 100Ω
1.8VRMS for 100Ω. I expected it to reach 2VRMS. 32mW.

BAL No load
As specified 2VRMS for low gain and 4VRMS for high gain.


BAL 15Ω
1,245VRMS for 15Ω which is 100mW. Nails the specs. 83mA of current, close to the mythical 90mA.

BAL 33Ω
2VRMS for 33Ω, which is 120mW. 150mW is specified, which would be 2.19VRMS. That's a bit far off. The amount of current could be enough, as has been demonstrated with 15Ω. But in electronics power, the interpolation of results does not always hold true.

BAL 100Ω
3.178VRM for 100Ω. This is far from 4V, which means that this dongle would not be the most suitable for medium impedance headphones. The power is 100mW.

Frequency Response
The frequency response is completely flat from 20Hz to 20kHz. It loses 0.5dB at 5Hz and just over 1dB at 40kHz. Quite good.

Sound
After many years of using the CS43131 DAC, the era of the CS43198 is dawning, and we are already seeing much cheaper configurations, such as this new TP35 dongle, which is half the price of its big brother, the TP50, and uses the same dual configuration with that CS43198. The difference between the two is, among other things, that the TP50 has two RT6863, a high quality audiophile operational amplifier designed for ESS Sabre ADC/DAC or other chips. While the CS43198 is not a direct evolution of the CS43131, but of the CS4399, the TP35 is not connected to any operational amplifier. And while the CS43198's values are excellent, the first difference you notice when comparing the two products is that scene, clarity, openness, volume, spaciousness, separation and transparency are superior in the TP50. On the other hand, I find that the two share a common profile. Although the TP50 is specified as sounding analytical, controlled and cooler than the rest, I find it to be a new degree of purity and neutrality. The same is true of the TP35, but it's not quite as splendid. Another thing that is noticeable is that the TP35 only has 60 volume steps and the TP50 has 100, and although both have two gain modes, the precise power setting on the TP50 also gives it a higher degree of control.
The TP35's low end is quite precise and controlled, with a good dose of volume and a dry, technical texture. Compared to the TP50, the TP35's bass sounds tighter and punchier. In the TP50's bass there is more space, distance and separation, a little more depth, volume and a more volatile feel. In the very low frequency pure tone test, the response of both dongles is virtually the same. Only a subtle improvement in sensory control can be discerned in the TP50. In summary, one could say that the bass sound of the TP35s is somewhat more direct and compact.
In the mid-range, the male vocals seem to be more forward and fuller on the TP50, while on the TP35 they are more equal to the instrumentation. The level of cleanliness is very high on both dongles, but the TP50 offers a more dynamic and open feel, as well as a slightly greater ability to isolate voices and instruments. The instrumentation seems to be somewhat more blended and integrated with the vocals on the TP35, which creates a slightly calmer, less expressive or vivid sounding feel. This is especially noticeable in the treble. The high end of the TP50 is more sparkling and expressive. It is here that the sense of transparency and expansion is most noticeable, with a freer, finer, more delicate and expressive treble. The TP35's treble is a little sharper, subtly less smooth and also a little tighter. I don't notice any difference in extension between the dongles.
Going back to the beginning, the TP50's soundstage is more expansive and gaseous. The TP35 sounds more direct, earthier and somewhat less cold, more neutral. The level of detail is very similar, but the greater distance between elements and the feeling of more space make the background seem darker in the TP50 and, therefore, the micro-detail is perceived with more thoroughness and evidence, even if the distance is not so great.
The TP50's sound, being more open and less compressed than the TP35, is sweeter and more melodious, even if it is somewhat cooler. The TP35 can sound more explicit, but less musical and subtly more aggressive. It is in these more extreme conditions that the difference in the level of refinement in favour of the TP50 is noticeable.
Finally, it should be noted that the TP35 has 5 filters. Again, to find the differences between them you will have to tune your ear very carefully, especially in the high frequencies.


Conclusion
EPZ has proven that very high quality sound can be offered at a very low price. The EPZ TP35 is small, has the best Dual DAC CS43198, volume control, two gain modes, 5 filters and of course dual 3.5mm and 4.4mm audio outputs. All this in a very compact design, with an acrylic window showing the internal circuitry and an LED indicator. The TP35 is half the price of the TP50, but its sound is not half as good as its big brother. It is only one step below it. It's true that it doesn't have a display, nor a third button, nor is it as powerful. But for the price, it is really very difficult to find competition. In fact, I wish many fans could do a blind test between the two dongles to see that there is not that much difference between them. That is certainly great news for the EPZ TP35.


Earphones Used During Analysis
- Kefine Klean.
- Kiwi Ears Quintet.
- Kiwi Ears KE4.
- LetShuoer S12 2024.
- LetShuoer Cadenza 4.
- Simgot SuperMix 4.
- NiceHCK Himalaya.


EPZ offered me this model, in exchange for writing an honest review. I want to make it clear that all my opinions written in this review have not been conditioned by this fact, nor will I ever write anything that I do not really think or feel here. I will only write about my personal opinion in relation to the revised product.


Purchase Link

You can read the full review in Spanish here

cqtek
1000+ Head-Fier
Pros: Again, very good sound level.
- Excellent level of ergonomics.
- Bluetooth V5.3.
- Gaming mode with 54ms latency.
- 4 GoerTek silicon crystal microphones and DNN AI neural network noise cancellation algorithms.
- Outstanding price/performance ratio.
- Aerospace grade aluminium alloy carrying case.
- Four selectable EQs from the RoseLink APP.
- Brighter tuning.
- Touch functionalities can be customised from the APP.
- Excellent level of ergonomics.
- Bluetooth V5.3.
- Gaming mode with 54ms latency.
- 4 GoerTek silicon crystal microphones and DNN AI neural network noise cancellation algorithms.
- Outstanding price/performance ratio.
- Aerospace grade aluminium alloy carrying case.
- Four selectable EQs from the RoseLink APP.
- Brighter tuning.
- Touch functionalities can be customised from the APP.
Cons: There is no possibility to switch off/on the TWS by touch.
- No possibility to enter pairing mode by touch.
- It seems that the battery life using LDAC and medium/high volume is clearly inferior.
- None of the tips fit my morphology.
- Bigger tips don't fit in the charging box.
- Its performance is better for listening to music than for use with calls and/or games.
- No possibility to enter pairing mode by touch.
- It seems that the battery life using LDAC and medium/high volume is clearly inferior.
- None of the tips fit my morphology.
- Bigger tips don't fit in the charging box.
- Its performance is better for listening to music than for use with calls and/or games.
Introduction
Rose Technics continues its TWS line. This time they have a different design compared to the previous Ceramics X. While those have a more spherical shape, the EarFree-i5 are more like earbuds because of their almost cylindrical ear spike. This time, the EarFree-i5 have a hybrid noise-cancelling mode that achieves a profound noise reduction of 48 dB over an ultra-wide frequency range of 4000 Hz, effectively eliminating 98.9% of everyday noise. The EARFREE-i5 is equipped with the HR2 topological diaphragm driver, Cadence HiFi 5 DSP chips and LDAC codec support. This results in only 0.02%@1000Hz distortion. A single charge provides 10 hours of playback, 50 hours in total with the charging case. Just 10 minutes of charging provides 12 hours of music playback. The EARFREE-i5 also supports dual-device connectivity with Bluetooth 5.3. They are IPX5 certified for water resistance. They are manufactured with an aerospace-grade aluminium alloy body made by precision four-axis CNC machining, combined with polishing, sandblasting, anodising, etc. They feature 4 GoerTek silicon crystal microphones and DNN AI neural network noise cancellation algorithms. In addition, the gaming mode achieves an imperceptible latency of 54 ms. The EARFREE i5 has an ergonomic design based on more than 8000 data. The ROSELINK application allows you to customise the control of the device and offers HIFI/POP/ROCK equalisers for different types of music. Finally, as an option, Rose offers Super NC 200 pads that are designed to provide richer detail, enhanced, enveloping bass and vibrant highs. These ear cushions naturally expand to fit the contours of the ear canal, ensuring a perfect fit, creating a sealed space that effectively isolates external noise by up to 5dB. In addition, the NC 200 is designed to never slip out after being placed in the ear. There is a choice of 4 different sizes of ear tips, compatible with any earphone.


Specifications


Packaging
The Rose EARFREE-i5 comes in a small square box with dimensions 120x121x34mm. The background is white, with the brand logo in the top left corner. In the upper right corner is the model name. In the centre is a real picture of the TWS coming out of the cargo box. In the bottom left corner there are several logos of the technologies it uses (LLR ‘Lightning Latency Reduction’, ELO ‘Equal Loudness Contour’, LDAC). In the bottom right corner you can read ‘Pure Sound’. On the back side there are some specifications different from those published on the WEB, especially regarding the driver (12mm topological diaphragm with HR2 technology with Planck structure). The contents and a realistic photo of the TWS are also indicated. The interior is simple and only protects the box and accessories. In a nutshell:
The accessories are the minimum required. But, on this occasion, the tips are useless for me, they don't fit at all. But I have quite large ear canals and have problems with almost all tips.


Construction and Design
The EARFREE-i5's cargo box is constructed from aerospace-grade aluminium alloy and CNC machined. It is slightly heavy. The logo is in the centre of the case in light grey ink and underneath is an LED. The model is on the top. On the bottom is the USB C connection and a reset button, plus some specs. There are also a couple of TORX screws on the ends.
The headphones are made of hard plastic. They have an elongated spike whose base is rectangular in shape. There are two contacts and a hole in the base. At the end of the straight part of the stem, before the outer curve, there is a dark oval, which is the touch-sensitive area. This outer side is very similar to earbuds, while the inner side is more hybrid and more classic TWS shapes, although more stylised, not so circular, but more elongated, to facilitate ergonomics. The mouthpieces are very short and oval, protected by metal grilles. In the middle of the oval capsule is a black mole with a letter indicating the channel. Behind it, there is a hole a little smaller than the top, which is protected by a grille.
The aluminium alloy construction of the cargo box contrasts with the rather ordinary smooth hard plastic construction of the TWS. The design is not new to me, but I have never tried TWS in this form before and I can say that they make the ergonomics and fit easier, except for the standard tips. Having to use different and bigger tips than the standard ones, the cargo box can't be closed, which is a big inconvenience for me to use it normally.


Adjustment and Ergonomics
As I said, the EARFREE-i5 are very comfortable, once I found the right tips. Actually, they are very similar to the included ones, but with a larger external diameter and subtly higher. This means that with them on, I can't close the box without them deforming too much. But with these tips, I get a very good sound, a great seal and a superior fit. I can only say that the result is excellent, very occlusive fit and very good isolation.


Operation and Connection
Again, the Rose EARFREE-i5 uses Bluetooth v5.3 and the formats are LDAC/AAC/mSBC/SBC. The operating range is around 10m. The Rose Ceramics X allows pairing with two sources at once and can be activated from the app. In fact, many of the functions can be activated from the app. On this occasion, the operations allowed from the headphones themselves are not many, but they are extended with the app. From the RoseLink APP you can find out:
This last function is very interesting, as the TWS allows four actions:
Each option can be assigned an action to choose from any of this list and for any TWS (L, R).
I really miss the functions of being able to turn on/off the TWS, as well as activate the pairing mode. There is no reference to functions related to calls from the APP. But these functions are mentioned in the manual:
Finally, some functions between the APP and the manual are not the same. The manual specifies that the gaming mode can be deactivated/activated with 5 taps.
It is specified that with a single charge the EARFREE-i5 can last up to 10 hours, 50 hours in total with the charging case. Again, it happens that if they are connected to the APP the battery life is much shorter. On the other hand, louder volume also means higher costs, as does the use of Game mode.
The listening power and volume is quite good, as good as or better than in the Ceramics X model.
The APP can be operated at the same time as it is connected to another device, so that all functions can be controlled in parallel.
The lower button on the underside of the charging box allows the TWS to be reset. To do this, press it for 10 seconds and wait for the LED to flash up to five times.
There is no description or colour coding for the battery control from the charging box.


Sound
Profile
The Rose EARFREE-i5 has 4 EQ modes: HiFi, Pop, Rock and Light. The first three move between a soft and moderate V, where you can boost and/or de-emphasise the bass or upper midrange and upper treble. The HiFi option seems to be the option with more bass and more balanced upper mids. The Pop option reduces the bass to also emphasise the upper mids. The Rock option lowers the bass slightly, but reduces the upper mids and, above all, the first treble. Finally, the Light EQ is much different: the bass is lowered completely, generating a U-profile, but with clearly more excited upper mids and treble. It really lives up to its name, as it is a distinctly brighter and clearer profile.
For the following review I have opted for HiFi tuning and LDAC mode. As a source I used the Fiio BTA30 Pro connected to my PC.


Bass
The bass of the Rose EARFREE-i5s is very much in line with the Ceramics Xs. Again, the behaviour is surprisingly natural, which is demonstrated in the very low-frequency pure tone test. Just as the first note is somewhat light, there is no excessive undulatory character and despite its low loudness, there is hardly any colouration. At this point, the level of physicality is low. As the Hz rises, this physical sensation becomes more pronounced and some colour mixed with a subtle undulatory behaviour is perceived. The 40Hz mark is very good, realistic and with a remarkable level of energy. The translation to real music is quite good. Although the bass is not very fast, it sounds quite compact, clean and natural. They have a remarkable degree of depth and a certain level of punch, body, power and physical range. They are clearly not a TWS for bass heads, but they can cope very well with electronic music. The decay isn't the fastest, but they have a good degree of dryness and fit decently, without becoming a doughy, too fluffy or thick bass. With a fairly acceptable technical level, they demonstrate authority, a good level of precision and remarkable realism. Among the qualities I would like to highlight are a good level of darkness and depth, as well as a more than acceptable physical component.
In the dirty, complex and unfiltered bass test, the EARFREE-i5s go into simplicity mode: basic reproduction so as not to sound bad. Bass lines are not reproduced with too much complexity, nor are they too resolving, as expected. But there are no glitches and a good level of naturalness is maintained, which does not impoverish the reproduction at all. Both layer generation and layering are above the basic level, mostly enhanced by a good level of realistic depth and natural loudness.


Mids
The first half of the midrange with the HiFi EQ reminds me a lot of the Ceramics Xs. But as there is more emphasis on the upper mids and first treble, the area feels a bit lean. The presence of the male vocals is quite good, although the warmth is limited and the sound veers towards clarity and light. In no case is the sound too dense, although the good bass base gives it a good foundation, musically speaking. Once again, I have to admit that the sound continues in the good vein demonstrated by the Ceramics Xs. The sense of naturalness and realism continues to progress, although I still feel that the sound is not too explicit. The tendency of the sound is towards slightly bright neutrality, with slightly sharp mids, something that is most clearly felt with the female vocals. They sound very transparent and feel completely emancipated, setting themselves up as the true protagonists of the performance, with a quite appropriate timbre, albeit with a bright tendency. In this case, the sound is more vivid, splashy, even more eloquent. Admittedly, it is a little more prone to sibilance, though within very tolerable limits. As I always say, over-emphasising the upper mids can work against the sound. Rose has added a pinch more energy in this critical area and the move has worked well. They've managed to pull back the veil and that darker, more nuanced feel that the Ceramics Xs had, but without overstepping the proper bounds of realistic sibilance. In this way, the sound never feels forced and the informative flow of sound is elevated, offering more detail and finer nuances. All of this, framed at the level of a $63 TWS, is another step towards a sound that is getting closer and closer to affordable IEMS.


Treble
Rose has decided to do some work on the treble of the EARFREE-i5s compared to the Ceramics X. And it shows. They've managed to add a certain level of energy and now the first treble is more luminous, brighter and closer. True, they have a somewhat metallic patina, but they crackle in the first instance. There is sparkle and life in the treble of these TWS and that will satisfy those Treble-Heads who opt for this new model.
The timbre in this area is sharper and on those songs focused on the high end, the sound will become more shimmering, even lingering in our ears when the song is over. Yes, the treble is more penetrating, but also finer and more delicate. They have also managed to improve the speed, achieving a higher resolution, more definition and a truer fit to the original high notes.
On the other hand, there is a slight loss in the air area, leaving a subtly drier sound.


Soundstage, Separation
The scene is still eminently frontal. But there seems to be a point of depth and grounding. It continues to move away from intimacy, maintaining very good laterality and a more than acceptable sense of height. The sound is perceived as more separated, gaining in transparency, clarity and light. There seems to be more space between notes, even more darkness in the background. The low sense of density gives the sound a certain sense of openness and expansiveness. Without the scene being very large, it does feel more spacious.
In terms of resolution level the sound still seems basic to me. But the macro detail is more obvious, even darker in the background. In addition, micro detail is hinted at on more than one occasion, giving the feeling that there is only one more step to get there.
I also think that the positioning and the image are perceived more clearly.

Conclusion
Rose has definitely put its foot on the accelerator when it comes to TWS. At a very reasonable price, the Rose EARFREE-i5s continue to climb up the list and are now in the upper echelon, above the Ceramics Xs. Again, they are very responsive, offering great sound volume. And, most importantly, without distortion. They have gained in brightness and in terms of information this model is superior. The tuning is brighter and offers up to four EQs, where one of them is distinctly different. The RoseLink APP offers a considerable amount of options and works better and better. This time, the touch functionality can be customised at will. The battery life remains at 10H (50H with the charging base). This model even seems to be more stable in its connection. Small improvements for a firm sound and a model with an alternative, but safe shape.

Sources Used During the Analysis


Purchase Link

You can read the full review in Spanish here


Rose Technics continues its TWS line. This time they have a different design compared to the previous Ceramics X. While those have a more spherical shape, the EarFree-i5 are more like earbuds because of their almost cylindrical ear spike. This time, the EarFree-i5 have a hybrid noise-cancelling mode that achieves a profound noise reduction of 48 dB over an ultra-wide frequency range of 4000 Hz, effectively eliminating 98.9% of everyday noise. The EARFREE-i5 is equipped with the HR2 topological diaphragm driver, Cadence HiFi 5 DSP chips and LDAC codec support. This results in only 0.02%@1000Hz distortion. A single charge provides 10 hours of playback, 50 hours in total with the charging case. Just 10 minutes of charging provides 12 hours of music playback. The EARFREE-i5 also supports dual-device connectivity with Bluetooth 5.3. They are IPX5 certified for water resistance. They are manufactured with an aerospace-grade aluminium alloy body made by precision four-axis CNC machining, combined with polishing, sandblasting, anodising, etc. They feature 4 GoerTek silicon crystal microphones and DNN AI neural network noise cancellation algorithms. In addition, the gaming mode achieves an imperceptible latency of 54 ms. The EARFREE i5 has an ergonomic design based on more than 8000 data. The ROSELINK application allows you to customise the control of the device and offers HIFI/POP/ROCK equalisers for different types of music. Finally, as an option, Rose offers Super NC 200 pads that are designed to provide richer detail, enhanced, enveloping bass and vibrant highs. These ear cushions naturally expand to fit the contours of the ear canal, ensuring a perfect fit, creating a sealed space that effectively isolates external noise by up to 5dB. In addition, the NC 200 is designed to never slip out after being placed in the ear. There is a choice of 4 different sizes of ear tips, compatible with any earphone.


Specifications
- Driver: dynamic with 10 mm DLC diaphragm.
- Audio format: LDAC/AAC/mSBC/SBC.
- Playback time: 10H. 50H total with charging case.
- Impedance: 32Ω.
- Output power: 15 mW.
- Frequency response range: 14 - 23600Hz.
- Bluetooth version: 5.3.
- Communication range: 10m.
- Headset battery capacity: 40 mAh.
- Charging case battery capacity: 500 mAh.
- Charging time: approx. 1h.


Packaging
The Rose EARFREE-i5 comes in a small square box with dimensions 120x121x34mm. The background is white, with the brand logo in the top left corner. In the upper right corner is the model name. In the centre is a real picture of the TWS coming out of the cargo box. In the bottom left corner there are several logos of the technologies it uses (LLR ‘Lightning Latency Reduction’, ELO ‘Equal Loudness Contour’, LDAC). In the bottom right corner you can read ‘Pure Sound’. On the back side there are some specifications different from those published on the WEB, especially regarding the driver (12mm topological diaphragm with HR2 technology with Planck structure). The contents and a realistic photo of the TWS are also indicated. The interior is simple and only protects the box and accessories. In a nutshell:
- The Rose EARFREE-i5.
- The charging box.
- Three pairs of white silicone tips sizes S/M/L.
- One short USB C cable.
- One user manual.
The accessories are the minimum required. But, on this occasion, the tips are useless for me, they don't fit at all. But I have quite large ear canals and have problems with almost all tips.


Construction and Design
The EARFREE-i5's cargo box is constructed from aerospace-grade aluminium alloy and CNC machined. It is slightly heavy. The logo is in the centre of the case in light grey ink and underneath is an LED. The model is on the top. On the bottom is the USB C connection and a reset button, plus some specs. There are also a couple of TORX screws on the ends.
The headphones are made of hard plastic. They have an elongated spike whose base is rectangular in shape. There are two contacts and a hole in the base. At the end of the straight part of the stem, before the outer curve, there is a dark oval, which is the touch-sensitive area. This outer side is very similar to earbuds, while the inner side is more hybrid and more classic TWS shapes, although more stylised, not so circular, but more elongated, to facilitate ergonomics. The mouthpieces are very short and oval, protected by metal grilles. In the middle of the oval capsule is a black mole with a letter indicating the channel. Behind it, there is a hole a little smaller than the top, which is protected by a grille.
The aluminium alloy construction of the cargo box contrasts with the rather ordinary smooth hard plastic construction of the TWS. The design is not new to me, but I have never tried TWS in this form before and I can say that they make the ergonomics and fit easier, except for the standard tips. Having to use different and bigger tips than the standard ones, the cargo box can't be closed, which is a big inconvenience for me to use it normally.


Adjustment and Ergonomics
As I said, the EARFREE-i5 are very comfortable, once I found the right tips. Actually, they are very similar to the included ones, but with a larger external diameter and subtly higher. This means that with them on, I can't close the box without them deforming too much. But with these tips, I get a very good sound, a great seal and a superior fit. I can only say that the result is excellent, very occlusive fit and very good isolation.


Operation and Connection
Again, the Rose EARFREE-i5 uses Bluetooth v5.3 and the formats are LDAC/AAC/mSBC/SBC. The operating range is around 10m. The Rose Ceramics X allows pairing with two sources at once and can be activated from the app. In fact, many of the functions can be activated from the app. On this occasion, the operations allowed from the headphones themselves are not many, but they are extended with the app. From the RoseLink APP you can find out:
- The battery level of each earphone.
- Change the noise cancellation mode (Noise Cancelling, Wind Noise, Normal, Transparency).
- Change the tuning (Super Master EQ) between four options (Pop, HiFi, Rock, Light).
- Choose the protocol (Lossless Audio Protocol) between LDAC or AAC/SBC.
- Activate Game Mode.
- Activate Dual Device Connection. The method for dual pairing is described in the manual.
- Lab Features: you can control whether the TWS respond to touches or to a detection of whether or not they are inserted in the ears.
- You can change the language of the TWS (English or Chinese).
- The firmware can be updated. For this revision the version is 124.
- The functionality of the touches can be customised.
This last function is very interesting, as the TWS allows four actions:
- One touch.
- Two touches.
- Three touches.
- One long touch.
Each option can be assigned an action to choose from any of this list and for any TWS (L, R).
- No function.
- Volume down.
- Volume up.
- Play/pause.
- Previous song.
- Next song.
- Noise cancellation mode.
- Voice assistant.
I really miss the functions of being able to turn on/off the TWS, as well as activate the pairing mode. There is no reference to functions related to calls from the APP. But these functions are mentioned in the manual:
- Accept calls: one touch on any earphone.
- End calls: a long touch on any earphone.
- Reject calls: a long touch on any earphone.
Finally, some functions between the APP and the manual are not the same. The manual specifies that the gaming mode can be deactivated/activated with 5 taps.
It is specified that with a single charge the EARFREE-i5 can last up to 10 hours, 50 hours in total with the charging case. Again, it happens that if they are connected to the APP the battery life is much shorter. On the other hand, louder volume also means higher costs, as does the use of Game mode.
The listening power and volume is quite good, as good as or better than in the Ceramics X model.
The APP can be operated at the same time as it is connected to another device, so that all functions can be controlled in parallel.
The lower button on the underside of the charging box allows the TWS to be reset. To do this, press it for 10 seconds and wait for the LED to flash up to five times.
There is no description or colour coding for the battery control from the charging box.


Sound
Profile
The Rose EARFREE-i5 has 4 EQ modes: HiFi, Pop, Rock and Light. The first three move between a soft and moderate V, where you can boost and/or de-emphasise the bass or upper midrange and upper treble. The HiFi option seems to be the option with more bass and more balanced upper mids. The Pop option reduces the bass to also emphasise the upper mids. The Rock option lowers the bass slightly, but reduces the upper mids and, above all, the first treble. Finally, the Light EQ is much different: the bass is lowered completely, generating a U-profile, but with clearly more excited upper mids and treble. It really lives up to its name, as it is a distinctly brighter and clearer profile.
For the following review I have opted for HiFi tuning and LDAC mode. As a source I used the Fiio BTA30 Pro connected to my PC.


Bass
The bass of the Rose EARFREE-i5s is very much in line with the Ceramics Xs. Again, the behaviour is surprisingly natural, which is demonstrated in the very low-frequency pure tone test. Just as the first note is somewhat light, there is no excessive undulatory character and despite its low loudness, there is hardly any colouration. At this point, the level of physicality is low. As the Hz rises, this physical sensation becomes more pronounced and some colour mixed with a subtle undulatory behaviour is perceived. The 40Hz mark is very good, realistic and with a remarkable level of energy. The translation to real music is quite good. Although the bass is not very fast, it sounds quite compact, clean and natural. They have a remarkable degree of depth and a certain level of punch, body, power and physical range. They are clearly not a TWS for bass heads, but they can cope very well with electronic music. The decay isn't the fastest, but they have a good degree of dryness and fit decently, without becoming a doughy, too fluffy or thick bass. With a fairly acceptable technical level, they demonstrate authority, a good level of precision and remarkable realism. Among the qualities I would like to highlight are a good level of darkness and depth, as well as a more than acceptable physical component.
In the dirty, complex and unfiltered bass test, the EARFREE-i5s go into simplicity mode: basic reproduction so as not to sound bad. Bass lines are not reproduced with too much complexity, nor are they too resolving, as expected. But there are no glitches and a good level of naturalness is maintained, which does not impoverish the reproduction at all. Both layer generation and layering are above the basic level, mostly enhanced by a good level of realistic depth and natural loudness.


Mids
The first half of the midrange with the HiFi EQ reminds me a lot of the Ceramics Xs. But as there is more emphasis on the upper mids and first treble, the area feels a bit lean. The presence of the male vocals is quite good, although the warmth is limited and the sound veers towards clarity and light. In no case is the sound too dense, although the good bass base gives it a good foundation, musically speaking. Once again, I have to admit that the sound continues in the good vein demonstrated by the Ceramics Xs. The sense of naturalness and realism continues to progress, although I still feel that the sound is not too explicit. The tendency of the sound is towards slightly bright neutrality, with slightly sharp mids, something that is most clearly felt with the female vocals. They sound very transparent and feel completely emancipated, setting themselves up as the true protagonists of the performance, with a quite appropriate timbre, albeit with a bright tendency. In this case, the sound is more vivid, splashy, even more eloquent. Admittedly, it is a little more prone to sibilance, though within very tolerable limits. As I always say, over-emphasising the upper mids can work against the sound. Rose has added a pinch more energy in this critical area and the move has worked well. They've managed to pull back the veil and that darker, more nuanced feel that the Ceramics Xs had, but without overstepping the proper bounds of realistic sibilance. In this way, the sound never feels forced and the informative flow of sound is elevated, offering more detail and finer nuances. All of this, framed at the level of a $63 TWS, is another step towards a sound that is getting closer and closer to affordable IEMS.


Treble
Rose has decided to do some work on the treble of the EARFREE-i5s compared to the Ceramics X. And it shows. They've managed to add a certain level of energy and now the first treble is more luminous, brighter and closer. True, they have a somewhat metallic patina, but they crackle in the first instance. There is sparkle and life in the treble of these TWS and that will satisfy those Treble-Heads who opt for this new model.
The timbre in this area is sharper and on those songs focused on the high end, the sound will become more shimmering, even lingering in our ears when the song is over. Yes, the treble is more penetrating, but also finer and more delicate. They have also managed to improve the speed, achieving a higher resolution, more definition and a truer fit to the original high notes.
On the other hand, there is a slight loss in the air area, leaving a subtly drier sound.


Soundstage, Separation
The scene is still eminently frontal. But there seems to be a point of depth and grounding. It continues to move away from intimacy, maintaining very good laterality and a more than acceptable sense of height. The sound is perceived as more separated, gaining in transparency, clarity and light. There seems to be more space between notes, even more darkness in the background. The low sense of density gives the sound a certain sense of openness and expansiveness. Without the scene being very large, it does feel more spacious.
In terms of resolution level the sound still seems basic to me. But the macro detail is more obvious, even darker in the background. In addition, micro detail is hinted at on more than one occasion, giving the feeling that there is only one more step to get there.
I also think that the positioning and the image are perceived more clearly.

Conclusion
Rose has definitely put its foot on the accelerator when it comes to TWS. At a very reasonable price, the Rose EARFREE-i5s continue to climb up the list and are now in the upper echelon, above the Ceramics Xs. Again, they are very responsive, offering great sound volume. And, most importantly, without distortion. They have gained in brightness and in terms of information this model is superior. The tuning is brighter and offers up to four EQs, where one of them is distinctly different. The RoseLink APP offers a considerable amount of options and works better and better. This time, the touch functionality can be customised at will. The battery life remains at 10H (50H with the charging base). This model even seems to be more stable in its connection. Small improvements for a firm sound and a model with an alternative, but safe shape.

Sources Used During the Analysis
- Xiaomi 13T 5G 256GB.
- Fiio BTA30 Pro.
- FireStick Amazon.

Rose offered me this model, in exchange for writing an honest review. I want to make it clear that all my opinions written in this review have not been conditioned by this fact, nor will I ever write anything that I do not really think or feel here. I will only write about my personal opinion in relation to the revised product.

Purchase Link

You can read the full review in Spanish here


cqtek
1000+ Head-Fier
Pros: Very musical sound.
- Two very pleasant, homogeneous and balanced tunings.
- Without any revolution in frequency response, Kefine seems to get the best out of the 10mm DD with DLC diaphragm.
- Excellent construction, simple and durable.
- Remarkable cable.
- Good technical level for the price.
- Ergonomics.
- Two very pleasant, homogeneous and balanced tunings.
- Without any revolution in frequency response, Kefine seems to get the best out of the 10mm DD with DLC diaphragm.
- Excellent construction, simple and durable.
- Remarkable cable.
- Good technical level for the price.
- Ergonomics.
Cons: Not for those looking for alternative tunings.
- Single set of tips.
- Black mouthpieces may present a slightly more sibilant sound.
- Single set of tips.
- Black mouthpieces may present a slightly more sibilant sound.
Introduction
The Kefine Klean is the fourth IEMS of the brand and the cheapest model to date. But that does not mean a drop in quality in any respect. The capsules are made of metal and are manufactured by alloy casting. The inner and outer face of the capsules are secured by means of a screw, which eliminates the need for adhesives that can peel off over time. The dynamic driver has a neodymium magnet and the 10 mm diaphragm is made of DLC (diamond-like carbon), one of the hardest materials in the world. The structure is double-cavity. They come with two sets of interchangeable threaded mouthpieces to provide slight changes in tuning: warm and smooth with the silver mouthpiece and brighter, more transparent and higher resolution sound with the black mouthpiece. The wire is made of silver-plated copper wire. Each strand is composed of eighteen wires of 0.06 mm diameter. The cores consist of three strands. The cable is made up of two cores, so there are a total of 108 wires (18x3x2) in the entire cable. The connection interface is the classic and durable 2-pin 0.78 mm connector. Let's see what Kefine has to offer for only $49.


Specifications


Packaging
The Kefine Klean comes in a white box with dimensions 108x128x38mm. On the front side there is a real photo of a capsule with the cable. The brand name is in the top left corner and is written in black letters. Below, in the centre, is the model name and a short description. On the back side are the specifications in Chinese and English. Underneath is information about the brand and icons for the certifications it meets. Underneath the cardboard is a black box with a cardboard flap of the same colour with the brand's lettering in the centre, written in silver ink. When the flap is removed, the capsules can be seen in a foam mould lined with black cardboard. Underneath is a box with accessories. The complete contents are as follows:
Only one set of silicone tips, but the cable is good for the price. Includes two pairs of tuning mouthpieces and a branded zipped case. Kefine has focused on offering a very good quality construction, with a cable that doesn't need to be changed and a grey case that is very practical.


Construction and Design
The black capsules of the Kefine Klean are made of alloy castings. The outer and inner sides are screwed together. They have a very irregular hexagonal shape, with two longer opposing sides and the rest of the faces smaller to round off the shape. On the outer face is a light-grey rectangular pattern. In the centre, the mark can be read in large white letters. The inner face is smooth and soft, without too many curves, beyond the elevation of the nozzles. There is a Torx screw near the edge. Above it is a white lettering indicating the channel. There are two holes, one next to each letter and one near the nozzles. The nozzle tubes are gold-plated and have a diameter of 5.2mm. The filters have a serrated edge and a diameter of approximately 6.5mm. The 0.78mm 2-pin connection is fully integrated into the capsule.
The cable has two cores, three strands and 18 wires per strand for a total of 108 wires. It is silver plated. The sleeve of the 3.5 mm SE connector is metallic and black, and the brand name is written on it in white letters lengthwise. There is a pair of circular grooves near the cable outlet, which is protected by black plastic. The splitter piece is a black metal cylinder with the model name in white letters. It is narrower at the edge. The pin is a black metal ring with a hole inside. It fulfils its fitting function very well. The sleeves of the 2-pin 0.78 mm connectors are black metal cylinders with the channel lettering in white ink. The cable has ear guides.
The construction is very good, the capsules are very solid and have that security screw. It might weigh a bit more, 10 grams per capsule, but the shape is very good.
The design is not bad at all, not too complex from an ergonomic point of view, but the flat shapes adapt well to the morphology of my ears. I like the sober black with few details.
The cable is very good for the price, it is of good thickness and relatively handy.
The nozzles deserve a special mention, as only the crowns are the filters. They are screw-on and have a coarse, obvious toothing that allows them to be replaced very easily and safely with your fingers.


Adjustment and Ergonomics
The domes are of medium size and their flat-sided shape with rounded corners integrates very well into the pinna. They fit flat, while the mouthpieces are somewhat short and insertion can be only shallow, though somewhat deeper if more suitable tips are used.
Although each dome weighs 10g, the good fit does not compromise on ergonomics. The capsules do not move in the pinna and the fit is unique, durable and occlusive, providing a high level of isolation.
The hardness, fit and comfort make them suitable for everyday use, for outdoor use and for light sports such as brisk walking.


Sound
Profile
Kefine Klean IEMs are inexpensive IEMs with two tuning mouthpieces. According to the brand, the silver-plated mouthpiece offers a warm and smooth sound, while the black mouthpiece provides a higher resolution, brighter and more transparent sound. In my opinion, there are many models with a similar tuning to the Klean with the silver-plated mouthpiece. I would choose the silver-plated mouthpiece for long listens. It is a tiny U or W profile, with very rounded curves and no peaks. The profile achieved with the black mouthpieces is doubly excited in the upper mids and first treble, adding more energy in the 2.5 kHz and also in the 5 kHz. The latter peak can be somewhat more aggressive in an area where the human ear is quite sensitive. Therefore, any excess in this area can be detrimental. As the silver mouthpiece profile is the safest, I have preferred to use the black mouthpiece for this review, as it is more critical and daring.

Bass
There is no doubt that dynamic drivers with a DLC diaphragm can reproduce bass with great power. Thanks to the high hardness of the material, the bass is precise, natural and deep. This is how the bass of the Kefine Klean can be described. Starting with the very low-frequency pure tone test, the 20 Hz sound really natural, with a strong sensory component and hardly any oscillating character, which makes them very pure and very realistic. The fact that the first note starts off so well only presages a great bass range. As the frequencies climb, you continue to perceive very little colour and more energy, and maintain that great physical substrate, while increasing the volume and space occupied. The result is a deep, dark bass, physical and sensory, with power, but without being predominant in the mix. Of course, the DLC diaphragm allows the bases to be very compact and dry, as well as generating very concise, tight and fast decaying hits. The execution of the bass drums is fast, with no aftertaste, not too elastic, just enough, and here we can appreciate that the mid bass is very restrained: it exists in the right proportion to provide volume and strength, but avoiding bleeding into the mids. Undoubtedly, the presence of the bass is more prominent with silver mouthpieces, but it is more compensated with black mouthpieces.
In my classic test of dirty, complex and unfiltered bass, the Klean's hold up very well, as if reproducing the worst bass was a piece of cake. The speed and precision of the driver allow the bass lines to be very clean, quite deep and well marked. The worst situations are under control and I could only criticise some symptoms of reduction to a simpler reproduction. But perhaps this is the result of how well the Klean's work in these situations. There's no stress, the driver doesn't suffer and that shows in a natural, maybe not too rich, but very successful performance, layering the layers very well and separating the complex lines of the bass drums in a clear and concise way. It's hard to believe that a $50 bass sounds so effective and realistic.


Mids
As usual in this type of tuning, with a rather technical bass, the first half of the mids is perceived as quite clean. With silver mouthpieces, this part is warmer and denser. With the black mouthpieces, a little more of the base is lost in favour of the middle and upper frequencies. The male voices lack some body and physicality. Overall, they feel quite close in the mix, but without that density that makes them fuller and deeper. As a result, this first half feels leaner, a little thin, though with good presence and cleanliness. It is not a very busy phase and feels freer and more transparent. The energy level of the second half helps a lot. Although it is true that it can slightly favour sibilance, it is not a completely splashy profile, but with a point of vivacity and sought-after expressiveness, but not overdone or too excited. Thus, already in the male voices, one can appreciate how the higher parts are favoured and the accent is placed on the ending of the notes.
The timbre, although natural, is subtly deviated towards brightness, but without losing the neutrality that distances it from the new, darker META curve.
The female vocals are in their element. Although I still notice a certain lack of strength in their base, the rest of the way through until they are fully executed sounds very good. It's not a display of nuance and resolution, but there is a clear desire to sound quite full, without falling into an analytical profile or losing smoothness or control. I think Kefine wanted to bring the two sides of the Klean midrange sound through the two mouthpieces it comes with: on the one hand, that softer, smoother and rounder sound, warmer and more suitable for long hours of listening. On the other, a slightly sharper, richer and more exposed sound, with the risk that this entails, but without pushing it to the limit, just adding a little more sparkle, light and spice to the upper mids and first treble. This is how the Klean's upper zone develops, with that brighter aspect, but with a mixture of subtle warmth and sparkle, which is not polarised, but well blended. In this way, the upper mids don't feel splashy or forced, but maintain a good balance with the black mouthpieces, ideal for those looking for an extra point of clarity and accentuation of detail.


Treble
The Klean's treble starts with a good initial sparkle, with a slightly elevated, but very well controlled energy level. The result is a punchy base followed by a control zone that stretches into the air zone in a very remarkable way. All this gives the high notes a very natural and full sound, but without stridency. Once again, Kefine has sought to reach the border between musicality and excitement. And I think they have succeeded. Its treble is not only maintained in power and control, but even stretches noticeably into the air zone, maintaining a level of representation that makes the high notes have a good, quite realistic timbre, while the harmonics do not become artificial. Again, it is a commendable effort for a $50 IEMS to achieve a level of finesse and delicacy within a balanced and fairly even smoothness. And all this with a simple dynamic driver. There is a certain punch and a slight crunch that gives authority to the treble, but always within a coherence and order. And I think that's not easy to achieve. I could conclude that the treble is sparkling, relatively thin and delicate, but always within a controlled and well extended range.


Soundstage, Separation
The Klean's scene is relatively large on all three axes, filling a space larger than a quarter sphere. There is a sense of roundness in the volume generated, with very good laterality, remarkable depth and that point of height that elevates the notes and gives them a certain enveloping sparkle. However, it is not extraordinary in this respect. But it is quite clean and transparent. But, above all, it is orderly and coherent, and maintains musicality as its main premise. With the black mouthpieces it is cleaner and more transparent, and it gains the impression of incipient micro detail, quite well achieved for an ensemble that does not seek to be analytical. I feel subtle nuances subtly expressed with considerable ease and clarity. Reaching this point is already a great achievement, especially considering the price and without looking for technicality above all else. The Kleans have enough sharpness and resolution to show that good level of detail, while maintaining a coherence and balance in their more fun and sedate presentation. So, once again, you have to appreciate the resolution of a $50 driver and the tuning that powers it.
The image is coherent, well presented, with a logical and realistic positioning of the elements, without artifice or showiness. It is rather a solvent and successful image.
The separation is noticeable and there is a slight darkness in the background. You can dig into it and discern that small detail, not too sharp or delimited, but there it is. And much better than in more expensive sets. Not bad at all.


Comparisons
KZ ZS10 Pro 2 1111
The KZ ZS10 Pro 2 cost $56 and have 5 drivers (1DD + 4BA). They are made of a hybrid construction with resin on the inner side and a metal panel. They have four tuning switches instead of interchangeable mouthpieces. The packaging is minimal and includes a single cable. The Klean Kefine Klean surpasses them in construction, design, presentation and accessories, and is less expensive.
The capsules of the KZ are thicker and, although their ergonomics are not bad, the comfort and fit of the Klean is clearly superior.
In terms of profile, the KZs can be tuned to different degrees of bass. But with all switches in the ON position, the frequency response more closely resembles an excited, rising W. The Kleans with the black mouthpieces have a W-shaped profile, but softer in the treble. It is worth noting that the curve is very similar up to 1000 Hz.
The Klean's are a little easier to move and, for the same power, sound louder.
I already commented in the review of the KZs that their bass was good, dark and deep, but with a medium speed. The Klean's bass has a superior punch, punchiness, texture, speed and technical quality. It is not so dark as to become dull, but it is better behaved. In the very low frequency pure tone test, the Klean's are subtly more physical and less coloured, as their wave character is lower, giving them a more realistic and natural response.
In the middle range, the first half is warmer and denser in the Klean. The male voices have more body, presence and a more accurate timbre. In the KZ, everything is leaner, with a point of imbalance and a more pronounced V-feel. The Kleans have a more homogeneous character, are more pleasant and musical.
There is also a more pronounced thickness in the female voices, which sound fuller and more realistic. The KZs, on the other hand, have a somewhat more synthetic sonority, comparatively speaking.
In the treble, the Kleans have an explosive start, but their energy level decreases afterwards. The opposite is true of the KZs: they are controlled and smooth at first, but then fill out in the mid-range. This gives them a somewhat strange and less natural timbre, which also adds to the behaviour of their BA drivers, which are further away from the realistic and organic sound of the Klean.
The KZs may boast more drivers, but the Kleans gain in micro-detail, clarity, resolution, balance and musicality. The sound is crisper, while the KZs are more muted and nuanced, with details omitted in comparison. The soundstage is superior, the sound is more open and transparent, and separation is more clearly perceived. The Kleans, with one driver, do better than the KZs with five.

Conclusion
The young Kefine brand is also demonstrating its know-how in the $50 segment. Without any revolution, playing it safe, but offering a very musical and expert tuning, something that is already a hallmark of the brand itself. The Kefine Klean is a reliable bet for those who want a tremendously musical IEMS with a bit more of everything, including good technical skill. With excellent die-cast metal construction, screw-secured capsules, a quality cable that avoids having to buy a new one, and two pairs of mouthpieces to change the tuning: warm and smooth with the silver mouthpiece; brighter, more transparent and higher resolution sound with the black mouthpiece. The Klean can easily become a fully recommendable set as an all-rounder, for everyday use as well as for leisurely and enjoyable listening.


Sources Used During the Analysis




Purchase Link


You can read the full review in Spanish here

The Kefine Klean is the fourth IEMS of the brand and the cheapest model to date. But that does not mean a drop in quality in any respect. The capsules are made of metal and are manufactured by alloy casting. The inner and outer face of the capsules are secured by means of a screw, which eliminates the need for adhesives that can peel off over time. The dynamic driver has a neodymium magnet and the 10 mm diaphragm is made of DLC (diamond-like carbon), one of the hardest materials in the world. The structure is double-cavity. They come with two sets of interchangeable threaded mouthpieces to provide slight changes in tuning: warm and smooth with the silver mouthpiece and brighter, more transparent and higher resolution sound with the black mouthpiece. The wire is made of silver-plated copper wire. Each strand is composed of eighteen wires of 0.06 mm diameter. The cores consist of three strands. The cable is made up of two cores, so there are a total of 108 wires (18x3x2) in the entire cable. The connection interface is the classic and durable 2-pin 0.78 mm connector. Let's see what Kefine has to offer for only $49.


Specifications
- Driver Type: 10mm dynamic with DLC diaphragm with N52 neodymium magnet.
- Frequency Response: 20Hz-20kHz.
- Sensitivity: 107dB ± 3dB.
- Impedance: 32Ω ± 15%.
- Jack Connector: SE 3.5mm.
- Cartridge Connection Type: 2Pin 0.78mm.
- Cable Length: 1.2m ±0.2m.
- Weight: 10g per side.
- Starting Price: $49.


Packaging
The Kefine Klean comes in a white box with dimensions 108x128x38mm. On the front side there is a real photo of a capsule with the cable. The brand name is in the top left corner and is written in black letters. Below, in the centre, is the model name and a short description. On the back side are the specifications in Chinese and English. Underneath is information about the brand and icons for the certifications it meets. Underneath the cardboard is a black box with a cardboard flap of the same colour with the brand's lettering in the centre, written in silver ink. When the flap is removed, the capsules can be seen in a foam mould lined with black cardboard. Underneath is a box with accessories. The complete contents are as follows:
- The two Kefine Klean capsules.
- A grey zippered case.
- One two-strand cable with silver-plated copper wires.
- Three pairs of black silicone tips sizes SxMxL.
- Two pairs of screw-on tips (black grid and silver grid).
- User's manual.
- Warranty certificate.
Only one set of silicone tips, but the cable is good for the price. Includes two pairs of tuning mouthpieces and a branded zipped case. Kefine has focused on offering a very good quality construction, with a cable that doesn't need to be changed and a grey case that is very practical.


Construction and Design
The black capsules of the Kefine Klean are made of alloy castings. The outer and inner sides are screwed together. They have a very irregular hexagonal shape, with two longer opposing sides and the rest of the faces smaller to round off the shape. On the outer face is a light-grey rectangular pattern. In the centre, the mark can be read in large white letters. The inner face is smooth and soft, without too many curves, beyond the elevation of the nozzles. There is a Torx screw near the edge. Above it is a white lettering indicating the channel. There are two holes, one next to each letter and one near the nozzles. The nozzle tubes are gold-plated and have a diameter of 5.2mm. The filters have a serrated edge and a diameter of approximately 6.5mm. The 0.78mm 2-pin connection is fully integrated into the capsule.
The cable has two cores, three strands and 18 wires per strand for a total of 108 wires. It is silver plated. The sleeve of the 3.5 mm SE connector is metallic and black, and the brand name is written on it in white letters lengthwise. There is a pair of circular grooves near the cable outlet, which is protected by black plastic. The splitter piece is a black metal cylinder with the model name in white letters. It is narrower at the edge. The pin is a black metal ring with a hole inside. It fulfils its fitting function very well. The sleeves of the 2-pin 0.78 mm connectors are black metal cylinders with the channel lettering in white ink. The cable has ear guides.
The construction is very good, the capsules are very solid and have that security screw. It might weigh a bit more, 10 grams per capsule, but the shape is very good.
The design is not bad at all, not too complex from an ergonomic point of view, but the flat shapes adapt well to the morphology of my ears. I like the sober black with few details.
The cable is very good for the price, it is of good thickness and relatively handy.
The nozzles deserve a special mention, as only the crowns are the filters. They are screw-on and have a coarse, obvious toothing that allows them to be replaced very easily and safely with your fingers.


Adjustment and Ergonomics
The domes are of medium size and their flat-sided shape with rounded corners integrates very well into the pinna. They fit flat, while the mouthpieces are somewhat short and insertion can be only shallow, though somewhat deeper if more suitable tips are used.
Although each dome weighs 10g, the good fit does not compromise on ergonomics. The capsules do not move in the pinna and the fit is unique, durable and occlusive, providing a high level of isolation.
The hardness, fit and comfort make them suitable for everyday use, for outdoor use and for light sports such as brisk walking.


Sound
Profile
Kefine Klean IEMs are inexpensive IEMs with two tuning mouthpieces. According to the brand, the silver-plated mouthpiece offers a warm and smooth sound, while the black mouthpiece provides a higher resolution, brighter and more transparent sound. In my opinion, there are many models with a similar tuning to the Klean with the silver-plated mouthpiece. I would choose the silver-plated mouthpiece for long listens. It is a tiny U or W profile, with very rounded curves and no peaks. The profile achieved with the black mouthpieces is doubly excited in the upper mids and first treble, adding more energy in the 2.5 kHz and also in the 5 kHz. The latter peak can be somewhat more aggressive in an area where the human ear is quite sensitive. Therefore, any excess in this area can be detrimental. As the silver mouthpiece profile is the safest, I have preferred to use the black mouthpiece for this review, as it is more critical and daring.

Bass
There is no doubt that dynamic drivers with a DLC diaphragm can reproduce bass with great power. Thanks to the high hardness of the material, the bass is precise, natural and deep. This is how the bass of the Kefine Klean can be described. Starting with the very low-frequency pure tone test, the 20 Hz sound really natural, with a strong sensory component and hardly any oscillating character, which makes them very pure and very realistic. The fact that the first note starts off so well only presages a great bass range. As the frequencies climb, you continue to perceive very little colour and more energy, and maintain that great physical substrate, while increasing the volume and space occupied. The result is a deep, dark bass, physical and sensory, with power, but without being predominant in the mix. Of course, the DLC diaphragm allows the bases to be very compact and dry, as well as generating very concise, tight and fast decaying hits. The execution of the bass drums is fast, with no aftertaste, not too elastic, just enough, and here we can appreciate that the mid bass is very restrained: it exists in the right proportion to provide volume and strength, but avoiding bleeding into the mids. Undoubtedly, the presence of the bass is more prominent with silver mouthpieces, but it is more compensated with black mouthpieces.
In my classic test of dirty, complex and unfiltered bass, the Klean's hold up very well, as if reproducing the worst bass was a piece of cake. The speed and precision of the driver allow the bass lines to be very clean, quite deep and well marked. The worst situations are under control and I could only criticise some symptoms of reduction to a simpler reproduction. But perhaps this is the result of how well the Klean's work in these situations. There's no stress, the driver doesn't suffer and that shows in a natural, maybe not too rich, but very successful performance, layering the layers very well and separating the complex lines of the bass drums in a clear and concise way. It's hard to believe that a $50 bass sounds so effective and realistic.


Mids
As usual in this type of tuning, with a rather technical bass, the first half of the mids is perceived as quite clean. With silver mouthpieces, this part is warmer and denser. With the black mouthpieces, a little more of the base is lost in favour of the middle and upper frequencies. The male voices lack some body and physicality. Overall, they feel quite close in the mix, but without that density that makes them fuller and deeper. As a result, this first half feels leaner, a little thin, though with good presence and cleanliness. It is not a very busy phase and feels freer and more transparent. The energy level of the second half helps a lot. Although it is true that it can slightly favour sibilance, it is not a completely splashy profile, but with a point of vivacity and sought-after expressiveness, but not overdone or too excited. Thus, already in the male voices, one can appreciate how the higher parts are favoured and the accent is placed on the ending of the notes.
The timbre, although natural, is subtly deviated towards brightness, but without losing the neutrality that distances it from the new, darker META curve.
The female vocals are in their element. Although I still notice a certain lack of strength in their base, the rest of the way through until they are fully executed sounds very good. It's not a display of nuance and resolution, but there is a clear desire to sound quite full, without falling into an analytical profile or losing smoothness or control. I think Kefine wanted to bring the two sides of the Klean midrange sound through the two mouthpieces it comes with: on the one hand, that softer, smoother and rounder sound, warmer and more suitable for long hours of listening. On the other, a slightly sharper, richer and more exposed sound, with the risk that this entails, but without pushing it to the limit, just adding a little more sparkle, light and spice to the upper mids and first treble. This is how the Klean's upper zone develops, with that brighter aspect, but with a mixture of subtle warmth and sparkle, which is not polarised, but well blended. In this way, the upper mids don't feel splashy or forced, but maintain a good balance with the black mouthpieces, ideal for those looking for an extra point of clarity and accentuation of detail.


Treble
The Klean's treble starts with a good initial sparkle, with a slightly elevated, but very well controlled energy level. The result is a punchy base followed by a control zone that stretches into the air zone in a very remarkable way. All this gives the high notes a very natural and full sound, but without stridency. Once again, Kefine has sought to reach the border between musicality and excitement. And I think they have succeeded. Its treble is not only maintained in power and control, but even stretches noticeably into the air zone, maintaining a level of representation that makes the high notes have a good, quite realistic timbre, while the harmonics do not become artificial. Again, it is a commendable effort for a $50 IEMS to achieve a level of finesse and delicacy within a balanced and fairly even smoothness. And all this with a simple dynamic driver. There is a certain punch and a slight crunch that gives authority to the treble, but always within a coherence and order. And I think that's not easy to achieve. I could conclude that the treble is sparkling, relatively thin and delicate, but always within a controlled and well extended range.


Soundstage, Separation
The Klean's scene is relatively large on all three axes, filling a space larger than a quarter sphere. There is a sense of roundness in the volume generated, with very good laterality, remarkable depth and that point of height that elevates the notes and gives them a certain enveloping sparkle. However, it is not extraordinary in this respect. But it is quite clean and transparent. But, above all, it is orderly and coherent, and maintains musicality as its main premise. With the black mouthpieces it is cleaner and more transparent, and it gains the impression of incipient micro detail, quite well achieved for an ensemble that does not seek to be analytical. I feel subtle nuances subtly expressed with considerable ease and clarity. Reaching this point is already a great achievement, especially considering the price and without looking for technicality above all else. The Kleans have enough sharpness and resolution to show that good level of detail, while maintaining a coherence and balance in their more fun and sedate presentation. So, once again, you have to appreciate the resolution of a $50 driver and the tuning that powers it.
The image is coherent, well presented, with a logical and realistic positioning of the elements, without artifice or showiness. It is rather a solvent and successful image.
The separation is noticeable and there is a slight darkness in the background. You can dig into it and discern that small detail, not too sharp or delimited, but there it is. And much better than in more expensive sets. Not bad at all.


Comparisons
KZ ZS10 Pro 2 1111
The KZ ZS10 Pro 2 cost $56 and have 5 drivers (1DD + 4BA). They are made of a hybrid construction with resin on the inner side and a metal panel. They have four tuning switches instead of interchangeable mouthpieces. The packaging is minimal and includes a single cable. The Klean Kefine Klean surpasses them in construction, design, presentation and accessories, and is less expensive.
The capsules of the KZ are thicker and, although their ergonomics are not bad, the comfort and fit of the Klean is clearly superior.
In terms of profile, the KZs can be tuned to different degrees of bass. But with all switches in the ON position, the frequency response more closely resembles an excited, rising W. The Kleans with the black mouthpieces have a W-shaped profile, but softer in the treble. It is worth noting that the curve is very similar up to 1000 Hz.
The Klean's are a little easier to move and, for the same power, sound louder.
I already commented in the review of the KZs that their bass was good, dark and deep, but with a medium speed. The Klean's bass has a superior punch, punchiness, texture, speed and technical quality. It is not so dark as to become dull, but it is better behaved. In the very low frequency pure tone test, the Klean's are subtly more physical and less coloured, as their wave character is lower, giving them a more realistic and natural response.
In the middle range, the first half is warmer and denser in the Klean. The male voices have more body, presence and a more accurate timbre. In the KZ, everything is leaner, with a point of imbalance and a more pronounced V-feel. The Kleans have a more homogeneous character, are more pleasant and musical.
There is also a more pronounced thickness in the female voices, which sound fuller and more realistic. The KZs, on the other hand, have a somewhat more synthetic sonority, comparatively speaking.
In the treble, the Kleans have an explosive start, but their energy level decreases afterwards. The opposite is true of the KZs: they are controlled and smooth at first, but then fill out in the mid-range. This gives them a somewhat strange and less natural timbre, which also adds to the behaviour of their BA drivers, which are further away from the realistic and organic sound of the Klean.
The KZs may boast more drivers, but the Kleans gain in micro-detail, clarity, resolution, balance and musicality. The sound is crisper, while the KZs are more muted and nuanced, with details omitted in comparison. The soundstage is superior, the sound is more open and transparent, and separation is more clearly perceived. The Kleans, with one driver, do better than the KZs with five.

Conclusion
The young Kefine brand is also demonstrating its know-how in the $50 segment. Without any revolution, playing it safe, but offering a very musical and expert tuning, something that is already a hallmark of the brand itself. The Kefine Klean is a reliable bet for those who want a tremendously musical IEMS with a bit more of everything, including good technical skill. With excellent die-cast metal construction, screw-secured capsules, a quality cable that avoids having to buy a new one, and two pairs of mouthpieces to change the tuning: warm and smooth with the silver mouthpiece; brighter, more transparent and higher resolution sound with the black mouthpiece. The Klean can easily become a fully recommendable set as an all-rounder, for everyday use as well as for leisurely and enjoyable listening.


Sources Used During the Analysis
- iFi GO bar Kensei.
- EPZ TP35.
- Tempotec V3.
- Burson Audio Playmate 2.
- Aune X8 XVIII Magic DAC + EarMen ST-Amp.


Kefine offered me this model, in exchange for writing an honest review. I want to make it clear that all my opinions written in this review have not been conditioned by this fact, nor will I ever write anything that I do not really think or feel here. I will only write about my personal opinion in relation to the revised product.


Purchase Link


You can read the full review in Spanish here

cqtek
1000+ Head-Fier
Pros: They have the highest sub-bass in the world.
- The real skill lies in controlling that huge sub-bass when it reaches the mids. It partially succeeds.
- The cable has a totally secure screw-in pin change mechanism.
- Special semi-custom construction and quite comfortable.
- A lot of own technologies used to build the model.
- Nice pelikan type case.
- The real skill lies in controlling that huge sub-bass when it reaches the mids. It partially succeeds.
- The cable has a totally secure screw-in pin change mechanism.
- Special semi-custom construction and quite comfortable.
- A lot of own technologies used to build the model.
- Nice pelikan type case.
Cons: Perhaps the price per dB of sub-bass is too high.
- The cable, although quite good, is not cheap either.
- Treble, clarity, transparency, detail, resolution and definition are limited for the price paid.
- I don't know if it's the complete accessories, but 5 pairs of tips is ridiculous for the price.
- The behaviour and loudness of the sub bass in the LFO test is not the most realistic.
- The cable, although quite good, is not cheap either.
- Treble, clarity, transparency, detail, resolution and definition are limited for the price paid.
- I don't know if it's the complete accessories, but 5 pairs of tips is ridiculous for the price.
- The behaviour and loudness of the sub bass in the LFO test is not the most realistic.
Introduction
FATFrequency is a Singapore-based brand specialising in medium and high-end IEMS. It currently has four major series, according to tuning type: Mestro (V shaped), Musician (Bass), Reference (Flat) and Signature (Balanced). Prices start at over $200 and, in particular, the Scarlet Mini is priced at around €600, while with the Silver Red cable it goes up to €750. This model boasts the world's first 30dB sub-bass shelf, expertly controlled below 200Hz. FATfreq's patented tubeless HyperTweeter system provides stratospheric extension and brightness up to 40 kHz. Proprietary technologies in this model include: Bass Cannon™: (Patent Pending) which uses patented dynamic woofers, bass chambers and acoustic damping networks. Linear Impedance: FATfreq uses patented circuitry to correct the non-linear impedances of multi-driver systems. This technology ensures frequency response consistency when connected to any device. Sonar La Trompa™: Inspired by the anatomy of the traditional horn, FATfreq uses the exponential curvature of the horn to control gain and enhance treble tonality through acoustics. Giving you a smooth, natural sounding treble, cemented by a pleasing timbre in the mid and low frequencies. PhaseAlign: The absence of a DSP in IEMs forces the phase matching of multi-way systems by means of an acoustic delay. Using patented structures, the low, mid and high frequencies are aligned so that they reach your eardrum coherently. Let's see what all these technologies can do in the IEMS with the wildest subwoofer on the planet.


Specifications
The FatFreq Scarlet Mini are part of a European tour organised by Head-Fi. They have been shipped in a medium sized Pelican box. As there is no box, there are no specifications. But, in the WEB I haven't seen any section either, apart from the presentation of the model and the technologies used. Maybe I'm wrong, but I couldn't find the specifications.


Packaging
As I say, they have come in a medium sized red Pelican box. Inside there is a large tablet of desiccant material. Around it is the coiled cable. There is a slot on the right side where the 3.5mm SE and 2.5mm BAL plugs are screwed in. As standard it comes with the 4.4mm BAL plug. On the other side is another slot containing a cleaning brush. Next to it, on the right hand side, are the two capsules and a bag with two sets of tips (3 and 2 pairs respectively). Nothing else. It comes with the Silver Red upgrade cable, which costs around 150€.

Construction and Design
Scarlet Mini have a pronounced semi-custom shape. They are medium-sized, integral capsules, with an outer face in a flowing pattern of deep red glitter. On the left capsule is the brand name and on the right the logo in gold ink. The 2Pin 0.78mm interface is fully integrated into the capsule. On that edge, nearby, there is a hole. The inner side has three levels, the first one is flatter, but rounded. You can read on it ‘A1128’ in white ink. The second level is the base of the mouthpiece, very projected. The third level is the nozzle itself. The orifice is covered by a perforated sheet of metal. The body is made of resin and is medium-large in size.
The cable has four red strands covered with transparent PVC. It has a good system for interchanging the plugs: a cylindrical, metal screw-on cover allows the system to be anchored. All connectors are gold-plated. The splitter is a simple, smooth, black metal cylinder. The pin ring has an inside diameter that is too large for effective cable adjustment. The covers of the 2Pin 0.78mm connectors are black cylinders with the channel lettering inscribed in white.

Adjustment and Ergonomics
These are IEMS with a very pronounced semi-custom shape, beyond the regularity itself. It has long nozzles mounted on an already pronounced base. This allows an insertion that could be deeper, but the diameter of the nozzles can be a handicap. In my case, the insertion is shallow using my classic large tips filled with my own handmade foam. With them I get the classic fit, very good insulation and fixation. Because of their size, the problem may be that they clearly protrude out of the ears, without this being a problem of comfort or ergonomics, beyond the aesthetics.

Sound
Profile
Exaggerated V-profile with a very high subwoofer elevation. The brand itself says that the elevation reaches 30dB and that it is the highest subwoofer in the world. The rest of the frequencies are rather classic V-profile, with a somewhat uneven extension in the treble. It is worth noting that they are a bit difficult to move.

Bass
According to my measurements, the rise of the subwoofer reaches almost 25dB with respect to the lowest point of the mids. But it is also true that the slope is very steep, losing almost 20dB at 200Hz, which is a very high value. Compared to other clearly bass-heavy IEMS such as the 7Hz Legato, whose sub-bass boost is around 15dB, the Scarlet Mini almost reaches the same value at the 200Hz position, while at 300Hz onwards it is the same. FatFreq wanted to emphasise this aspect, the disconnection of the bass from the rest of the frequencies. The real result is very good, but not infallible. The Scarlet Mini are still V-shaped IEMS with the upper mids moved forward. And it is true that this point of illumination is necessary to bring them out of the darkness in which they seem to be immersed. But it doesn't seem to be enough.
It is quite clear that the FatFreq Scarlet Mini is not only an IEMS for bass heads, but also for die-hard fans and the most daring. The sound pressure that these IEMS exert when reproducing bass is very great. Such is the power that in the very low frequency pure tone test the IEMS seem to tremble from the level of energy they are able to deliver. The 20Hz oscillations are so high and physical that they seem to reach the brain directly. Anyone would think that the performance in this test would be a failure. But this is not the case. It is clear that so much energy makes the LFOs audible, a little coloured. But both the physical level and the behaviour is very good. Another thing is the speed and the aftertaste it leaves in the atmosphere. So much energy is difficult to dissipate in an instant. Even so, I can't say that the Scarlet Mini's base hits are slow. But it's true that the rumble lingers and that's what can be most overwhelming when listening to electronic music with these IEMS. On the one hand, it is appropriate to limit the volume so as not to reach that extreme. But then you will come to the conclusion that this model is somewhat dark, very dense, with too much volume. Needless to say, the bass is deep, full-bodied and energetic, with great rumble, some colour, plenty of texture and noticeable punch. And yet, despite all this, there is also a touch of precision and technical skill. But the exaggerated power level tarnishes these characteristics.
In the dirty, unfiltered and poorly recorded bass test, the Scarlet Mini doesn't suffer one iota. Both the sonority and the behaviour is in keeping with their quality and price level, but with that overpowering power. They are able to follow complex bass lines with ease and can layer well. Another thing is when the bases are very fast or continuous, that's where the punch and volume is more complex to handle.

Mids
As I said, so much energy in the bass is not easy to disconnect from the mids. And when the low notes come in, their rumble is high relative to the rest of the instruments. Still, playing acoustic, vocal music with hardly any bass, the Scarlet Mini's are not a waste of clarity in the first phase of the mids. On the one hand, they manage to keep male vocals from sounding muddy, even if their timbre is dark and with a dense, physical base. This gives them an unusual sense of body and depth. But, it is also true that they are behind in the mix. The elevation of the second half and the alternating treble are not able to bring all the clarity needed to revive the mids. The result is a physical, full-bodied and dense midrange, quite warm, thick and heavy, but also quite musical. They offer a good performance in macro detail. But, at the micro level it is not very skilful. Both the thickness, density and darkness mean that small details are trapped in a background that is not very discernible. The sound has an organic, analogue character, it is not detail-oriented, nor is it at all analytical. However, it can become soft and pleasant in its own way, with that more muted, warm tone. The problem lies in the volume ratio between the bass and the midrange. I would never choose the Scarlet Mini as an all-rounder. Although their performance, timbre and tone in this range is good, I prefer technically superior sets with more transparency. But, if there is one thing I must emphasise, it is that there is no sense of hollowness in the first part of the mids.
On the other side, the female voices sound more natural, if slightly disconnected. Here it can be observed that they do not have the fullness of the male ones. In this respect, one can even notice that the Scarlet Mini is still a V IEMS. The control of the upper mids and the treble transition allow for a sibilance-free and secure sound.

Treble
The treble sounds somewhat limited. The energy of the bass can impact the upper range. But the tuning has remained smooth in the transition from upper mids to first treble. And there is even a clear drop in the second half of the high notes. This characteristic still further disconnects the high end, limiting in brightness and the extension of the upper range. Then, there is a certain amount of air and extension beyond the audible zone. But the overall subtraction of energy in the first two parts of the treble creates this feeling of insufficient, limited, soft, even harmonically and sonically incomplete brightness. The result is a somewhat dry, simple and softened treble.

Soundstage, Separation
The most striking aspect is the volume and depth. The scene is wide and the bass seems to skirt the head. In this way, a remarkable level of laterality can be perceived. Macro detail is evident, but micro detail is limited. There is hardly any sense of volatility and the sound is not very expansive in this respect. So the pitch is not very high. The thickness of the notes is high and the background is not very discernible. The sound comes across as dense and full-bodied, with a medium sense of separation. It's not a suffocating sound, but there is a certain sense of opacity generated by the thickness and the low end, which seems difficult to penetrate.
The image is correct, there is nothing that seems out of place or out of focus. In fact, it seems to be better in this respect than in other technical characteristics.

Conclusion
The first FATFrequency model I have reviewed is a beast with the highest sub-bass in the world. And my question is not long in coming: Is it necessary? For me, hi-fi is an adjustment to the reality of music. Any variation implies a taste or enjoyment that departs from that fidelity. And that is how I can defend this model, as an (expensive) whim. But also as a challenge. The challenge of creating the world's first IEMS with a sub-bass level of 30dB. And, almost more importantly, expertly controlled below 200Hz. That's what the brand itself says and I can add little or nothing to this company, because they have really achieved what they set out to do. I just expected a bit more in the treble so that the sound would not be so shaded and dark.

Sources Used During the Analysis


Purchase Link

You can read the full review in Spanish here


FATFrequency is a Singapore-based brand specialising in medium and high-end IEMS. It currently has four major series, according to tuning type: Mestro (V shaped), Musician (Bass), Reference (Flat) and Signature (Balanced). Prices start at over $200 and, in particular, the Scarlet Mini is priced at around €600, while with the Silver Red cable it goes up to €750. This model boasts the world's first 30dB sub-bass shelf, expertly controlled below 200Hz. FATfreq's patented tubeless HyperTweeter system provides stratospheric extension and brightness up to 40 kHz. Proprietary technologies in this model include: Bass Cannon™: (Patent Pending) which uses patented dynamic woofers, bass chambers and acoustic damping networks. Linear Impedance: FATfreq uses patented circuitry to correct the non-linear impedances of multi-driver systems. This technology ensures frequency response consistency when connected to any device. Sonar La Trompa™: Inspired by the anatomy of the traditional horn, FATfreq uses the exponential curvature of the horn to control gain and enhance treble tonality through acoustics. Giving you a smooth, natural sounding treble, cemented by a pleasing timbre in the mid and low frequencies. PhaseAlign: The absence of a DSP in IEMs forces the phase matching of multi-way systems by means of an acoustic delay. Using patented structures, the low, mid and high frequencies are aligned so that they reach your eardrum coherently. Let's see what all these technologies can do in the IEMS with the wildest subwoofer on the planet.


Specifications
The FatFreq Scarlet Mini are part of a European tour organised by Head-Fi. They have been shipped in a medium sized Pelican box. As there is no box, there are no specifications. But, in the WEB I haven't seen any section either, apart from the presentation of the model and the technologies used. Maybe I'm wrong, but I couldn't find the specifications.


Packaging
As I say, they have come in a medium sized red Pelican box. Inside there is a large tablet of desiccant material. Around it is the coiled cable. There is a slot on the right side where the 3.5mm SE and 2.5mm BAL plugs are screwed in. As standard it comes with the 4.4mm BAL plug. On the other side is another slot containing a cleaning brush. Next to it, on the right hand side, are the two capsules and a bag with two sets of tips (3 and 2 pairs respectively). Nothing else. It comes with the Silver Red upgrade cable, which costs around 150€.

Construction and Design
Scarlet Mini have a pronounced semi-custom shape. They are medium-sized, integral capsules, with an outer face in a flowing pattern of deep red glitter. On the left capsule is the brand name and on the right the logo in gold ink. The 2Pin 0.78mm interface is fully integrated into the capsule. On that edge, nearby, there is a hole. The inner side has three levels, the first one is flatter, but rounded. You can read on it ‘A1128’ in white ink. The second level is the base of the mouthpiece, very projected. The third level is the nozzle itself. The orifice is covered by a perforated sheet of metal. The body is made of resin and is medium-large in size.
The cable has four red strands covered with transparent PVC. It has a good system for interchanging the plugs: a cylindrical, metal screw-on cover allows the system to be anchored. All connectors are gold-plated. The splitter is a simple, smooth, black metal cylinder. The pin ring has an inside diameter that is too large for effective cable adjustment. The covers of the 2Pin 0.78mm connectors are black cylinders with the channel lettering inscribed in white.

Adjustment and Ergonomics
These are IEMS with a very pronounced semi-custom shape, beyond the regularity itself. It has long nozzles mounted on an already pronounced base. This allows an insertion that could be deeper, but the diameter of the nozzles can be a handicap. In my case, the insertion is shallow using my classic large tips filled with my own handmade foam. With them I get the classic fit, very good insulation and fixation. Because of their size, the problem may be that they clearly protrude out of the ears, without this being a problem of comfort or ergonomics, beyond the aesthetics.

Sound
Profile
Exaggerated V-profile with a very high subwoofer elevation. The brand itself says that the elevation reaches 30dB and that it is the highest subwoofer in the world. The rest of the frequencies are rather classic V-profile, with a somewhat uneven extension in the treble. It is worth noting that they are a bit difficult to move.

Bass
According to my measurements, the rise of the subwoofer reaches almost 25dB with respect to the lowest point of the mids. But it is also true that the slope is very steep, losing almost 20dB at 200Hz, which is a very high value. Compared to other clearly bass-heavy IEMS such as the 7Hz Legato, whose sub-bass boost is around 15dB, the Scarlet Mini almost reaches the same value at the 200Hz position, while at 300Hz onwards it is the same. FatFreq wanted to emphasise this aspect, the disconnection of the bass from the rest of the frequencies. The real result is very good, but not infallible. The Scarlet Mini are still V-shaped IEMS with the upper mids moved forward. And it is true that this point of illumination is necessary to bring them out of the darkness in which they seem to be immersed. But it doesn't seem to be enough.
It is quite clear that the FatFreq Scarlet Mini is not only an IEMS for bass heads, but also for die-hard fans and the most daring. The sound pressure that these IEMS exert when reproducing bass is very great. Such is the power that in the very low frequency pure tone test the IEMS seem to tremble from the level of energy they are able to deliver. The 20Hz oscillations are so high and physical that they seem to reach the brain directly. Anyone would think that the performance in this test would be a failure. But this is not the case. It is clear that so much energy makes the LFOs audible, a little coloured. But both the physical level and the behaviour is very good. Another thing is the speed and the aftertaste it leaves in the atmosphere. So much energy is difficult to dissipate in an instant. Even so, I can't say that the Scarlet Mini's base hits are slow. But it's true that the rumble lingers and that's what can be most overwhelming when listening to electronic music with these IEMS. On the one hand, it is appropriate to limit the volume so as not to reach that extreme. But then you will come to the conclusion that this model is somewhat dark, very dense, with too much volume. Needless to say, the bass is deep, full-bodied and energetic, with great rumble, some colour, plenty of texture and noticeable punch. And yet, despite all this, there is also a touch of precision and technical skill. But the exaggerated power level tarnishes these characteristics.
In the dirty, unfiltered and poorly recorded bass test, the Scarlet Mini doesn't suffer one iota. Both the sonority and the behaviour is in keeping with their quality and price level, but with that overpowering power. They are able to follow complex bass lines with ease and can layer well. Another thing is when the bases are very fast or continuous, that's where the punch and volume is more complex to handle.

Mids
As I said, so much energy in the bass is not easy to disconnect from the mids. And when the low notes come in, their rumble is high relative to the rest of the instruments. Still, playing acoustic, vocal music with hardly any bass, the Scarlet Mini's are not a waste of clarity in the first phase of the mids. On the one hand, they manage to keep male vocals from sounding muddy, even if their timbre is dark and with a dense, physical base. This gives them an unusual sense of body and depth. But, it is also true that they are behind in the mix. The elevation of the second half and the alternating treble are not able to bring all the clarity needed to revive the mids. The result is a physical, full-bodied and dense midrange, quite warm, thick and heavy, but also quite musical. They offer a good performance in macro detail. But, at the micro level it is not very skilful. Both the thickness, density and darkness mean that small details are trapped in a background that is not very discernible. The sound has an organic, analogue character, it is not detail-oriented, nor is it at all analytical. However, it can become soft and pleasant in its own way, with that more muted, warm tone. The problem lies in the volume ratio between the bass and the midrange. I would never choose the Scarlet Mini as an all-rounder. Although their performance, timbre and tone in this range is good, I prefer technically superior sets with more transparency. But, if there is one thing I must emphasise, it is that there is no sense of hollowness in the first part of the mids.
On the other side, the female voices sound more natural, if slightly disconnected. Here it can be observed that they do not have the fullness of the male ones. In this respect, one can even notice that the Scarlet Mini is still a V IEMS. The control of the upper mids and the treble transition allow for a sibilance-free and secure sound.

Treble
The treble sounds somewhat limited. The energy of the bass can impact the upper range. But the tuning has remained smooth in the transition from upper mids to first treble. And there is even a clear drop in the second half of the high notes. This characteristic still further disconnects the high end, limiting in brightness and the extension of the upper range. Then, there is a certain amount of air and extension beyond the audible zone. But the overall subtraction of energy in the first two parts of the treble creates this feeling of insufficient, limited, soft, even harmonically and sonically incomplete brightness. The result is a somewhat dry, simple and softened treble.

Soundstage, Separation
The most striking aspect is the volume and depth. The scene is wide and the bass seems to skirt the head. In this way, a remarkable level of laterality can be perceived. Macro detail is evident, but micro detail is limited. There is hardly any sense of volatility and the sound is not very expansive in this respect. So the pitch is not very high. The thickness of the notes is high and the background is not very discernible. The sound comes across as dense and full-bodied, with a medium sense of separation. It's not a suffocating sound, but there is a certain sense of opacity generated by the thickness and the low end, which seems difficult to penetrate.
The image is correct, there is nothing that seems out of place or out of focus. In fact, it seems to be better in this respect than in other technical characteristics.

Conclusion
The first FATFrequency model I have reviewed is a beast with the highest sub-bass in the world. And my question is not long in coming: Is it necessary? For me, hi-fi is an adjustment to the reality of music. Any variation implies a taste or enjoyment that departs from that fidelity. And that is how I can defend this model, as an (expensive) whim. But also as a challenge. The challenge of creating the world's first IEMS with a sub-bass level of 30dB. And, almost more importantly, expertly controlled below 200Hz. That's what the brand itself says and I can add little or nothing to this company, because they have really achieved what they set out to do. I just expected a bit more in the treble so that the sound would not be so shaded and dark.

Sources Used During the Analysis
- iFi GO bar Kensei.
- Tempotec V3.
- Burson Audio Playmate 2.
- Aune X8 XVIII Magic DAC + EarMen ST-Amp.

Sebastien Chiu invited me to participate in the Tour in exchange for writing an honest review. I want to make it clear that all my opinions written in this review have not been conditioned by this fact, nor will I ever write anything that I do not really think or feel here. I will only write about my personal opinion in relation to the revised product.

Purchase Link

You can read the full review in Spanish here


cqtek
1000+ Head-Fier
Pros: More luminous and brighter tuning compared to the new META tuning.
- Very technical, well behaved and sufficiently textured bass.
- Very high clarity, separation, transparency and resolution in the mids.
- Crisp treble.
- Excellent separation and stage.
- Size and ergonomics.
- Very technical, well behaved and sufficiently textured bass.
- Very high clarity, separation, transparency and resolution in the mids.
- Crisp treble.
- Excellent separation and stage.
- Size and ergonomics.
Cons: The first half of the mids can be a bit thin and lean.
- The zippered case is a bit narrow for the size of the capsules.
- There is no balanced plug option.
- The zippered case is a bit narrow for the size of the capsules.
- There is no balanced plug option.
Introduction
Kiwi Ears again. After reviewing several new models from the brand, I was keen to try one of their previous successes: the Kiwi Ears Quintet. The Kiwi Ears Quintet are a quabrid, as they use four different types of drivers. They are called Quintet because there are five drivers in total: 1DD + 2BA + 1 Planar + 1 PZT. For the dynamic driver a 10 mm DLC (Diamond-likeCarbon) diaphragm is used. The two BA drivers are made by Knowles and take care of the midrange. The planar driver uses the new Micro Planar Transducer (MPT) technology and is responsible for reproducing the treble. Finally, the piezo driver is used via bone conduction and is responsible for reproducing the higher treble, the micro-detail and the air area. The capsules have a semi-custom shape and are 3D printed. For the outer side, a metal plate has been used. The interface is the classic and popular 2-pin 0.78 mm connector. From its frequency response, it looks like the predecessor of the latest model, the KE4, but with a more classic frequency response and bright upper mids. Let's take a closer look at this fine model from last year.


Specifications


Packaging
The Quintets come in the usual Kiwi Ears packaging, measuring 112x131x65mm. On the front is a realistic photo of the capsules. The brand logo is on the top left. To its right is the brand slogan. At the bottom, the model. On the back of the box there is hardly any information, apart from the brand name, while the specifications are on the side. The entire outer cardboard is grey and the tone is black and white, and the lettering is white. The inner box is black with the logo in silver. When you lift the lid, you see the capsules in a foam mould lined with black cardboard, with the white logo on the bottom right. Behind this layer is the classic zippered case. Inside are the rest of the accessories. In a nutshell:
Two sets of tips are not bad, but for a price of more than 200$, it can be improved. The cable is not bad, but I still miss a balanced connector, or at least the option. I like the zippered case.


Construction and Design
The capsules of the Quintet are 3D printed in black resin. The outer plates are metallic and grey. The brand logo is inscribed on the right capsule and the model name on the left. The shape of the capsule is semi-custom, but the outer face is more triangular and elongated than usual, with nicely rounded corners, but without that African continent shape. The connection interface is fully assembled on the edge of the capsule, almost flush. There is a small hole next to this connection plate and there is another one beyond, in the curve. The inner face is smooth and shiny, with a bulge at the edge and the nozzles are well projected and raised. They have two diameters: the inside is 5.55mm, while the crown measures 6.4mm. The grille protecting the interior is black and metallic.
The cable is the brand's classic. It has four intertwined strands, each of which is a dark copper colour. The plug sleeve is a smooth, shiny metal cylinder. It has a recessed ring on the side of the 3.5 mm SE gold-plated connector, while the other end has two and a transparent plastic protecting the cable outlet. The splitter piece is of the same type, but half the size. The pin is a shiny metal disc with two holes inside that does a good job of fitting the cables, as it is not easy to slip. The sleeves of the 0.78mm 2Pin connectors are smooth, shiny cylinders with two slots near the cable outlet. In the continuation of these, their shape becomes slightly conical. The two pins are mounted on rectangular black plastic bases. The cable has over-ear guides.
Ultra-lightweight capsules, slim and simple design. It's a good cable, but I still miss the balanced plug option.


Adjustment and Ergonomics
The Quintet capsules are somewhat slimmer and have a semi-custom design, but are more triangular and elongated in shape, which seems to improve ergonomics. The mouthpieces are more projected and, when coupled with suitable tips, the fit is superior, very snug, durable and occlusive, allowing a high level of isolation to be achieved. Only the protrusion of the rim that serves to anchor the capsules to our ears might compromise comfort. However, the thinner, slimmer and more streamlined shape of the earcups allows for a better fit and ergonomics, without allowing for movement. It's a shape that's well-suited for hours of outdoor use, even for sports, thanks to its durable fit and low weight.


Sound
Profile
The Kiwi Ears Quintet has a similar profile to the Harman Target 2019. It is a U-profile with upper mids and first highs that are pronounced and full, but without being bright. They show a good level of balance, with a 10 dB deviation from 20 Hz to 8 kHz, without significant peaks, which gives an idea of their homogeneity. It is focused in the sub-bass and also in the first treble range, generating a clean, vibrant, informative and bright sound. The Quintets move away from the darker profile that is a current trend, like their KE4 siblings, where the energy level is significantly reduced from 1000 Hz onwards. They may not have as full mids as those KE4s, but they definitely have more light, transparency and brightness, with a similar amount of bass. In my opinion, the Quintets are more neutral than the KE4s, with less warmth and more of a regular tone throughout the frequency range.

Bass
I find it increasingly difficult to say anything different about the bass of the IEMS I review, I have to admit. The Quintet uses a dynamic driver with a 10 mm DLC (Diamond-likeCarbon) diaphragm. This type of driver is known for its high responsiveness, tensile strength and fast decay rate. This results in agile, fast, low-damping, dry and tight bass. Its colour is not too dark or deep. It tends to be more clean than full and the amount of volume is not very extensive. It is not a bass that floods the low end, but rather focuses more on the sub-bass, though without being definitely too noticeable. It has a certain level of texture and is not characterised by being blatantly smooth or dense. As it is not very present in the mid-bass, its extension, weight and quantity are not perceived as very high, and it is very permissive with the rest of the frequencies. It has a good level of impact, but will not be remembered for its punch, presence or energy. Despite the increased sub-bass, the level of cleanliness and ability persists.
In the very low-frequency pure tone test, a very sensory first tone stands out, barely audible and with an excellent physical behaviour, which implies a sensation of colouration that is practically null. The vibrational character is low and does not influence too much, so the reproduction is quite natural, although it lacks a little more darkness, depth, density and volume.
In the dirty, complex and unfiltered bass test, the cleanliness and focus in the sub-bass is noticeable. The bass is never dense and gives way to the upper frequencies. It is neither invasive nor predominant. The lines are well marked, but very sub-bass oriented. A presence persists that is neither dark nor too deep, but shows a great ability to follow and reproduce the dirtiest and most complex bass with great ease and fluency. The representation of the bass lines is crisp, somewhat thin, very well delineated, with an excellent level of resolution and precision. Bass drums are very concise, but have a good sense of texture that prevents them from being too dry or sterile. Speed and very low decay are obvious. Thus, stratification, layering and separation between the dirty bass lines and the kick drums are evident. Without a doubt, this is a technically very good low end, albeit somewhat tighter in presence, volume, energy and power.


Mids
The Quintet's excellent bass cleanliness allows the midrange to unfold clearly and prominently. There is no intrusion or bleeding in the treble. The sense of warmth is relatively low. The mids are not distinctly bright, but there is a remarkable sense of balance that generates a perception of neutrality in tone and timbre.
Starting with the male voices, their portrayal falls somewhere between thinness and a more physical feel. The first part of the mids is not very warm, nor thick, nor dense, nor physical. But it's not completely lean either, hence that neutral feeling. Admittedly, I like it to have more body in this zone, but the level of cleanliness, crispness and clarity is very well achieved and offers a sense of air, separation and space in the early mids. The instrumentation in this zone is perceived as very well defined, with a very measured and tight physical part, with a presence two steps away from the listener, but very well represented. But, perhaps, the most remarkable thing about this part is the control and timbre: everything is very well defined and shaped, so that it sounds remarkable, without being remarkable in presence, and, most importantly, without having an analytical profile at all. In this way, the best way to define this first half of the mids would be to use the word ‘purity’. I certainly think it is a neutral, measured, clean, concise, harmonious and rather rich purity, which manages to avoid sounding dry, austere or sterile.
In the upper mids, that sense of clean neutrality is maintained, despite its greater excitement. A low physical presence persists, but with a very controlled level of brightness. There is undoubtedly a higher amount of energy in this second half, albeit without a predominance of detail over base. And this is another of the Quintet's strengths: how it achieves great balance throughout the harmonic range. Here there is no sense of forced excitation of the details, but they form part of the sound in a more organic and natural way, much more homogeneous and cohesive. In this way, the level of neutrality and purity is reaffirmed, and the musicality is enhanced, as the notes are projected from their base to a very well extended harmonic end, always under a level of energetic restraint that is sufficiently restrained so as not to sound excited, vivid or too splashy. Another good virtue is how it sounds transparent and luminous, without being too sibilant. Again, it fully exposes the great control over the range drivers and the great tuning of the BA's to sound quite natural and very rich.


Treble
One could say that the Quintet's treble is crisp, but in moderation. I can't deny a remarkable level of energy and brightness, but under an umbrella that prevents it from being too penetrating or subtle. It's all about power under control. The first part of the treble is very explicit, then there is a clear zone of control, very well calculated, that prevents the high end from sounding clipped or unnatural. Later on there is a quick recovery in the air zone, which justifies that fuller, naturally bright and cautious sonority. Kiwi Ears has undoubtedly managed to enhance the virtues of each driver used for each frequency range. Here, the micro planar driver (MPT) brings out its full potential, generating a high end that is full of energy, but very finely tuned and limited at just the right point of neutrality, a little brighter. The PZT piezo driver then takes care of the ultra-high frequencies.


Soundstage, Separation
The Kiwi Ears Quintet have a somewhat thin presentation of notes. From bass to treble, the elements are fine, moving away from dense or bushy exposition. This creates a rather noticeable sense of separation, with concise, well-defined elements and a high level of resolution. I don't think this is a purely analytical sound, but the level of precision of all the transducers used is unquestionable.
The sound has a fairly rounded sound stage, with a semi-spherical impression in which nothing seems to stand out (depth over width, although the height is somewhat less). The certain dryness of the sound makes the notes feel attached to their development, something that makes their definition very marked, precise, very well outlined and limits the sensation of volatility of the whole. Thus, the image of the elements is very well focused, with a clear perception of their origin.
Macro detail is very good, without sounding overwhelming or forced, but quite natural. Micro detail is less than excellent, perhaps because of the easy and quick perception at the macro level that can obstruct or overlap the smallest objects. However, so much separation and such well-defined definition provides a very discernible background that favours the advantageous display of much detail.


Comparisons
Simgot SuperMix 4
It was clear that the Quintet's most direct competition is the Simgot SuperMix 4, another quabrid but newer. Both have 1 DD + 1 BA + 1 Planar + 1 PZT, but the Quintet has one more BA, and the Simgot costs $150, compared to $219 for the Kiwi. Both models are simple in terms of accessories. The Quintet has two sets of silicone tips, versus just one set for the Simgot. I prefer the Simgot's cable and case, although the Quintet is fine with both. However, the SuperMix cable is thicker, compared to the softer and more manageable cable of the Quintet. The Simgot's larger and roomier oval case also seems superior to me.
The construction of both models is similar: resin on the inside and metal on the outside. The Quintet looks more streamlined and a little less thick. The Simgot are slightly rounder and with a more pronounced inner shape. There is a noticeable change in the inner ergonomics and the angle of the mouthpieces, because the Simgot seem to fit a little deeper than the Quintet, which seem to float a little more. As a result, the fit seems to be a little more perfect on the Simgot.
The profile of both models is very similar up to 1000 Hz. Thereafter, the Simgot has a more pronounced rise, while the Quintet maintains a higher energy level in the initial high frequencies. At that same point, the Simgot is softer and offers a more sedate and relaxed treble, but with very good extension.
Both models generate a very similar amount of sound pressure at the same power. But the Quintets are slightly easier to move.
As I said in my review, the Simgot's bass is cornered in the sub-bass. I haven't commented on that about the Quintet. It is clear that sensations change over time, even within weeks. It is possible that my comments about the SuperMix 4's bass might have seemed negative. That was not my intention. It was just a sense of frustration, as if the bass, so capable, fell short of something better for my taste. With the Quintet, on the other hand, I have been somewhat more positive. But now, face to face, I find many similarities between the two models. The technical level of the bass is very similar, and the sub-bass orientation makes them very clean and with little volume. I miss a bit more darkness in both models. In the very low-frequency pure tone test, the resemblance is tremendous; they sound the same. However, I would say that the Quintet's bass has a little more texture, a little more impact, while the Simgot's have a little more darkness and depth. But the differences are subtle.
The first half of the mids is also perceived in a similar way. The difference is in the harmonics and, perhaps, in a greater clarity and precision in the Quintet. The Simgot's sense of darkness makes their sound more cohesive, more compact and somewhat denser. The Quintets are a little more volatile and that gives them a little more projection, generating a little more space on the stage, as well as a point of greater freedom.
The earlier elevation of the upper mids of the Simgot gives them a point of more liveliness and grounding in the female voices. However, the Quintet offers a higher projection, more light, more clarity and a point of brilliance. Thus, the notes sound a little thinner, but more defined and precise. The Simgot, on the other hand, have a point of warmth that brings a calmness and a differential musicality. These are two slightly different tastes.
The Quintets have a more energetic, expressive, fine and crisp treble that will delight treble-heads. The Simgot, on the other hand, are softer, less bright, somewhat thicker and more controlled, but with very good extension, definition and informativeness.
There is more separation, resolution, transparency and precision in the Quintets. This gives them an advantage in terms of scene size and micro-detail. The Simgot's sound is a little denser, a little warmer and more cohesive, less volatile and a little drier. Those looking for a softer, less sharp and somewhat more neutral, slightly heavier sound will find the SuperMix 4s an advantage. Those who want a slightly more analytical, expansive, bright, transparent and thin profile will enjoy the Quintet.

Conclusion
There is no doubt that, with models like these Quintets, Kiwi Ears has a hard time surpassing itself. While it is true that the Quintet is a model from last year and the KE4s are recent, the level they offer in this price range is very high for such a relatively new brand. The Quintet is a five-driver quabrid with a very clean, technical, low-end oriented bass. The mids are of excellent transparency, very well separated, crisp and clear. There is a slight excitation in the upper mids, which is more noticeable in the upper mids, an area that will be very welcome for the treble heads, thanks to its delicacy, finesse, informativeness, energy, extension and, of course, crunchiness.
The Kiwi Ears Quintet are based on capsules that keep in line with their great and previous creations, without too many surprises, with a combination of resin for the inside and metal for the outside, with a semi-custom design, excellent ergonomics and low weight. The accessory set is as usual, perhaps a little fair for the price, but totally adequate, except for the absence of a balanced plug.
Without a doubt, the Kiwi Ears Quintet is a brighter and more luminous alternative to the new META trend.


Sources Used During the Analysis




Purchase Link

You can read the full review in Spanish here

Kiwi Ears again. After reviewing several new models from the brand, I was keen to try one of their previous successes: the Kiwi Ears Quintet. The Kiwi Ears Quintet are a quabrid, as they use four different types of drivers. They are called Quintet because there are five drivers in total: 1DD + 2BA + 1 Planar + 1 PZT. For the dynamic driver a 10 mm DLC (Diamond-likeCarbon) diaphragm is used. The two BA drivers are made by Knowles and take care of the midrange. The planar driver uses the new Micro Planar Transducer (MPT) technology and is responsible for reproducing the treble. Finally, the piezo driver is used via bone conduction and is responsible for reproducing the higher treble, the micro-detail and the air area. The capsules have a semi-custom shape and are 3D printed. For the outer side, a metal plate has been used. The interface is the classic and popular 2-pin 0.78 mm connector. From its frequency response, it looks like the predecessor of the latest model, the KE4, but with a more classic frequency response and bright upper mids. Let's take a closer look at this fine model from last year.


Specifications
- Driver Type: 1 dynamic diamond-like carbon (DLC) driver, 2 balanced armature (BA) drivers, 1 planar magnetic driver and 1 piezoelectric bone conductor (PZT).
- Frequency Response: 20Hz - 30kHz.
- Sensitivity: 108dB (1kHz/mW).
- Impedance: 32Ω
- THD: <1% (1kHz).
- Nominal power: 5mW.
- Maximum power: 10mW.
- Jack Connector: SE 3.5mm
- Capsule Connection Type: 2Pin 0.78mm
- Cable: high quality oxygen free silver plated copper.
- Cable Length: 1.2m.
- Starting price: $219.


Packaging
The Quintets come in the usual Kiwi Ears packaging, measuring 112x131x65mm. On the front is a realistic photo of the capsules. The brand logo is on the top left. To its right is the brand slogan. At the bottom, the model. On the back of the box there is hardly any information, apart from the brand name, while the specifications are on the side. The entire outer cardboard is grey and the tone is black and white, and the lettering is white. The inner box is black with the logo in silver. When you lift the lid, you see the capsules in a foam mould lined with black cardboard, with the white logo on the bottom right. Behind this layer is the classic zippered case. Inside are the rest of the accessories. In a nutshell:
- The two Kiwi Ears Quintet capsules.
- One 4-strand cable.
- One set of narrow channel black silicone tips, sizes SxMxL.
- One set of wide channel black silicone tips, sizes SxMxL.
- One black zippered carrying case.
- One instruction manual.
Two sets of tips are not bad, but for a price of more than 200$, it can be improved. The cable is not bad, but I still miss a balanced connector, or at least the option. I like the zippered case.


Construction and Design
The capsules of the Quintet are 3D printed in black resin. The outer plates are metallic and grey. The brand logo is inscribed on the right capsule and the model name on the left. The shape of the capsule is semi-custom, but the outer face is more triangular and elongated than usual, with nicely rounded corners, but without that African continent shape. The connection interface is fully assembled on the edge of the capsule, almost flush. There is a small hole next to this connection plate and there is another one beyond, in the curve. The inner face is smooth and shiny, with a bulge at the edge and the nozzles are well projected and raised. They have two diameters: the inside is 5.55mm, while the crown measures 6.4mm. The grille protecting the interior is black and metallic.
The cable is the brand's classic. It has four intertwined strands, each of which is a dark copper colour. The plug sleeve is a smooth, shiny metal cylinder. It has a recessed ring on the side of the 3.5 mm SE gold-plated connector, while the other end has two and a transparent plastic protecting the cable outlet. The splitter piece is of the same type, but half the size. The pin is a shiny metal disc with two holes inside that does a good job of fitting the cables, as it is not easy to slip. The sleeves of the 0.78mm 2Pin connectors are smooth, shiny cylinders with two slots near the cable outlet. In the continuation of these, their shape becomes slightly conical. The two pins are mounted on rectangular black plastic bases. The cable has over-ear guides.
Ultra-lightweight capsules, slim and simple design. It's a good cable, but I still miss the balanced plug option.


Adjustment and Ergonomics
The Quintet capsules are somewhat slimmer and have a semi-custom design, but are more triangular and elongated in shape, which seems to improve ergonomics. The mouthpieces are more projected and, when coupled with suitable tips, the fit is superior, very snug, durable and occlusive, allowing a high level of isolation to be achieved. Only the protrusion of the rim that serves to anchor the capsules to our ears might compromise comfort. However, the thinner, slimmer and more streamlined shape of the earcups allows for a better fit and ergonomics, without allowing for movement. It's a shape that's well-suited for hours of outdoor use, even for sports, thanks to its durable fit and low weight.


Sound
Profile
The Kiwi Ears Quintet has a similar profile to the Harman Target 2019. It is a U-profile with upper mids and first highs that are pronounced and full, but without being bright. They show a good level of balance, with a 10 dB deviation from 20 Hz to 8 kHz, without significant peaks, which gives an idea of their homogeneity. It is focused in the sub-bass and also in the first treble range, generating a clean, vibrant, informative and bright sound. The Quintets move away from the darker profile that is a current trend, like their KE4 siblings, where the energy level is significantly reduced from 1000 Hz onwards. They may not have as full mids as those KE4s, but they definitely have more light, transparency and brightness, with a similar amount of bass. In my opinion, the Quintets are more neutral than the KE4s, with less warmth and more of a regular tone throughout the frequency range.

Bass
I find it increasingly difficult to say anything different about the bass of the IEMS I review, I have to admit. The Quintet uses a dynamic driver with a 10 mm DLC (Diamond-likeCarbon) diaphragm. This type of driver is known for its high responsiveness, tensile strength and fast decay rate. This results in agile, fast, low-damping, dry and tight bass. Its colour is not too dark or deep. It tends to be more clean than full and the amount of volume is not very extensive. It is not a bass that floods the low end, but rather focuses more on the sub-bass, though without being definitely too noticeable. It has a certain level of texture and is not characterised by being blatantly smooth or dense. As it is not very present in the mid-bass, its extension, weight and quantity are not perceived as very high, and it is very permissive with the rest of the frequencies. It has a good level of impact, but will not be remembered for its punch, presence or energy. Despite the increased sub-bass, the level of cleanliness and ability persists.
In the very low-frequency pure tone test, a very sensory first tone stands out, barely audible and with an excellent physical behaviour, which implies a sensation of colouration that is practically null. The vibrational character is low and does not influence too much, so the reproduction is quite natural, although it lacks a little more darkness, depth, density and volume.
In the dirty, complex and unfiltered bass test, the cleanliness and focus in the sub-bass is noticeable. The bass is never dense and gives way to the upper frequencies. It is neither invasive nor predominant. The lines are well marked, but very sub-bass oriented. A presence persists that is neither dark nor too deep, but shows a great ability to follow and reproduce the dirtiest and most complex bass with great ease and fluency. The representation of the bass lines is crisp, somewhat thin, very well delineated, with an excellent level of resolution and precision. Bass drums are very concise, but have a good sense of texture that prevents them from being too dry or sterile. Speed and very low decay are obvious. Thus, stratification, layering and separation between the dirty bass lines and the kick drums are evident. Without a doubt, this is a technically very good low end, albeit somewhat tighter in presence, volume, energy and power.


Mids
The Quintet's excellent bass cleanliness allows the midrange to unfold clearly and prominently. There is no intrusion or bleeding in the treble. The sense of warmth is relatively low. The mids are not distinctly bright, but there is a remarkable sense of balance that generates a perception of neutrality in tone and timbre.
Starting with the male voices, their portrayal falls somewhere between thinness and a more physical feel. The first part of the mids is not very warm, nor thick, nor dense, nor physical. But it's not completely lean either, hence that neutral feeling. Admittedly, I like it to have more body in this zone, but the level of cleanliness, crispness and clarity is very well achieved and offers a sense of air, separation and space in the early mids. The instrumentation in this zone is perceived as very well defined, with a very measured and tight physical part, with a presence two steps away from the listener, but very well represented. But, perhaps, the most remarkable thing about this part is the control and timbre: everything is very well defined and shaped, so that it sounds remarkable, without being remarkable in presence, and, most importantly, without having an analytical profile at all. In this way, the best way to define this first half of the mids would be to use the word ‘purity’. I certainly think it is a neutral, measured, clean, concise, harmonious and rather rich purity, which manages to avoid sounding dry, austere or sterile.
In the upper mids, that sense of clean neutrality is maintained, despite its greater excitement. A low physical presence persists, but with a very controlled level of brightness. There is undoubtedly a higher amount of energy in this second half, albeit without a predominance of detail over base. And this is another of the Quintet's strengths: how it achieves great balance throughout the harmonic range. Here there is no sense of forced excitation of the details, but they form part of the sound in a more organic and natural way, much more homogeneous and cohesive. In this way, the level of neutrality and purity is reaffirmed, and the musicality is enhanced, as the notes are projected from their base to a very well extended harmonic end, always under a level of energetic restraint that is sufficiently restrained so as not to sound excited, vivid or too splashy. Another good virtue is how it sounds transparent and luminous, without being too sibilant. Again, it fully exposes the great control over the range drivers and the great tuning of the BA's to sound quite natural and very rich.


Treble
One could say that the Quintet's treble is crisp, but in moderation. I can't deny a remarkable level of energy and brightness, but under an umbrella that prevents it from being too penetrating or subtle. It's all about power under control. The first part of the treble is very explicit, then there is a clear zone of control, very well calculated, that prevents the high end from sounding clipped or unnatural. Later on there is a quick recovery in the air zone, which justifies that fuller, naturally bright and cautious sonority. Kiwi Ears has undoubtedly managed to enhance the virtues of each driver used for each frequency range. Here, the micro planar driver (MPT) brings out its full potential, generating a high end that is full of energy, but very finely tuned and limited at just the right point of neutrality, a little brighter. The PZT piezo driver then takes care of the ultra-high frequencies.


Soundstage, Separation
The Kiwi Ears Quintet have a somewhat thin presentation of notes. From bass to treble, the elements are fine, moving away from dense or bushy exposition. This creates a rather noticeable sense of separation, with concise, well-defined elements and a high level of resolution. I don't think this is a purely analytical sound, but the level of precision of all the transducers used is unquestionable.
The sound has a fairly rounded sound stage, with a semi-spherical impression in which nothing seems to stand out (depth over width, although the height is somewhat less). The certain dryness of the sound makes the notes feel attached to their development, something that makes their definition very marked, precise, very well outlined and limits the sensation of volatility of the whole. Thus, the image of the elements is very well focused, with a clear perception of their origin.
Macro detail is very good, without sounding overwhelming or forced, but quite natural. Micro detail is less than excellent, perhaps because of the easy and quick perception at the macro level that can obstruct or overlap the smallest objects. However, so much separation and such well-defined definition provides a very discernible background that favours the advantageous display of much detail.


Comparisons
Simgot SuperMix 4
It was clear that the Quintet's most direct competition is the Simgot SuperMix 4, another quabrid but newer. Both have 1 DD + 1 BA + 1 Planar + 1 PZT, but the Quintet has one more BA, and the Simgot costs $150, compared to $219 for the Kiwi. Both models are simple in terms of accessories. The Quintet has two sets of silicone tips, versus just one set for the Simgot. I prefer the Simgot's cable and case, although the Quintet is fine with both. However, the SuperMix cable is thicker, compared to the softer and more manageable cable of the Quintet. The Simgot's larger and roomier oval case also seems superior to me.
The construction of both models is similar: resin on the inside and metal on the outside. The Quintet looks more streamlined and a little less thick. The Simgot are slightly rounder and with a more pronounced inner shape. There is a noticeable change in the inner ergonomics and the angle of the mouthpieces, because the Simgot seem to fit a little deeper than the Quintet, which seem to float a little more. As a result, the fit seems to be a little more perfect on the Simgot.
The profile of both models is very similar up to 1000 Hz. Thereafter, the Simgot has a more pronounced rise, while the Quintet maintains a higher energy level in the initial high frequencies. At that same point, the Simgot is softer and offers a more sedate and relaxed treble, but with very good extension.
Both models generate a very similar amount of sound pressure at the same power. But the Quintets are slightly easier to move.
As I said in my review, the Simgot's bass is cornered in the sub-bass. I haven't commented on that about the Quintet. It is clear that sensations change over time, even within weeks. It is possible that my comments about the SuperMix 4's bass might have seemed negative. That was not my intention. It was just a sense of frustration, as if the bass, so capable, fell short of something better for my taste. With the Quintet, on the other hand, I have been somewhat more positive. But now, face to face, I find many similarities between the two models. The technical level of the bass is very similar, and the sub-bass orientation makes them very clean and with little volume. I miss a bit more darkness in both models. In the very low-frequency pure tone test, the resemblance is tremendous; they sound the same. However, I would say that the Quintet's bass has a little more texture, a little more impact, while the Simgot's have a little more darkness and depth. But the differences are subtle.
The first half of the mids is also perceived in a similar way. The difference is in the harmonics and, perhaps, in a greater clarity and precision in the Quintet. The Simgot's sense of darkness makes their sound more cohesive, more compact and somewhat denser. The Quintets are a little more volatile and that gives them a little more projection, generating a little more space on the stage, as well as a point of greater freedom.
The earlier elevation of the upper mids of the Simgot gives them a point of more liveliness and grounding in the female voices. However, the Quintet offers a higher projection, more light, more clarity and a point of brilliance. Thus, the notes sound a little thinner, but more defined and precise. The Simgot, on the other hand, have a point of warmth that brings a calmness and a differential musicality. These are two slightly different tastes.
The Quintets have a more energetic, expressive, fine and crisp treble that will delight treble-heads. The Simgot, on the other hand, are softer, less bright, somewhat thicker and more controlled, but with very good extension, definition and informativeness.
There is more separation, resolution, transparency and precision in the Quintets. This gives them an advantage in terms of scene size and micro-detail. The Simgot's sound is a little denser, a little warmer and more cohesive, less volatile and a little drier. Those looking for a softer, less sharp and somewhat more neutral, slightly heavier sound will find the SuperMix 4s an advantage. Those who want a slightly more analytical, expansive, bright, transparent and thin profile will enjoy the Quintet.

Conclusion
There is no doubt that, with models like these Quintets, Kiwi Ears has a hard time surpassing itself. While it is true that the Quintet is a model from last year and the KE4s are recent, the level they offer in this price range is very high for such a relatively new brand. The Quintet is a five-driver quabrid with a very clean, technical, low-end oriented bass. The mids are of excellent transparency, very well separated, crisp and clear. There is a slight excitation in the upper mids, which is more noticeable in the upper mids, an area that will be very welcome for the treble heads, thanks to its delicacy, finesse, informativeness, energy, extension and, of course, crunchiness.
The Kiwi Ears Quintet are based on capsules that keep in line with their great and previous creations, without too many surprises, with a combination of resin for the inside and metal for the outside, with a semi-custom design, excellent ergonomics and low weight. The accessory set is as usual, perhaps a little fair for the price, but totally adequate, except for the absence of a balanced plug.
Without a doubt, the Kiwi Ears Quintet is a brighter and more luminous alternative to the new META trend.


Sources Used During the Analysis
- iFi GO bar Kensei.
- Tempotec V3.
- Burson Audio Playmate 2.
- Aune X8 XVIII Magic DAC + EarMen ST-Amp.


Kiwi Ears offered me this model, in exchange for writing an honest review. I want to make it clear that all my opinions written in this review have not been conditioned by this fact, nor will I ever write anything that I do not really think or feel here. I will only write about my personal opinion in relation to the revised product.


Purchase Link

You can read the full review in Spanish here

Last edited:
cqtek
1000+ Head-Fier
Pros: Very full sound based on the META curve.
- Good level of energy in the bass.
- Density, homogeneity, fullness in the mids, very enjoyable.
- Safe tuning.
- Comfort and ergonomics.
- Great sound level for the price.
- Excellent soundstage.
- Can be purchased in a pack for very little extra with the Allegro Mini dongle.
- The Allegro Mini dongle has two SE and BAL outputs for a very low price, plus a design that is very suitable for use with a smartphone.
- Good level of energy in the bass.
- Density, homogeneity, fullness in the mids, very enjoyable.
- Safe tuning.
- Comfort and ergonomics.
- Great sound level for the price.
- Excellent soundstage.
- Can be purchased in a pack for very little extra with the Allegro Mini dongle.
- The Allegro Mini dongle has two SE and BAL outputs for a very low price, plus a design that is very suitable for use with a smartphone.
Cons: Can be soft in treble or dark.
- Single set of tips.
- Shallow case in relation to the size of the capsules.
- Soft micro detail, not an analytical profile.
- The Allegro Mini dongle has a somewhat fair power rating.
- Single set of tips.
- Shallow case in relation to the size of the capsules.
- Soft micro detail, not an analytical profile.
- The Allegro Mini dongle has a somewhat fair power rating.
Introduction
Kiwi Ears, the Shenzhen, China-based brand, has been among the first to jump on the bandwagon of the so-called META frequency response. This new reference curve has emerged thanks to Brüel & Kjaer's new high-frequency head and torso simulator model 5128. The new measurements made with this new headband simulator have sparked a new debate in the world of headphones, as well as a revolution in what the new reference frequency response should look like. One way to simplify all this is to come to the conclusion of that response called META. And the Kiwi Ears KE4 has been tuned based on that frequency response. Actually, it's not the first or the only one, but the KE4s follow that current trend that raises the bass, narrows and balances the vertical range of that frequency response, smoothing and homogenising bass, upper midrange and treble. The result is a tuning with a powerful base, upper midrange and smooth, slightly dark treble. Is this curve the new neutral reference? I would never have come to that conclusion with my ears. But, I must admit that neutral references have always been too bland for me and I welcome a more bass-juicy and balanced reference, as META represents.
After all this, it is worth noting that the Kiwi Ears KE4 are IEMS whose design starts from scratch. It integrates an isobaric subwoofer system of two 10mm dynamic drivers combined with two BA drivers, one full-range (RAB 32257) and the other used for the treble (Knowles RAD 33518). The KE4s feature a three-way passive crossorver and three independent sound tubes, which allow for precise frequency separation and mixing. The housings are made of durable medical-grade resin, while the faceplates are hand-finished.
As if that wasn't enough, the Kiwi Ears KE4 can be paired with a small dongle called the Kiwi Ears Allegro Mini for just $10 more. This dongle costs $24 and is a curious T-shaped device with a USB Type-C connection in the centre of a bar with different audio connections (SE 3.5mm and BAL 4.4mm) at each end. It supports PCM 32bit/384kHz and DSD128 audio resolution.



Specifications



Packaging
As this is a double review I'm going to be a little more concise. The Kiwi Ears KE4 come in an eminently black box, measuring 131x112x66mm. On the main side is the brand logo at the top, the slogan on the right, a realistic photo in the centre and the model name at the bottom. The lettering is white and the design is in BN. The specifications are on the side, while the back side contains information about the brand and the certifications the product has. Once the cardboard is removed, the box is black with the brand logo in the centre in mirror silver ink. The IEMS are embedded in a foam plate lined with black cardboard. On the second layer is the brand's classic case, in a narrow version, inside a foam mould. The complete contents are as follows:
A single set of tips is too little for a 200$ model, even if they are of a particular model. On the other hand, brands should think about people with larger ear canals, because, unfortunately, even the L model doesn't fit my morphology. The zippered case is too narrow for the size of the capsules. The brand itself has thicker cases that would have been more convenient. The cable is good, but I still miss a balanced version. Very fair accessories for the price.
The Allegro Mini comes in a small white cardboard box whose dimensions are 67x67x16mm. There is a drawing of the product profile in the centre of the main side, the logo is at the top and the model at the bottom, all in black lettering. On the back there are the brand's contact details. Inside is a black card with product specifications in several languages. The dongle is inside a black foam mould. There is nothing else, no cables, no USB Type-A adapters.



Construction and Design
The capsules of the Kiwi Ears KE4 are made of black medical-grade resin, while the outer plates are hand-finished. The capsule design is semi-custom, yet thick, and the mouthpiece is short and metallic, in two steps. The inner diameter of the mouthpiece is 5mm, while the crown measures 6mm. The 2Pin 0.78mm connections are gold-plated and are embedded in the capsules themselves, so that they remain shallow. The outer face may be reminiscent of the African continent, albeit narrower. They are silver and shiny, with the logo engraved in the centre. On the rim of the capsule, on the narrow side, there is a regular hole protected by a metal grid. The inner side is ergonomically shaped, but without raised protrusions. The mouthpieces are slightly projected on an inclined base. They are made of metal and protected by a metal grid with straight grooves. On the inner side of each capsule is written the text C-1563 and the letter indicating the channel underneath, in gold ink.
The cable has four intertwined strands, each with a dark copper colour. The plug sleeve is a smooth, shiny metal cylinder. It has a recessed ring on the side of the 3.5mm SE gold-plated connector, while the other end has two and a transparent plastic shield that protects the cable outlet. The splitter piece is of the same type, but half the size. The pin is a shiny metal disc with two holes inside, it does a good job of fitting the cables, as it is not easy to slip. The sleeves of the 2Pin 0.78mm connectors are two smooth, shiny cylinders, with two slots near the cable exit, where their shape becomes slightly conical. The two pins are mounted on rectangular black plastic bases. The cable has ear guides.
The Kiwi Ears Allegro Mini is a slim, rectangular pickup with a lightweight, micro-sandblasted aluminium alloy housing. It features the brand logo in a depressed circle in its centre. On each narrow side face are the audio outputs. The 4.4mm balanced output is gold-plated, while the 3.5mm SE output is not. The USB Type-C connector is in the centre of the long side, while on its back is a black piece that also reaches the audio connections. On the underside of the dongle is engraved the model name. The dimensions of the rectangular dongle are 38x16x12mm excluding the USB connector, while if you count the width it reaches 24mm.



Adjustment and Ergonomics
The capsules are thick and have a pronounced semi-custom shape. They have a slender outer side, while the curves of the inner side are not very pronounced, so they are not too obtrusive. It is clear that they are looking for a coupling in our pinna, but, because the mouthpieces are short and not very projected, the insertion is quite shallow, at least in my case. In this way, the capsules anchor themselves quite naturally and smoothly to the outer parts of my ears. There is hardly any rotation once seated and the fit is occlusive and very durable. Being made of resin, their weight is low, which prolongs the comfort of the set. Despite their thickness, the integration with the cable is very well achieved and they are very suitable for daily and outdoor use, as well as for long listening. The level of insulation is high.



Allegro Mini Measurements
The specifications of the Allegro Mini dongle claim a power of 30mW, but do not specify the output, either SE or BAL. My measurements give a value for SE with no load of 0.94V RMS, while with a 33Ω load, the output is 0.925V RMS, which produces a power of 26mW RMS.


For BAL the output is just as powerful. With no load 0.94V RMS, with a 33Ω load it gives 0.927V RMS, which generates a power of 26mW RMS.
To give 30mW power at 32Ω 0.98V RMS is needed. The Allegro Mini is close.
On the other hand, it is strange that the power is the same for both SE and BAL outputs, when normally twice as much power is achieved by BAL. So one can wonder how this balanced output is actually implemented.


Finally, as can be seen in the pictures below, the output impedance for SE and BAL are less than 1Ω, which is very much appreciated.


In conclusion, the Allegro Mini is capable of driving the KE4s with ease, but 1V is a low output for some of the harder IEMS to drive. You could say it's the standard minimum.



Sound
Profile
Well, the profile of the Kiwi Ears KE4 has been based on the new META curve achieved thanks to the new Brüel & Kjaer model 5128 high-frequency head and torso simulator. Transposed to our classic IEC60318-4 01 Occluded-ear Simulator microphone, the frequency response has a maintained emphasis on the sub-bass all the way to the mid-bass. The mid-range roll-off is slight and remains smooth from 200Hz to 20kHz, avoiding the classic IEMS V-shaped dip. The upper mids are slightly emphasised, while the entry into the treble is subtly decreasing down to the air zone. The amplitude of the entire frequency range is 10dB, which indicates how balanced the KE4's response is. All this, extrapolated to music, implies that the KE4 has a strong, deep base, with balanced, even mids and smooth highs. Some might say that this is a somewhat dark sound, but it is not deliberately warm, although it is more so than bright. It is definitely a full, dense and complete sound.
For the following review I have used several dongles to maximise the potential of the KE4s and compared the Kiwi Ears Allegro Mini against another dongle in its price range.

Bass
Using a good source you get the full potential of the Kiwi Ears KE4. Where, at first, using the Allegro Mini, I felt the bass was a bit rubbery, springy and slower, with the Go Bar Kensei it feels very dry, precise and faster. True, the texture also becomes smoother, but it feels more technical, skilled and capable. I go straight to the very low frequency pure tone test expecting a great result. And so it is, at the 20Hz tone you get that mix of sensory vibration, barely audible, deep and far from unreal vibrational character. As the frequencies increase, the power and density rise, while maintaining that natural, deep and physical perception of the bass. Undoubtedly, the KE4s have a great behaviour when the source allows it, generating pure, firm, real, powerful and deep tones, far away from any unnatural vibratory character. It is canonic bass, but extended, with more body and volume. Its power is relatively high, I could never say that it is a neutral bass, because it has a very good presence in the overall music and quite a lot of punch. But it is also true that it appears when it is needed and has a great respect for the rest of the frequencies. Perhaps it is not the cleanest bass against the mids, as it drags body and warmth in that initial part of the central range. But that's just the search for a much fuller, denser and more complete midrange. On the other hand, it could also be said that it is not the darkest of the basses and that is conditioned by that extended curve towards the mid bass. However, this gives it that extension, punch, body and volume to the range, but it also penalises it a little in terms of dissipation speed and presence in the environment. Those looking for that clean, completely dry, ambient-friendly bass may find the presence generated by the KE4 too much. But it's also something that can be corrected with a bold source. As always, in that balance is the presence of texture, fun, elasticity, rumble, power, volume on the one hand and dynamism, decay, speed, dryness, resolution and precision on the other. The KE4s lean towards the first side and I like that.
In the unfiltered bass test, the quality of the KE4s is evident, showing itself to be skilful and very capable in the worst conditions. It is adept at recreating complex and dirty bass lines, maintaining control in the most difficult situations, always sounding natural, restrained, but powerful. Perhaps the bass is more noticeable than sensory, but even in this less advantageous scenario the KE4s don't let up. In this delicate test, the bass generated by the KE4s never seems invasive, overbearing or unrealistic, drawing lines and layers that are very natural sonically, knowing how to stratify the bass drums and separating it from those dirty continuous bases. You even get the feeling that KE4 get better the more time they spend in this swampy, complex terrain. Excellent.



Mids
It is in the mids that this new META tuning is a success. Fans who have been reading my previous reviews will have noticed that one of the terms I have been repeating lately has been ‘hollowness’. In classical tunings, the upper mids are often emphasised in search of ‘forced’ clarity and transparency. On the other hand, the lower mids feel light, thin, lacking in body and physicality. And that's something that creates that hollow feeling that I abhor. Sometimes it can be fixed by adding warmth and softening the upper area. But many times it results in a dark profile that doesn't resolve the situation, and even harms the clarity of the sound. However, I think the KE4s have found the perfect balance throughout the range. I perceive the male voices as full, with a very precise, natural and realistic timbre. They have a deep, full, dense base, but never sound muddy or too close. Their presence is broad, balanced, complete from the base to the harmonics, showing their whole composition in a precise and homogeneous way. Best of all, this perception extends to all the instruments based in this first half of the mids. A real pleasure.
On the other side are the female voices. Being a purist I am obliged to say that they sound a little drier, warmer and with less sparkle. Maybe it's habit, but my ears are more accustomed to perceiving that more vivid point of brightness in them. By contrast, the upper mids are neutral, subtly dark, but very musical. The female voices gain in texture, offering a richness in their base that I have rarely enjoyed. In their details, the projection is more restrained, with a more limited and less fine extension. Those looking for the metal edge in guitars won't find it here, as the KE4s offer a much more restrained, drier, less juicy and very little splashy sound. Sibilance tends to zero and brightness is soft, though it's not a dull sound by any means. The virtue of the KE4s' upper mids is their level of resolution. Despite that wiry musical feel, the upper mids are not sterile, withered or wilted. Perhaps the more appropriate term is ‘neutral’. And anyone who doesn't see it that way should look the other way.
It is only after a few hours with the KE4 and a good source that one realises the absorbing, three-dimensional capacity of its midrange. It is a very pleasant place, very musical, rich, immersive, surrounding and full of space, depth, without being analytical, cold or piercing. Perhaps, to put a downside, the micro detail is not the most resolute and you have to look hard to find it.



Treble
It could not be otherwise. The treble is somewhat softer and more nuanced than what I would consider neutral. I miss a little more sparkle and a slightly finer, sharper, more delicate and energetic presentation. Even so, the treble maintains a natural, slightly warm, calm and subtly thick sonority. It is a treble that does not crunch, but retains a good level both representative and informative, without losing sight of the extension or the level of resolution. In this way, it is very easy to succumb to this musical sonority.
Again, the surprise comes when playing my test tracks for treble: at first I missed that more penetrating brilliance. But as I played back the songs I realised that the KE4's treble is much richer and more realistic than I first perceived. In Crescendo.



Soundstage, Separation
The Kiwi Ears KE4 are outstanding on soundstage. Without being too big in size, the surrounding and immersive feeling is something that grabs you. It's easy to feel at the centre of the music with a good source. Thus, the scene can be perceived as semi-spherical, even slightly more so, with an incipient perception under the feet and better over the head and behind it. The sense of space and separation is evident, without being incoherent or exaggerated. On the other hand, the sound is deep, dynamic, with fast transients, tonally accurate and timbrally realistic. Perhaps it could be said to be a little dry in that respect. But the level of musical richness and the very pleasant feeling it provokes make these minor shortcomings forgivable. Including certain limitations in the expression of micro detail. The balance, the homogeneity and the size of the music make us forget those aspects more common in more analytical and cold profiles. Not forgetting that we are talking about $200 IEMS.
On the other hand, the positioning of the elements is surrounding. It is not too ethereal or vaporous to appear diluted, but the KE4s maintain a high level of cohesion to draw them in a concrete and precise way, displaying an excellent level of resolution. In this way, the elements have a real, corporeal and perceptible form. This reinforces the very natural immersive feel of the music.



Comparisons
Yanyin Aladdin vs Kiwi Ears KE4
Maybe the META curve didn't exist, but warm and soft tunings in upper mids have always existed. And the Yanyin Aladdin was one of those models. Released in 2021, the Aladdin is a hybrid with 9.2mm 1DD and 3BA. They have a semi-custom shape and are built in resin, similar to the KE4, but are smaller. They came with two sets of tips, a leather pouch and a silver plated cable. Their starting price was around $250, if not more. But more expensive than the KE4's. In terms of integration and ergonomics, the slightly smaller size makes the Aladdin's integration in my ears somewhat better.
In terms of tuning, the Aladdin's bass is subtly cleaner. They have a little more meat in the midrange, while the upper midrange is smoother, as well as the treble, with less extension than the KE4s. They need less energy to generate the same sound pressure.
The low end is very similar. The pure tone test establishes this. But the KE4s have a bit more body, darkness, volume, energy and rumble. The Aladdin's are a bit cleaner and drier.
The Aladdin's higher energy between 1000Hz and 2000Hz pushes the male voices, even partially the female voices, a bit more than the KE4s, achieving a bit more clarity in that respect. Then, despite the Aladdin's lower energy in the upper mids, they sound very clean, close, transparent and clear. This is surprising comparatively speaking. The KE4s have denser mids, with more weight, with a more physical low end, even a bit darker. The Aladdin's sound a bit freer.
The Aladdin's highs seem more nuanced, but they have a bit of a highlight in the first highs, compared to the KE4s, so the sonority is not quite the same. After that, the KE4s have better extension and their sonority ends up being more coherent. I think there is a bit less control in the treble of the Aladdin.
The sense of density makes the KE4s seem to have less separation, but the scene is bigger, once you get inside their music. The perception of detail is very similar in both models. That softened, nuanced feel, with that darker, warmer point persists in both models and the micro detail suffers, though it's noticeable in both.

Hidizs SD2 vs Kiwi Ears Allegro Mini
The Allegro Mini DAC/AMP is really cheap ($24) for having SE and BAL outputs. It's a pity that it doesn't have much power (just under 1V RMS and 26mW RMS according to my measurements for 33Ω). The Hidizs SD2 is priced at $40 and provides higher power (1.5V RMS and 68mW RMS for 33Ω by my measurements). But it has only one SE output. Both have a mic line and can be used with a cable that has a built-in mic. The Hidisz uses the ES9270 DAC, while Kiwi Ears does not specify the chip model used.
Is there much difference in sound between the two? No. The Allegro Mini drives the KE4s well, but for more demanding things I prefer the SD2 with more than twice the power.
One thing that can be a nuisance on the SD2 is the Fade-In it has when playback starts.
In the very low frequency pure tone test the behaviour of both is very similar. They are not the most controlled and realistic LFOs among the dongles I have, but the performance is very similar. Perhaps there is subtly more control in the SD2. The result is an adequate bass, without too many frills, tight and well executed in both models.
In the mids the Allegro Mini seems a little warmer, while the SD2s seem to have a point of better definition, a little more separation and transparency. That warmth of the Allegro Mini limits the stage feel, even sounding subtly more faded. The SD2s have a bit more light, a higher point of definition and resolution. And that's something you notice in the mids and highs.
Macro detail is evident in both products, but the darker, better-defined background of the SD2s gives them an advantage when it comes to reproducing micro detail, which is sharper and more polished.


Conclusion
The new Meta reference curve has been one of the most talked about events in the audiophile world. Since then, a number of products based on it have started to emerge. The Kiwi Ears KE4 is one of them. Based on a great low end, with a dense and full transition into the upper mids, upper mids and smooth highs. The KE4s are very solid, homogeneous, balanced and full IEMS. For some, they may be dark and bass-excited. For me they are IEMS that fill the hollowness and emptiness I find in the lower mids of many models, while maintaining a remarkable level of energy in the bass. All of that is to my taste, including the smoothness in the upper mids and the balance in the treble. Perhaps I miss a little more sparkle or analytical ability. But, for now, in this price range you still have to choose between one thing (analytical profile) and the other (warmer, more musical profile). What is beyond doubt is how much I enjoyed listening to music while writing this review of the Kiwi Ears KE4. And I can't always say that. Perhaps that's the best praise.
On the other hand, the Kiwi Ears KE4 can be purchased in a bargain-priced bundle with a dongle called the Allegro Mini, just $10 more. Priced individually at $24, this dongle has a T-shape that houses the USB Type-C connection in the middle, a 3.5mm SE output on one side and a 4.4mm BAL output on the other. It's capable of delivering 1V RMS on both ends and generates pretty good sound for its price, on par with slightly more expensive dongles. They may not be good enough to extract the full potential of the KE4s, but they can be a very economical, if not the cheapest, option with SE and BAL outputs, plus cable support with microphone. Little more can be asked for that price.


Sources Used During the Analysis




Purchase Link
You can read the full review in Spanish here


Kiwi Ears, the Shenzhen, China-based brand, has been among the first to jump on the bandwagon of the so-called META frequency response. This new reference curve has emerged thanks to Brüel & Kjaer's new high-frequency head and torso simulator model 5128. The new measurements made with this new headband simulator have sparked a new debate in the world of headphones, as well as a revolution in what the new reference frequency response should look like. One way to simplify all this is to come to the conclusion of that response called META. And the Kiwi Ears KE4 has been tuned based on that frequency response. Actually, it's not the first or the only one, but the KE4s follow that current trend that raises the bass, narrows and balances the vertical range of that frequency response, smoothing and homogenising bass, upper midrange and treble. The result is a tuning with a powerful base, upper midrange and smooth, slightly dark treble. Is this curve the new neutral reference? I would never have come to that conclusion with my ears. But, I must admit that neutral references have always been too bland for me and I welcome a more bass-juicy and balanced reference, as META represents.
After all this, it is worth noting that the Kiwi Ears KE4 are IEMS whose design starts from scratch. It integrates an isobaric subwoofer system of two 10mm dynamic drivers combined with two BA drivers, one full-range (RAB 32257) and the other used for the treble (Knowles RAD 33518). The KE4s feature a three-way passive crossorver and three independent sound tubes, which allow for precise frequency separation and mixing. The housings are made of durable medical-grade resin, while the faceplates are hand-finished.
As if that wasn't enough, the Kiwi Ears KE4 can be paired with a small dongle called the Kiwi Ears Allegro Mini for just $10 more. This dongle costs $24 and is a curious T-shaped device with a USB Type-C connection in the centre of a bar with different audio connections (SE 3.5mm and BAL 4.4mm) at each end. It supports PCM 32bit/384kHz and DSD128 audio resolution.



Specifications
- Driver Type: 2 DD 10mm for bass, 1 custom BA RAB-32257 for midrange and 1 BA Knowles RAD-33518 for treble.
- Sensitivity: 102dB (±1dB).
- Impedance: 28Ω.
- Three-way crossover frequency.
- Jack connector: SE 3.5mm gold-plated.
- Cartridge Connection Type: 2Pin 0.78mm.
- Starting price: $199 (Kiwi Ears KE4), $223 (Kiwi Ears KE4 + Allegro Mini). Special set price $209.
- DAC: Built-in DAC/Amp chip.
- THD+N < 0.004% (32Ω load, A-weighted).
- Output power: ≥ 30mW (32Ω, THD+N < 1%).
- SNR: ≥ 114dB (32Ω load, A-weighted).
- Frequency response: ±0.2dB (20-20KHz).
- Noise floor: < 3μV (A-weighted).
- Supported Formats: PCM (up to 32bit/384kHz), DSD (DSD128, DSD64)
- Output: USB C to 3.5/4.4mm.



Packaging
As this is a double review I'm going to be a little more concise. The Kiwi Ears KE4 come in an eminently black box, measuring 131x112x66mm. On the main side is the brand logo at the top, the slogan on the right, a realistic photo in the centre and the model name at the bottom. The lettering is white and the design is in BN. The specifications are on the side, while the back side contains information about the brand and the certifications the product has. Once the cardboard is removed, the box is black with the brand logo in the centre in mirror silver ink. The IEMS are embedded in a foam plate lined with black cardboard. On the second layer is the brand's classic case, in a narrow version, inside a foam mould. The complete contents are as follows:
- The two Kiwi Ears KE4 capsules.
- A black zipped case.
- One user manual.
- One 4-strand cable with SE 3.5mm connector.
- One set of white silicone Kiwi Ears Flex Eartips.
- Two pairs of filters for mouthpiece protection.
A single set of tips is too little for a 200$ model, even if they are of a particular model. On the other hand, brands should think about people with larger ear canals, because, unfortunately, even the L model doesn't fit my morphology. The zippered case is too narrow for the size of the capsules. The brand itself has thicker cases that would have been more convenient. The cable is good, but I still miss a balanced version. Very fair accessories for the price.
The Allegro Mini comes in a small white cardboard box whose dimensions are 67x67x16mm. There is a drawing of the product profile in the centre of the main side, the logo is at the top and the model at the bottom, all in black lettering. On the back there are the brand's contact details. Inside is a black card with product specifications in several languages. The dongle is inside a black foam mould. There is nothing else, no cables, no USB Type-A adapters.



Construction and Design
The capsules of the Kiwi Ears KE4 are made of black medical-grade resin, while the outer plates are hand-finished. The capsule design is semi-custom, yet thick, and the mouthpiece is short and metallic, in two steps. The inner diameter of the mouthpiece is 5mm, while the crown measures 6mm. The 2Pin 0.78mm connections are gold-plated and are embedded in the capsules themselves, so that they remain shallow. The outer face may be reminiscent of the African continent, albeit narrower. They are silver and shiny, with the logo engraved in the centre. On the rim of the capsule, on the narrow side, there is a regular hole protected by a metal grid. The inner side is ergonomically shaped, but without raised protrusions. The mouthpieces are slightly projected on an inclined base. They are made of metal and protected by a metal grid with straight grooves. On the inner side of each capsule is written the text C-1563 and the letter indicating the channel underneath, in gold ink.
The cable has four intertwined strands, each with a dark copper colour. The plug sleeve is a smooth, shiny metal cylinder. It has a recessed ring on the side of the 3.5mm SE gold-plated connector, while the other end has two and a transparent plastic shield that protects the cable outlet. The splitter piece is of the same type, but half the size. The pin is a shiny metal disc with two holes inside, it does a good job of fitting the cables, as it is not easy to slip. The sleeves of the 2Pin 0.78mm connectors are two smooth, shiny cylinders, with two slots near the cable exit, where their shape becomes slightly conical. The two pins are mounted on rectangular black plastic bases. The cable has ear guides.
The Kiwi Ears Allegro Mini is a slim, rectangular pickup with a lightweight, micro-sandblasted aluminium alloy housing. It features the brand logo in a depressed circle in its centre. On each narrow side face are the audio outputs. The 4.4mm balanced output is gold-plated, while the 3.5mm SE output is not. The USB Type-C connector is in the centre of the long side, while on its back is a black piece that also reaches the audio connections. On the underside of the dongle is engraved the model name. The dimensions of the rectangular dongle are 38x16x12mm excluding the USB connector, while if you count the width it reaches 24mm.



Adjustment and Ergonomics
The capsules are thick and have a pronounced semi-custom shape. They have a slender outer side, while the curves of the inner side are not very pronounced, so they are not too obtrusive. It is clear that they are looking for a coupling in our pinna, but, because the mouthpieces are short and not very projected, the insertion is quite shallow, at least in my case. In this way, the capsules anchor themselves quite naturally and smoothly to the outer parts of my ears. There is hardly any rotation once seated and the fit is occlusive and very durable. Being made of resin, their weight is low, which prolongs the comfort of the set. Despite their thickness, the integration with the cable is very well achieved and they are very suitable for daily and outdoor use, as well as for long listening. The level of insulation is high.



Allegro Mini Measurements
The specifications of the Allegro Mini dongle claim a power of 30mW, but do not specify the output, either SE or BAL. My measurements give a value for SE with no load of 0.94V RMS, while with a 33Ω load, the output is 0.925V RMS, which produces a power of 26mW RMS.


For BAL the output is just as powerful. With no load 0.94V RMS, with a 33Ω load it gives 0.927V RMS, which generates a power of 26mW RMS.
To give 30mW power at 32Ω 0.98V RMS is needed. The Allegro Mini is close.
On the other hand, it is strange that the power is the same for both SE and BAL outputs, when normally twice as much power is achieved by BAL. So one can wonder how this balanced output is actually implemented.


Finally, as can be seen in the pictures below, the output impedance for SE and BAL are less than 1Ω, which is very much appreciated.


In conclusion, the Allegro Mini is capable of driving the KE4s with ease, but 1V is a low output for some of the harder IEMS to drive. You could say it's the standard minimum.



Sound
Profile
Well, the profile of the Kiwi Ears KE4 has been based on the new META curve achieved thanks to the new Brüel & Kjaer model 5128 high-frequency head and torso simulator. Transposed to our classic IEC60318-4 01 Occluded-ear Simulator microphone, the frequency response has a maintained emphasis on the sub-bass all the way to the mid-bass. The mid-range roll-off is slight and remains smooth from 200Hz to 20kHz, avoiding the classic IEMS V-shaped dip. The upper mids are slightly emphasised, while the entry into the treble is subtly decreasing down to the air zone. The amplitude of the entire frequency range is 10dB, which indicates how balanced the KE4's response is. All this, extrapolated to music, implies that the KE4 has a strong, deep base, with balanced, even mids and smooth highs. Some might say that this is a somewhat dark sound, but it is not deliberately warm, although it is more so than bright. It is definitely a full, dense and complete sound.
For the following review I have used several dongles to maximise the potential of the KE4s and compared the Kiwi Ears Allegro Mini against another dongle in its price range.

Bass
Using a good source you get the full potential of the Kiwi Ears KE4. Where, at first, using the Allegro Mini, I felt the bass was a bit rubbery, springy and slower, with the Go Bar Kensei it feels very dry, precise and faster. True, the texture also becomes smoother, but it feels more technical, skilled and capable. I go straight to the very low frequency pure tone test expecting a great result. And so it is, at the 20Hz tone you get that mix of sensory vibration, barely audible, deep and far from unreal vibrational character. As the frequencies increase, the power and density rise, while maintaining that natural, deep and physical perception of the bass. Undoubtedly, the KE4s have a great behaviour when the source allows it, generating pure, firm, real, powerful and deep tones, far away from any unnatural vibratory character. It is canonic bass, but extended, with more body and volume. Its power is relatively high, I could never say that it is a neutral bass, because it has a very good presence in the overall music and quite a lot of punch. But it is also true that it appears when it is needed and has a great respect for the rest of the frequencies. Perhaps it is not the cleanest bass against the mids, as it drags body and warmth in that initial part of the central range. But that's just the search for a much fuller, denser and more complete midrange. On the other hand, it could also be said that it is not the darkest of the basses and that is conditioned by that extended curve towards the mid bass. However, this gives it that extension, punch, body and volume to the range, but it also penalises it a little in terms of dissipation speed and presence in the environment. Those looking for that clean, completely dry, ambient-friendly bass may find the presence generated by the KE4 too much. But it's also something that can be corrected with a bold source. As always, in that balance is the presence of texture, fun, elasticity, rumble, power, volume on the one hand and dynamism, decay, speed, dryness, resolution and precision on the other. The KE4s lean towards the first side and I like that.
In the unfiltered bass test, the quality of the KE4s is evident, showing itself to be skilful and very capable in the worst conditions. It is adept at recreating complex and dirty bass lines, maintaining control in the most difficult situations, always sounding natural, restrained, but powerful. Perhaps the bass is more noticeable than sensory, but even in this less advantageous scenario the KE4s don't let up. In this delicate test, the bass generated by the KE4s never seems invasive, overbearing or unrealistic, drawing lines and layers that are very natural sonically, knowing how to stratify the bass drums and separating it from those dirty continuous bases. You even get the feeling that KE4 get better the more time they spend in this swampy, complex terrain. Excellent.



Mids
It is in the mids that this new META tuning is a success. Fans who have been reading my previous reviews will have noticed that one of the terms I have been repeating lately has been ‘hollowness’. In classical tunings, the upper mids are often emphasised in search of ‘forced’ clarity and transparency. On the other hand, the lower mids feel light, thin, lacking in body and physicality. And that's something that creates that hollow feeling that I abhor. Sometimes it can be fixed by adding warmth and softening the upper area. But many times it results in a dark profile that doesn't resolve the situation, and even harms the clarity of the sound. However, I think the KE4s have found the perfect balance throughout the range. I perceive the male voices as full, with a very precise, natural and realistic timbre. They have a deep, full, dense base, but never sound muddy or too close. Their presence is broad, balanced, complete from the base to the harmonics, showing their whole composition in a precise and homogeneous way. Best of all, this perception extends to all the instruments based in this first half of the mids. A real pleasure.
On the other side are the female voices. Being a purist I am obliged to say that they sound a little drier, warmer and with less sparkle. Maybe it's habit, but my ears are more accustomed to perceiving that more vivid point of brightness in them. By contrast, the upper mids are neutral, subtly dark, but very musical. The female voices gain in texture, offering a richness in their base that I have rarely enjoyed. In their details, the projection is more restrained, with a more limited and less fine extension. Those looking for the metal edge in guitars won't find it here, as the KE4s offer a much more restrained, drier, less juicy and very little splashy sound. Sibilance tends to zero and brightness is soft, though it's not a dull sound by any means. The virtue of the KE4s' upper mids is their level of resolution. Despite that wiry musical feel, the upper mids are not sterile, withered or wilted. Perhaps the more appropriate term is ‘neutral’. And anyone who doesn't see it that way should look the other way.
It is only after a few hours with the KE4 and a good source that one realises the absorbing, three-dimensional capacity of its midrange. It is a very pleasant place, very musical, rich, immersive, surrounding and full of space, depth, without being analytical, cold or piercing. Perhaps, to put a downside, the micro detail is not the most resolute and you have to look hard to find it.



Treble
It could not be otherwise. The treble is somewhat softer and more nuanced than what I would consider neutral. I miss a little more sparkle and a slightly finer, sharper, more delicate and energetic presentation. Even so, the treble maintains a natural, slightly warm, calm and subtly thick sonority. It is a treble that does not crunch, but retains a good level both representative and informative, without losing sight of the extension or the level of resolution. In this way, it is very easy to succumb to this musical sonority.
Again, the surprise comes when playing my test tracks for treble: at first I missed that more penetrating brilliance. But as I played back the songs I realised that the KE4's treble is much richer and more realistic than I first perceived. In Crescendo.



Soundstage, Separation
The Kiwi Ears KE4 are outstanding on soundstage. Without being too big in size, the surrounding and immersive feeling is something that grabs you. It's easy to feel at the centre of the music with a good source. Thus, the scene can be perceived as semi-spherical, even slightly more so, with an incipient perception under the feet and better over the head and behind it. The sense of space and separation is evident, without being incoherent or exaggerated. On the other hand, the sound is deep, dynamic, with fast transients, tonally accurate and timbrally realistic. Perhaps it could be said to be a little dry in that respect. But the level of musical richness and the very pleasant feeling it provokes make these minor shortcomings forgivable. Including certain limitations in the expression of micro detail. The balance, the homogeneity and the size of the music make us forget those aspects more common in more analytical and cold profiles. Not forgetting that we are talking about $200 IEMS.
On the other hand, the positioning of the elements is surrounding. It is not too ethereal or vaporous to appear diluted, but the KE4s maintain a high level of cohesion to draw them in a concrete and precise way, displaying an excellent level of resolution. In this way, the elements have a real, corporeal and perceptible form. This reinforces the very natural immersive feel of the music.



Comparisons
Yanyin Aladdin vs Kiwi Ears KE4
Maybe the META curve didn't exist, but warm and soft tunings in upper mids have always existed. And the Yanyin Aladdin was one of those models. Released in 2021, the Aladdin is a hybrid with 9.2mm 1DD and 3BA. They have a semi-custom shape and are built in resin, similar to the KE4, but are smaller. They came with two sets of tips, a leather pouch and a silver plated cable. Their starting price was around $250, if not more. But more expensive than the KE4's. In terms of integration and ergonomics, the slightly smaller size makes the Aladdin's integration in my ears somewhat better.
In terms of tuning, the Aladdin's bass is subtly cleaner. They have a little more meat in the midrange, while the upper midrange is smoother, as well as the treble, with less extension than the KE4s. They need less energy to generate the same sound pressure.
The low end is very similar. The pure tone test establishes this. But the KE4s have a bit more body, darkness, volume, energy and rumble. The Aladdin's are a bit cleaner and drier.
The Aladdin's higher energy between 1000Hz and 2000Hz pushes the male voices, even partially the female voices, a bit more than the KE4s, achieving a bit more clarity in that respect. Then, despite the Aladdin's lower energy in the upper mids, they sound very clean, close, transparent and clear. This is surprising comparatively speaking. The KE4s have denser mids, with more weight, with a more physical low end, even a bit darker. The Aladdin's sound a bit freer.
The Aladdin's highs seem more nuanced, but they have a bit of a highlight in the first highs, compared to the KE4s, so the sonority is not quite the same. After that, the KE4s have better extension and their sonority ends up being more coherent. I think there is a bit less control in the treble of the Aladdin.
The sense of density makes the KE4s seem to have less separation, but the scene is bigger, once you get inside their music. The perception of detail is very similar in both models. That softened, nuanced feel, with that darker, warmer point persists in both models and the micro detail suffers, though it's noticeable in both.

Hidizs SD2 vs Kiwi Ears Allegro Mini
The Allegro Mini DAC/AMP is really cheap ($24) for having SE and BAL outputs. It's a pity that it doesn't have much power (just under 1V RMS and 26mW RMS according to my measurements for 33Ω). The Hidizs SD2 is priced at $40 and provides higher power (1.5V RMS and 68mW RMS for 33Ω by my measurements). But it has only one SE output. Both have a mic line and can be used with a cable that has a built-in mic. The Hidisz uses the ES9270 DAC, while Kiwi Ears does not specify the chip model used.
Is there much difference in sound between the two? No. The Allegro Mini drives the KE4s well, but for more demanding things I prefer the SD2 with more than twice the power.
One thing that can be a nuisance on the SD2 is the Fade-In it has when playback starts.
In the very low frequency pure tone test the behaviour of both is very similar. They are not the most controlled and realistic LFOs among the dongles I have, but the performance is very similar. Perhaps there is subtly more control in the SD2. The result is an adequate bass, without too many frills, tight and well executed in both models.
In the mids the Allegro Mini seems a little warmer, while the SD2s seem to have a point of better definition, a little more separation and transparency. That warmth of the Allegro Mini limits the stage feel, even sounding subtly more faded. The SD2s have a bit more light, a higher point of definition and resolution. And that's something you notice in the mids and highs.
Macro detail is evident in both products, but the darker, better-defined background of the SD2s gives them an advantage when it comes to reproducing micro detail, which is sharper and more polished.


Conclusion
The new Meta reference curve has been one of the most talked about events in the audiophile world. Since then, a number of products based on it have started to emerge. The Kiwi Ears KE4 is one of them. Based on a great low end, with a dense and full transition into the upper mids, upper mids and smooth highs. The KE4s are very solid, homogeneous, balanced and full IEMS. For some, they may be dark and bass-excited. For me they are IEMS that fill the hollowness and emptiness I find in the lower mids of many models, while maintaining a remarkable level of energy in the bass. All of that is to my taste, including the smoothness in the upper mids and the balance in the treble. Perhaps I miss a little more sparkle or analytical ability. But, for now, in this price range you still have to choose between one thing (analytical profile) and the other (warmer, more musical profile). What is beyond doubt is how much I enjoyed listening to music while writing this review of the Kiwi Ears KE4. And I can't always say that. Perhaps that's the best praise.
On the other hand, the Kiwi Ears KE4 can be purchased in a bargain-priced bundle with a dongle called the Allegro Mini, just $10 more. Priced individually at $24, this dongle has a T-shape that houses the USB Type-C connection in the middle, a 3.5mm SE output on one side and a 4.4mm BAL output on the other. It's capable of delivering 1V RMS on both ends and generates pretty good sound for its price, on par with slightly more expensive dongles. They may not be good enough to extract the full potential of the KE4s, but they can be a very economical, if not the cheapest, option with SE and BAL outputs, plus cable support with microphone. Little more can be asked for that price.


Sources Used During the Analysis
- Kiwi Ears Allegro Mini.
- iFi GO bar Kensei.
- Hidizs SD2.
- Burson Audio Playmate 2.
- Aune X8 XVIII Magic DAC + EarMen ST-Amp.


Linsoul Audio Store, offered me this model, in exchange for writing an honest review. I want to make it clear that all my opinions written in this review have not been conditioned by this fact, nor will I ever write anything that I do not really think or feel here. I will only write about my personal opinion in relation to the revised product.


Purchase Link
You can read the full review in Spanish here



o0genesis0o
When I skimmed through quickly, I though you measure output impedance of the IEM
Didn't see you also measure the allegro. Great review, mate.

cqtek
1000+ Head-Fier
Pros: Bass with energy, speed and precision. Great technique.
- Crisp, fine and brilliant treble.
- Analytical sound, very informative, resolute, descriptive, vivid, splashy, clear and transparent.
- Ultra-light capsule weight, very good level of ergonomics.
- Crisp, fine and brilliant treble.
- Analytical sound, very informative, resolute, descriptive, vivid, splashy, clear and transparent.
- Ultra-light capsule weight, very good level of ergonomics.
Cons: Those looking for a soft sound should look elsewhere.
- Notes across the entire frequency range are thin and fine.
- Micro detail can be hidden behind overwhelming macro detail.
- Cable with no possibility of a balanced plug.
- Notes across the entire frequency range are thin and fine.
- Micro detail can be hidden behind overwhelming macro detail.
- Cable with no possibility of a balanced plug.
Introduction
In the last six months, the famous audio brand NF AUDIO has changed its name to NF ACOUS and the first model to be released under this new name is the NM20. Everyone will remember the NM2 and its specialised version NM2+. The new NM20s move in a wave halfway between those two models, as far as tuning is concerned. Aesthetically, they are more similar to the NM2, as the NM2+ were made of metal. There are hardly any changes in the packaging and accessories, where the CD-style case remains the same. Technology-wise, the NM20s use the updated MC2L-100P dynamic driver, with a circuit with two neodymium magnets. It is equipped with a new cavity structure using interference trap technology and an improved beryllium-plated diaphragm. NF ACOUS has used new techniques, new materials and designs to enhance the advantages of the classic NM2. High-strength transparent polycarbonate and CNC machined anodised aluminium parts have been used to manufacture the capsules. A transparent cable with 5N OFC wires and silver coating is used for the cable. There is a choice of three finishes: blue, pink and grey.
The sound of the NM20s focuses on dynamic transients with a clear sound and detailed resolution. The frequency response is tuned to approximate the diffuse field with slightly enhanced bass to suit noisy stage environments.
The NM20s have a passive isolation of 25dB.


Specifications


Packaging
The NF ACOUS NM20 comes in the brand's classic CD-shaped packaging, whose dimensions are 150x132x83mm. It has a ring for hanging. As the model I am reviewing is the blue one, the packaging has a lot of this colour. On the main side you can see the name of the model from top to bottom, on the left side, in thick silver letters. In the centre is an actual photo of the capsules with the cable. On the back side the name is repeated in the same way, but this time horizontally. This time there is a realistic photo of the capsules without cable, descriptions of the features of the model and a summary of the contents in the right vertical margin.
The box pulls out from the side, is black with the brand logo in silver in the centre. It opens like a book in the middle and shows that foam CD containing the capsules on the right side. The left side contains the user guide. Underneath is the new zippered case. Underneath the CD with the capsules is the cable and a blister pack containing 4 pairs of silicone tips model MS42. In a nutshell:
The inclusion of a new rectangular zipped case is much appreciated. The rest is more than classic.


Construction and Design
It can be said that the shape of the capsules is closely related to that NM2 model. But instead of being completely transparent, a frosted polycarbonate is now used, which is somewhat more diffuse, but still very light and strong, even if it doesn't look like it. The edge of the outer face is now formed by a piece of aluminium. The logo is visible in the middle in silver ink. The shape is the same as that of the NA2 and NM2, and the two strategic holes are still there. The shape of the capsules is maintained because their design is very advantageous, both ergonomically and musically. The comfort was evident in those previous models and after the new studies carried out by the brand, it continues to rely on it. The 2Pin 0.78mm connection interface is still projected on an 8-shaped piece. One of the holes is on its side. The other is on the slope of the inner side towards the nozzles, which coincides with the centre of the driver. The nozzles are also made of aluminium, with a base, a narrower inner diameter of 5mm and a crown with an outer diameter of 5.8mm. The mouthpiece is protected by a perforated metal plate. The model name is written on the rim of the capsules in silver lettering, as well as the indication L, R for the channel.
The cable is 5N made of oxygen-free, silver-plated copper to improve the skin effect and reduce impedance. It consists of 4 tightly wound strands, resulting in a smooth, shiny, almost white cable, with a very adequate thickness and very manageable, yet not very windable. The sleeve of the plug has not changed with respect to the other models, being cylindrical and grey, except for the flat part where the name of the brand is inscribed, this time NFACOUS. The splitter piece is a triangular black plastic medal, with the logo on one side. The pin is made of metal, with two holes inside. The two-pin connector is covered by a rigid transparent plastic sleeve. The sleeve is angled and has the classic vertical axis spacing. The cables coming out of these connectors are protected by a semi-rigid, transparent sheath, which gives them an over-ear shape. The cable has a Velcro strap with the brand name in white letters.
The NM20s have the same cable as the NM2+, but retain the polycarbonate construction, this time frosted, as in the NA2, and have some aluminium parts on the edge of the outer face, which is also used for the mouthpieces.


Adjustment and Ergonomics
Both the shape and the ergonomics are very similar to those of the NA2 and NM2. The weight is negligible. After testing a number of heavier models, I was very pleased to use such a light IEMS. The classic semi-custom, slightly slimmer shape fits my ears very well. It gives scope to use several sets of tips to find the best fit and the best passive isolation. As usual, the tips used have been the large tips with homemade foam filling. The large amount of foam inside makes the tips expand inside my ear canal. The good diameter of the canal allows a great clarity of sound. This, together with the expansive power of the foam, means that the amount of contact of the surface of the tips with the walls of my ears is the greatest. In this way, the bass is also propagated by this contact effect. The use of these homemade tips is nothing new, as the large diameter of my ear canals is the reason why I had to look for this type of solution. With them, the fit remains durable, with remarkable hold and no discomfort. There is hardly any friction with the parts of the ear. The insertion, which is slightly deeper depending on the tips, increases the level of isolation (according to the manufacturer, up to 25 dB).
Regarding the cable, the connectors have the same shapes and the detail that separates them from the head. The cable is very manageable and there is no noticeable increase in weight.
They are still very comfortable.


Sound
Profile
The NF ACOUS NM20s have an energetic V-profile on the top end, almost reaching an excited W on the last two peaks. Not that the bass is totally light, but there is a higher energy level from 2khz onwards.
Thinking back to the old days, they have an almost identical curve to the NM2s from 30Hz to 2khz. From there that higher amount of power in the NM20s makes this new model more vivid, penetrating and splashy. And this should be taken into account for those sensitive to upper mids and treble.
In the graph you can see a peak at 5khz, which indicates a distinctly high pinna gain. That level of energy does not go unnoticed by my ears and implies some listening fatigue and the choice of warm sources. It also has its advantages, as well as an escape from the current tendency to make profiles too soft and dark. In the NM20s the information capacity is quite pronounced and the contrast with this new batch of IEMS heightens that sense of darkness and heightened quietness, where detail is hard to decipher.

Bass
This time, the subwoofer is not as loud and the frequency response of the NM20s is a little more rounded. But, as is the brand's tradition, the bass is of a high quality. It is a technical lower range, concise, fast, with a punchy, tight and dry attack. The texture is not as pronounced, which gives it a superior technical ability and a more agile behaviour. Although it has a good amount of energy, in the overall sound the bass presence is a little above neutral, without standing out from the rest of the bands.
In the very low-presence pure tone test, you feel that the sub-bass is not too high. Even so, it feels very sensory, deep, natural and uncoloured. It should be noted that there is no negative undulatory character, but rather a quite realistic behaviour. As the frequencies go up, the power, punch and forcefulness also go up, with a little more texture appearing, but without losing that realistic and natural character that is typical of good dynamic drivers. The translation of this behaviour to music is demonstrated in a bass that is not very elastic, not rubbery either, has a very short decay and does not linger very long in the room. Thus, the sensation of volume is not very high, although the colour feels dark and deep. On the other hand, the high amount of light in the set overcomes any hint of darkness that the bass might generate, something that contributes to a cleaner lower range, if that's possible.
Finishing with the other classic test of dirty, unfiltered bass, the NM20s demonstrate their technical prowess by delivering very strong, clean bass lines without any loss whatsoever. The clarity of the bass is the usual tonic for these cases, leaving almost anecdotal, that is reproducing very complex bass. In this way, the dirtier notes feel finer than usual, generated with a high level of delicacy, but maintaining a good level of power. The layering of the layers is quite good, but the cleanness of the bass lines means that there is little volume between them and more space, due to the skill and speed it possesses to draw those notes quickly and accurately. It is clear that the NM20's bass is very resolving, informative and detailed, proving that power and skill can be combined in one piece.


Mids
The initial part of the mids drags a slight warmth from the bass, but it fades quickly. This gives a minimal base to both the male voices and the instruments based in that range. But then there is a certain lightness in the centre of the body, losing physicality and overall consistency. From here on, the voices are reconstructed on the basis of more exalted and very vivid nuances. Fortunately, there is less of a sense of hollowness, but this character in the profile is perceived in the same way with the male voices, with more accentuated extremes (especially the upper one) and with a more subdued and less represented centre. Even wheezing and breathing are more noticeable than other elements. The response is the recreation of a very detailed and nuanced voice, but without being distant, rather a step away, avoiding the classic sinking of the IEMS in V. One could say that the ornamental and harmonic excitation completes the voices, and even makes them closer, closer and, above all, more explicit.
There is certainly a lot of light, sharpness, clarity and transparency in the midrange of the NM20s. That makes for a very clean sound, with a fairly dark and perceptible bottom end. The notes feel very well defined, with plenty of contrast. They are fine and delicate, with a lot of resolution, definition and informative impression, taking the sound to a more analytical and pure level in this respect. But, it is also true that such finesse sharpens the notes and they become more penetrating and incisive, which is always a double-edged sword when it comes to listening comfort over the hours.
The female voices do not gain as much body and grounding as one might expect, as they are still drawn with a sharp and defined precision. There is a proximity to the major listener, and there is no longer any curve or inflection throughout. But the notes that compose it are maintained with the same finesse and delicacy.
The upper mids are very exposed, pushing the clarity of the mids to the limit, making the whole a very vivid, splashy and energetic system. Macro detail is very clearly revealed. Micro detail depends on where it is. If it is in the background and somewhat deeper, it is relegated to a less noticeable position. The level of layering in the middle ground is more limited and elements tend to be presented much closer and in the foreground. There is an obvious overwhelming level of information that tends to expose details and nuances to the surface, but there are some that are not presented due to the V-profile itself, being more distant or obscured by other notes.
This cooler character favours genres such as metal, where the guitars are sharp and prominent.


Treble
The transition from the upper mids to the first treble begins with a high energy level. As this is not a classic V-profile, the treble drop is just a simple limited control zone. The profile becomes an excited W, thanks to an extra dose of power that stretches the upper zone into the air zone. The result is a very pronounced top end, while maintaining the finesse of the notes and their penetrating, incisive power. The treble is very crisp, exposed and informative, full of energy, brightness and light. It is worth noting that both the timbre and sonority are natural, with very concise, direct and precise notes, as is usual for an analytical driver. This is not the first time that the brand has reached this point, as it has already demonstrated with the NM2+. But here they wanted to add more power in the bass and take the treble to the next level.
The NM20s are sure to delight treble heads.


Soundstage, Separation
Such a clean, bright, transparent and shallow profile often lacks depth. NF ACOUS has given the NM20s more bass to gain depth and a sense of layering. In that respect, the sound is sort of exposed in two terms: you get that sense of depth while many elements feel very close, with few notes remaining in the middle distance. True, the male vocals and some lower-mid based elements can fill that gap that is a step and a half away. But the main axis is not stretched too far. The sound comes across as wider, higher and, above all, more volatile and ethereal. In this way the scene is more oval, with a medium surrounding or immersive feel, but not over the head and more frontal, with a certain gauzy feeling due to the amount of floating detail.
The image is well positioned, with a clear and sharp formation, but with a more limited body.


Comparisons
Hidizs MS3 Balanced (Rose Gold)
The current price of the Hidizs MS3 is $119, the same as the starting price of the NF ACOUS MN20.
Both models have a capsule with a very similar semi-custom shape on the outside contour. The MS3s are slightly slimmer at the apex, while the capsule of the NM20s is subtly smaller. The Hidizs are made of metal while the NM20s use polycarbonate. It is clear that the ergonomics of both are very similar, but the weight is different, the NM20s are ultra-light.
The MS3's cable is better, consisting of four strands of thick, dark copper, and has a balanced plug option.
The Hidizs come with three sets of silicone tips and three pairs of interchangeable mouthpieces for fine-tuning the sound. On the other hand, they come with a leatherette pouch underneath the zippered case of the NM20s. The NFs, however, only come with one set of silicone tips, even though they come in four sizes, plus a silver-plated cable with four much thinner strands.
The NM20s are more difficult to move, while the MS3s need less power to achieve the same sound pressure level.
To begin with, the NM20s are more luminous and brighter, while the MS3s are comparatively darker. Both have a profile that moves between the V and the excited W from midrange onwards. However, this excitation is more pronounced in the NM20s, especially in the upper mids and first treble.
There are many similarities from the audible low end down to 1000Hz between the two models. However, there is slightly more energy in the transition from sub-bass to mid-bass in the NM20s. The result of the graphs does not correspond to the audible reality because the MS3s give a bass feeling with more power, density and darkness. The NM20's bass is more technical, precise, concise and tight. There is a little more rubberiness and elasticity in the MS3s, which gives it a little more texture. There is a distinct difference in the feeling of volume and darkness in the lower range, which is more abundant in the Hidizs. Both models perform very similarly in the very low frequency pure tone test, both sounding very natural, with physical tendency and no colouration, attesting to the high class of both drivers. The bass enthusiast will enjoy the MS3s more, while those looking for more technicality and a more accurate and faster bass will go for the NM20s.
The mids of the MS3s are denser and warmer. In the NM20s you feel that greater clarity and transparency, that distance between thinner and sharper notes. The macro detail jumps out, emphasising them, but without losing sight of the base. The MS3s are more musical and smoother, more focused on the base, with a fuller upper body and more lushness and thickness in the male voices, something that makes them sound fuller, but less nuanced.
In the upper mids of the MS3s there is still that more cohesive, dense and warm feel that keeps the female voices from feeling projected. In this same range the NM20s continue to sound thinner, more delicate, crisp and spaced out. Female vocals are thinner, less full-bodied, without warmth. However, the amount of detail and nuance feels more prominent in the NFs, giving a splashier, brighter feel, with many more sparkles and elements flooding the ears. However, the sound in this part can become more incisive and penetrating, while the MS3s are quieter.
The differences in the treble are great. While the NM20s have very thin, sharp, excited, energetic, projected high notes, generating a really crisp, bright and sparkling area, the MS3s have a quieter treble, but very much in keeping with the sound of the whole ensemble. There is distinctly more thickness in the high end of the MS3s, something that gives them a more analogue, musical, less forced and smoother feel. On the other hand, the NM20s have more overall energy, more delicacy and also a little more air.
The soundstage is wider and deeper on the MS3s, while it is louder, gauzier and more volatile on the NM20s.
Micro detail is very good in both models. But there is a clear emphasis on macro detail in the NM20s, while micro detail can be somewhat obscured due to the overwhelming analytical and informative capabilities they possess. The reduced sense of layering and depth can cause such detail to overlap. In MS3s, despite their density, there is space at the bottom and more layers all the way down to the bottom. That allows you to house deep detail in a more specific location. They may not sound as defined, but they are there.

Conclusion
The new NF ACOUS NM20s are a further twist to the profile of the brand's own NM saga. It started with a clear V-profile with the NM2s. It excited brightness in the NM2+, while softening the bass. And now, with the new name, the brand is looking for the best of both models: the bass of the NM2 and the high end of the NM2+, but with a stronger punch from the upper mids onwards. It is clear that even more emphasis has been placed on clarity, on sharpness, on a product with more analytical, informative and vivid capabilities. But backed up by a more powerful, but very technical and fast bass area. The NM20s are delicate, very fine, but also cooler and more penetrating. Both extremes of great quality: the level of precision in the lower range is high, while the treble is full of brilliance, vitality, edge and energy. The new model from the renowned NF ACOUS bucks the current trend for warmer, softer and darker IEMS with a model full of energy, brightness, clarity and transparency, to persist with the idea that dynamic drivers are capable of offering a high level of description in this price range.


Sources Used During the Analysis



Purchase Link

You can read the full review in Spanish here

In the last six months, the famous audio brand NF AUDIO has changed its name to NF ACOUS and the first model to be released under this new name is the NM20. Everyone will remember the NM2 and its specialised version NM2+. The new NM20s move in a wave halfway between those two models, as far as tuning is concerned. Aesthetically, they are more similar to the NM2, as the NM2+ were made of metal. There are hardly any changes in the packaging and accessories, where the CD-style case remains the same. Technology-wise, the NM20s use the updated MC2L-100P dynamic driver, with a circuit with two neodymium magnets. It is equipped with a new cavity structure using interference trap technology and an improved beryllium-plated diaphragm. NF ACOUS has used new techniques, new materials and designs to enhance the advantages of the classic NM2. High-strength transparent polycarbonate and CNC machined anodised aluminium parts have been used to manufacture the capsules. A transparent cable with 5N OFC wires and silver coating is used for the cable. There is a choice of three finishes: blue, pink and grey.
The sound of the NM20s focuses on dynamic transients with a clear sound and detailed resolution. The frequency response is tuned to approximate the diffuse field with slightly enhanced bass to suit noisy stage environments.
The NM20s have a passive isolation of 25dB.


Specifications
- Driver Type: MC2L-100P dual-cavity dynamic driver, dual magnetic circuit and beryllium-plated diaphragm.
- Frequency Response: 9Hz-40kHz.
- Sensitivity: 108dB/mW.
- Impedance: 32Ω.
- Distortion Ratio: <1%.
- Jack Connector: SE 3.5mm with 6.35mm adapter included.
- Capsule Connection Type: 2Pin 0.78mm.
- Maximum SPL: 125dB.
- Cable: OFC 5N.
- Introductory Price: $119.


Packaging
The NF ACOUS NM20 comes in the brand's classic CD-shaped packaging, whose dimensions are 150x132x83mm. It has a ring for hanging. As the model I am reviewing is the blue one, the packaging has a lot of this colour. On the main side you can see the name of the model from top to bottom, on the left side, in thick silver letters. In the centre is an actual photo of the capsules with the cable. On the back side the name is repeated in the same way, but this time horizontally. This time there is a realistic photo of the capsules without cable, descriptions of the features of the model and a summary of the contents in the right vertical margin.
The box pulls out from the side, is black with the brand logo in silver in the centre. It opens like a book in the middle and shows that foam CD containing the capsules on the right side. The left side contains the user guide. Underneath is the new zippered case. Underneath the CD with the capsules is the cable and a blister pack containing 4 pairs of silicone tips model MS42. In a nutshell:
- The two NM20 capsules.
- One silver-plated 5N cable with gold-plated 3.5mm SE plug.
- One 6.35mm SE adapter.
- One zippered carrying case.
- One user guide.
- Four pairs of silicone tips model MS42, sizes XS*S*M*L.
The inclusion of a new rectangular zipped case is much appreciated. The rest is more than classic.


Construction and Design
It can be said that the shape of the capsules is closely related to that NM2 model. But instead of being completely transparent, a frosted polycarbonate is now used, which is somewhat more diffuse, but still very light and strong, even if it doesn't look like it. The edge of the outer face is now formed by a piece of aluminium. The logo is visible in the middle in silver ink. The shape is the same as that of the NA2 and NM2, and the two strategic holes are still there. The shape of the capsules is maintained because their design is very advantageous, both ergonomically and musically. The comfort was evident in those previous models and after the new studies carried out by the brand, it continues to rely on it. The 2Pin 0.78mm connection interface is still projected on an 8-shaped piece. One of the holes is on its side. The other is on the slope of the inner side towards the nozzles, which coincides with the centre of the driver. The nozzles are also made of aluminium, with a base, a narrower inner diameter of 5mm and a crown with an outer diameter of 5.8mm. The mouthpiece is protected by a perforated metal plate. The model name is written on the rim of the capsules in silver lettering, as well as the indication L, R for the channel.
The cable is 5N made of oxygen-free, silver-plated copper to improve the skin effect and reduce impedance. It consists of 4 tightly wound strands, resulting in a smooth, shiny, almost white cable, with a very adequate thickness and very manageable, yet not very windable. The sleeve of the plug has not changed with respect to the other models, being cylindrical and grey, except for the flat part where the name of the brand is inscribed, this time NFACOUS. The splitter piece is a triangular black plastic medal, with the logo on one side. The pin is made of metal, with two holes inside. The two-pin connector is covered by a rigid transparent plastic sleeve. The sleeve is angled and has the classic vertical axis spacing. The cables coming out of these connectors are protected by a semi-rigid, transparent sheath, which gives them an over-ear shape. The cable has a Velcro strap with the brand name in white letters.
The NM20s have the same cable as the NM2+, but retain the polycarbonate construction, this time frosted, as in the NA2, and have some aluminium parts on the edge of the outer face, which is also used for the mouthpieces.


Adjustment and Ergonomics
Both the shape and the ergonomics are very similar to those of the NA2 and NM2. The weight is negligible. After testing a number of heavier models, I was very pleased to use such a light IEMS. The classic semi-custom, slightly slimmer shape fits my ears very well. It gives scope to use several sets of tips to find the best fit and the best passive isolation. As usual, the tips used have been the large tips with homemade foam filling. The large amount of foam inside makes the tips expand inside my ear canal. The good diameter of the canal allows a great clarity of sound. This, together with the expansive power of the foam, means that the amount of contact of the surface of the tips with the walls of my ears is the greatest. In this way, the bass is also propagated by this contact effect. The use of these homemade tips is nothing new, as the large diameter of my ear canals is the reason why I had to look for this type of solution. With them, the fit remains durable, with remarkable hold and no discomfort. There is hardly any friction with the parts of the ear. The insertion, which is slightly deeper depending on the tips, increases the level of isolation (according to the manufacturer, up to 25 dB).
Regarding the cable, the connectors have the same shapes and the detail that separates them from the head. The cable is very manageable and there is no noticeable increase in weight.
They are still very comfortable.


Sound
Profile
The NF ACOUS NM20s have an energetic V-profile on the top end, almost reaching an excited W on the last two peaks. Not that the bass is totally light, but there is a higher energy level from 2khz onwards.
Thinking back to the old days, they have an almost identical curve to the NM2s from 30Hz to 2khz. From there that higher amount of power in the NM20s makes this new model more vivid, penetrating and splashy. And this should be taken into account for those sensitive to upper mids and treble.
In the graph you can see a peak at 5khz, which indicates a distinctly high pinna gain. That level of energy does not go unnoticed by my ears and implies some listening fatigue and the choice of warm sources. It also has its advantages, as well as an escape from the current tendency to make profiles too soft and dark. In the NM20s the information capacity is quite pronounced and the contrast with this new batch of IEMS heightens that sense of darkness and heightened quietness, where detail is hard to decipher.

Bass
This time, the subwoofer is not as loud and the frequency response of the NM20s is a little more rounded. But, as is the brand's tradition, the bass is of a high quality. It is a technical lower range, concise, fast, with a punchy, tight and dry attack. The texture is not as pronounced, which gives it a superior technical ability and a more agile behaviour. Although it has a good amount of energy, in the overall sound the bass presence is a little above neutral, without standing out from the rest of the bands.
In the very low-presence pure tone test, you feel that the sub-bass is not too high. Even so, it feels very sensory, deep, natural and uncoloured. It should be noted that there is no negative undulatory character, but rather a quite realistic behaviour. As the frequencies go up, the power, punch and forcefulness also go up, with a little more texture appearing, but without losing that realistic and natural character that is typical of good dynamic drivers. The translation of this behaviour to music is demonstrated in a bass that is not very elastic, not rubbery either, has a very short decay and does not linger very long in the room. Thus, the sensation of volume is not very high, although the colour feels dark and deep. On the other hand, the high amount of light in the set overcomes any hint of darkness that the bass might generate, something that contributes to a cleaner lower range, if that's possible.
Finishing with the other classic test of dirty, unfiltered bass, the NM20s demonstrate their technical prowess by delivering very strong, clean bass lines without any loss whatsoever. The clarity of the bass is the usual tonic for these cases, leaving almost anecdotal, that is reproducing very complex bass. In this way, the dirtier notes feel finer than usual, generated with a high level of delicacy, but maintaining a good level of power. The layering of the layers is quite good, but the cleanness of the bass lines means that there is little volume between them and more space, due to the skill and speed it possesses to draw those notes quickly and accurately. It is clear that the NM20's bass is very resolving, informative and detailed, proving that power and skill can be combined in one piece.


Mids
The initial part of the mids drags a slight warmth from the bass, but it fades quickly. This gives a minimal base to both the male voices and the instruments based in that range. But then there is a certain lightness in the centre of the body, losing physicality and overall consistency. From here on, the voices are reconstructed on the basis of more exalted and very vivid nuances. Fortunately, there is less of a sense of hollowness, but this character in the profile is perceived in the same way with the male voices, with more accentuated extremes (especially the upper one) and with a more subdued and less represented centre. Even wheezing and breathing are more noticeable than other elements. The response is the recreation of a very detailed and nuanced voice, but without being distant, rather a step away, avoiding the classic sinking of the IEMS in V. One could say that the ornamental and harmonic excitation completes the voices, and even makes them closer, closer and, above all, more explicit.
There is certainly a lot of light, sharpness, clarity and transparency in the midrange of the NM20s. That makes for a very clean sound, with a fairly dark and perceptible bottom end. The notes feel very well defined, with plenty of contrast. They are fine and delicate, with a lot of resolution, definition and informative impression, taking the sound to a more analytical and pure level in this respect. But, it is also true that such finesse sharpens the notes and they become more penetrating and incisive, which is always a double-edged sword when it comes to listening comfort over the hours.
The female voices do not gain as much body and grounding as one might expect, as they are still drawn with a sharp and defined precision. There is a proximity to the major listener, and there is no longer any curve or inflection throughout. But the notes that compose it are maintained with the same finesse and delicacy.
The upper mids are very exposed, pushing the clarity of the mids to the limit, making the whole a very vivid, splashy and energetic system. Macro detail is very clearly revealed. Micro detail depends on where it is. If it is in the background and somewhat deeper, it is relegated to a less noticeable position. The level of layering in the middle ground is more limited and elements tend to be presented much closer and in the foreground. There is an obvious overwhelming level of information that tends to expose details and nuances to the surface, but there are some that are not presented due to the V-profile itself, being more distant or obscured by other notes.
This cooler character favours genres such as metal, where the guitars are sharp and prominent.


Treble
The transition from the upper mids to the first treble begins with a high energy level. As this is not a classic V-profile, the treble drop is just a simple limited control zone. The profile becomes an excited W, thanks to an extra dose of power that stretches the upper zone into the air zone. The result is a very pronounced top end, while maintaining the finesse of the notes and their penetrating, incisive power. The treble is very crisp, exposed and informative, full of energy, brightness and light. It is worth noting that both the timbre and sonority are natural, with very concise, direct and precise notes, as is usual for an analytical driver. This is not the first time that the brand has reached this point, as it has already demonstrated with the NM2+. But here they wanted to add more power in the bass and take the treble to the next level.
The NM20s are sure to delight treble heads.


Soundstage, Separation
Such a clean, bright, transparent and shallow profile often lacks depth. NF ACOUS has given the NM20s more bass to gain depth and a sense of layering. In that respect, the sound is sort of exposed in two terms: you get that sense of depth while many elements feel very close, with few notes remaining in the middle distance. True, the male vocals and some lower-mid based elements can fill that gap that is a step and a half away. But the main axis is not stretched too far. The sound comes across as wider, higher and, above all, more volatile and ethereal. In this way the scene is more oval, with a medium surrounding or immersive feel, but not over the head and more frontal, with a certain gauzy feeling due to the amount of floating detail.
The image is well positioned, with a clear and sharp formation, but with a more limited body.


Comparisons
Hidizs MS3 Balanced (Rose Gold)
The current price of the Hidizs MS3 is $119, the same as the starting price of the NF ACOUS MN20.
Both models have a capsule with a very similar semi-custom shape on the outside contour. The MS3s are slightly slimmer at the apex, while the capsule of the NM20s is subtly smaller. The Hidizs are made of metal while the NM20s use polycarbonate. It is clear that the ergonomics of both are very similar, but the weight is different, the NM20s are ultra-light.
The MS3's cable is better, consisting of four strands of thick, dark copper, and has a balanced plug option.
The Hidizs come with three sets of silicone tips and three pairs of interchangeable mouthpieces for fine-tuning the sound. On the other hand, they come with a leatherette pouch underneath the zippered case of the NM20s. The NFs, however, only come with one set of silicone tips, even though they come in four sizes, plus a silver-plated cable with four much thinner strands.
The NM20s are more difficult to move, while the MS3s need less power to achieve the same sound pressure level.
To begin with, the NM20s are more luminous and brighter, while the MS3s are comparatively darker. Both have a profile that moves between the V and the excited W from midrange onwards. However, this excitation is more pronounced in the NM20s, especially in the upper mids and first treble.
There are many similarities from the audible low end down to 1000Hz between the two models. However, there is slightly more energy in the transition from sub-bass to mid-bass in the NM20s. The result of the graphs does not correspond to the audible reality because the MS3s give a bass feeling with more power, density and darkness. The NM20's bass is more technical, precise, concise and tight. There is a little more rubberiness and elasticity in the MS3s, which gives it a little more texture. There is a distinct difference in the feeling of volume and darkness in the lower range, which is more abundant in the Hidizs. Both models perform very similarly in the very low frequency pure tone test, both sounding very natural, with physical tendency and no colouration, attesting to the high class of both drivers. The bass enthusiast will enjoy the MS3s more, while those looking for more technicality and a more accurate and faster bass will go for the NM20s.
The mids of the MS3s are denser and warmer. In the NM20s you feel that greater clarity and transparency, that distance between thinner and sharper notes. The macro detail jumps out, emphasising them, but without losing sight of the base. The MS3s are more musical and smoother, more focused on the base, with a fuller upper body and more lushness and thickness in the male voices, something that makes them sound fuller, but less nuanced.
In the upper mids of the MS3s there is still that more cohesive, dense and warm feel that keeps the female voices from feeling projected. In this same range the NM20s continue to sound thinner, more delicate, crisp and spaced out. Female vocals are thinner, less full-bodied, without warmth. However, the amount of detail and nuance feels more prominent in the NFs, giving a splashier, brighter feel, with many more sparkles and elements flooding the ears. However, the sound in this part can become more incisive and penetrating, while the MS3s are quieter.
The differences in the treble are great. While the NM20s have very thin, sharp, excited, energetic, projected high notes, generating a really crisp, bright and sparkling area, the MS3s have a quieter treble, but very much in keeping with the sound of the whole ensemble. There is distinctly more thickness in the high end of the MS3s, something that gives them a more analogue, musical, less forced and smoother feel. On the other hand, the NM20s have more overall energy, more delicacy and also a little more air.
The soundstage is wider and deeper on the MS3s, while it is louder, gauzier and more volatile on the NM20s.
Micro detail is very good in both models. But there is a clear emphasis on macro detail in the NM20s, while micro detail can be somewhat obscured due to the overwhelming analytical and informative capabilities they possess. The reduced sense of layering and depth can cause such detail to overlap. In MS3s, despite their density, there is space at the bottom and more layers all the way down to the bottom. That allows you to house deep detail in a more specific location. They may not sound as defined, but they are there.

Conclusion
The new NF ACOUS NM20s are a further twist to the profile of the brand's own NM saga. It started with a clear V-profile with the NM2s. It excited brightness in the NM2+, while softening the bass. And now, with the new name, the brand is looking for the best of both models: the bass of the NM2 and the high end of the NM2+, but with a stronger punch from the upper mids onwards. It is clear that even more emphasis has been placed on clarity, on sharpness, on a product with more analytical, informative and vivid capabilities. But backed up by a more powerful, but very technical and fast bass area. The NM20s are delicate, very fine, but also cooler and more penetrating. Both extremes of great quality: the level of precision in the lower range is high, while the treble is full of brilliance, vitality, edge and energy. The new model from the renowned NF ACOUS bucks the current trend for warmer, softer and darker IEMS with a model full of energy, brightness, clarity and transparency, to persist with the idea that dynamic drivers are capable of offering a high level of description in this price range.


Sources Used During the Analysis
- EPZ TP50.
- iFi GO bar Kensei.
- Tempotec V3.
- Aune M1p.
- Burson Audio Playmate 2.
- Aune X8 XVIII Magic DAC + EarMen ST-Amp.
- S.M.S.L Sanskrit 10th MKII + iFi ZEN CAN.


NF ACOUS offered me this model, in exchange for writing an honest review. I want to make it clear that all my opinions written in this review have not been conditioned by this fact, nor will I ever write anything that I do not really think or feel here. I will only write about my personal opinion in relation to the revised product.

Purchase Link

You can read the full review in Spanish here

cqtek
1000+ Head-Fier
Pros: LetShuoer has been able to improve and refine the previous versions of the S12 with this 2024 edition.
- Paradigm of the all-rounder IEMS.
- The build quality, the great ergonomics, the cable and its modular plugs remain the same.
- Special packaging and presentation, just like the good celebrations.
- Titanium alloy capsules.
- Paradigm of the all-rounder IEMS.
- The build quality, the great ergonomics, the cable and its modular plugs remain the same.
- Special packaging and presentation, just like the good celebrations.
- Titanium alloy capsules.
Cons: The 4.4mm BAL plug installed in the cable fits very tightly in the screw-in box, it is recommended not to store the IEMS with it installed.
- LetShuoer still doesn't offer a more secure detachable plug set with a screw-in thread.
- I know that gold is a symbol of the precious metal, but I don't like its colour.
- I would have liked a slightly more analytical character.
- LetShuoer still doesn't offer a more secure detachable plug set with a screw-in thread.
- I know that gold is a symbol of the precious metal, but I don't like its colour.
- I would have liked a slightly more analytical character.
Introduction
LetShuoer continues to celebrate its eighth anniversary and has released a new edition of its most famous IEMS: the S12 2024 Edition. As everyone knows, these are Planar Magnetic with a 14.8mm driver, in a limited edition of 2024 units worldwide. For this special occasion, Letshuoer provides a truly luxurious packaging with unique accessories to commemorate the special eighth anniversary edition. The capsule consists of a gold-plated outer part made of lightweight titanium alloy and a black inner side. The cable is made of silver-plated monocrystalline and has 392 wires. It has detachable 2.5mm (BAL), 3.5mm (SE) and 4.4mm (BAL) plugs. Each capsule is uniquely numbered by laser.



Specifications



Packaging
The LetShuoer S12 2024 comes in a sealed, unbleached cardboard box with light black lines and the brand logo on the lid. The inside is black and repeats the external pattern in white ink. The IEMS packaging is inside, protected by bubble wrap. On the inside of the box you can read the brand's slogan. The IEMS box is gold, read vertically. At the top is the brand name, while the eighth anniversary is repeated in the lower phrase and in that large, background design with the 8 as the protagonist of the entire golden box. At the bottom is the model name. On the back are the specifications in several languages. With the outer gold cardboard removed, the inner box is black and repeats the pattern of the outermost box. After lifting the lid there is a white cardboard repeating the brand name, the eighth anniversary and the special edition. In the centre is a golden commemorative 8th anniversary medal. The inside is mounted on a rotating shaft. It has a ring as a key ring. Removed from this level there is again a black cardboard sheet that follows the same pattern. Underneath is a gold and black foil commemorating the eighth anniversary and all the other accessories. To sum up:
The unboxing experience is very good, with many details that hint at a limited edition model, with accessories for collectors or for those who like these kinds of superfluous accessories.



Construction and Design
For this special occasion, the capsules are made of titanium alloy and machined on a 5-axis CNC machine. The outer face is gold-plated, while the inner face is black. The luxurious brushed marbled polish on the outer face is noticeable. The rim legend is laser engraved. But my model has no serial number, perhaps because it is a ‘demo’ version. There is an inscription of the R or L channel.
The capsules, on their outer side, have an almost triangular shape, with very rounded corners. In reality, there is only one flat side and the rest is one same curve. The outer face is flat, but there is an overlapping rectangular piece that houses the 2Pin 0.78mm connection. This connection is shallow and the connectors are inside a translucent plastic piece, which in turn is inside the capsule. Next to this connection, there is a rectangular hole through the two parts of the capsule.
The edge is also rounded and the line separating the two sides is visible. In the centre of the inner side there is another hole.
The nozzles grow from the centre of the inner face, although they are not very long. They have two tiers and are 4mm high. The first tier has a smaller diameter of 5.3 mm. The second, outermost tier has a diameter of 6.25 mm. The mouthpiece is protected by a perforated metal grid.
All in all, the capsule lines are rounded and smooth, but the mouthpieces are somewhat short.
The cable is made of silver-plated monocrystalline copper, has 392 wires and 4 strands, two by two, with three interchangeable connectors: 2.5/3.5/4.4mm. The colour again matches the capsules and has a slight gold patina. The plug is relatively large and the interchangeable connectors are press-fitted. It has 4 gold-plated pins and a guide for easy connection. The removable part is completely cylindrical. The fixed part has a rough edge. All parts are gold-plated. Includes a Velcro strap for cable management. The splitter piece is a smooth cylinder in the same gold colour as the plug sleeve. It measures 13mm long and almost 8mm in diameter. It has the same shape and appearance repeated for the 0.78mm 2 PIN connector sleeves, which are inscribed with letters to indicate the channel. The plastic base on which the pins sit is transparent for both channels. It is completely flat. At this end, the cable has a semi-rigid guide on the ear. Finally, the pin is a small, cylindrical, translucent plastic piece with an 8-shaped hole inside through which the cables pass.
The cable is still modular with 3 interchangeable pins, very similar in design to the S12 Pro model.
The design is based on the S12 Pro but with light titanium alloy for the outer face, a dark inner face and a cable with all metal parts in gold to bring that commemorative eighth anniversary luxury. To comment that gold is not my colour, I don't have that ‘gold fever’.



Adjustment and Ergonomics
If the external shape is the same, the fit and ergonomics do not change either. The different materials used for the capsule and the cable do not affect this. I still find the fit very good, the minimal rotation inside the bell is maintained. The mouthpieces are somewhat short and unchanged, not much else to comment on. The insertion remains shallow. The level of isolation is maintained, which will depend on the tips used. With my homemade foam-filled tips, they have a good level of seal and occlusion. The fit, although simple, may require some minor tweaking, but the in-ear feel is very good. Both the surface and the rounded shape make contact and rubbing pleasant. In addition, their contained size raises the level of comfort and ergonomics, as they barely protrude from the ears. They are pleasant to wear for hours and again I would like to point out that only the weight (now it seems to be lower in this version) can be a little inconvenient if you make quick or sudden movements, as well as if the guides touch your ear.



Sound
Profile
I mentioned in the S12 review that I don't have a default curve in SquigLink, but if I were to draw one, it would be very similar to the S12's at the time. More than two years later, my SquigLink still doesn't have that reference curve and this is the third version of the S12 I've had. With the S12 Pro's, the meat in the mid-bass area was reduced to emphasise the sub-bass. An adjustment was also made to smooth out the upper mids and the first half of the treble. Now, in the 2024 edition, there is hardly any change from 20 Hz to 1500 Hz, but there is again an adjustment towards smoothness from this figure down to 10 kHz. I have always read that the S12s had a noticeable energy level in this area. So it seems that LetShuoer has taken user feedback into account in this regard. Now, the curve of the 2024 edition slightly resembles a lower case w. The slight exaltation is maintained. The slight exaltation of the sub-bass is maintained, while almost the entire frequency response moves within a 10 dB range, although it is now even more homogeneous. And, although it would seem that this profile should be darker and denser, it doesn't feel that way. Either it's just me changing or it's this current trend towards darker profiles that has made me feel that the S12 2024s are very balanced.

Bass
I always talk about the bass performance of a good dynamic driver, about its realistic and natural behaviour. In the review of the S12 Pro I described the planar bass behaviour as a hybrid combination of a dedicated BA driver and a DD driver. In reality, after all this time, the sonic and behavioural duality is still very similar in this new version. In the pure tone test, the oscillatory behaviour reminiscent of a BA driver is maintained, with that colouring caused by vibration. As the Hertz increase, the sound becomes more natural and the behaviour more realistic. Of course, this behaviour of the lower frequencies does not affect the music. On the other hand, the resemblance to dynamic drivers is in physical capability, power, punch, depth, volume and body. The combination feels smoother and less textured, but the technical ability is superior. It is not as dark bass, nor does it reach as low sensory levels as some dynamic drivers. However, it is a good evolution between the two worlds. In it, the planar bass of the S12 family persists in its abilities such as precision, definition, speed, dryness and fast decay. The result is a fairly smooth and clean bass, not very intrusive, but with plenty of punch and good presence in the room. The good technical characteristics are demonstrated in the reproduction of dirty and unfiltered bass. It is in these bad situations that the S12 2024's abilities shine, achieving a very reliable, precise, meticulous, concrete, rigorous and very orderly reproduction. The layers are well differentiated, as well as the different bases and bass lines, generating a specific and well-determined layering. What you would expect from a good planar driver.



Mids
I think LetShuoer has done well to continue to maintain that bass response, leaning more towards the mids, so that the midrange doesn't get bleed from the low end. The distance between the bases and the vocals feels crisp and clear, well differentiated, and it persists in that planar ability to split frequency ranges very easily. The clarity of the mids is obvious, but it is still not an analytical profile, and the micro detail continues to be unobvious. On the other hand, the sense of transparency is very good, as is the distance between elements. There is a sense of sonic precision, but the notes are neither sharp nor too bare. There is a musical cohesion that threads the pieces together, adding balance and harmony. While that wall-of-sound feeling no longer seems to me as opaque or dense, but offers an impression of openness and superior width. The background is still not completely dark, which accentuates that sense of continuity and wall. Although there seems to be a point of greater gaseous and volatile sensation, less attachment to the base and better expansive effect.
I like to see that the dreaded sense of hollowness in the first part of the middle section does not occur here. The male voices are grounded, full-bodied and physical from start to finish. They feel quite full and relatively close, though not on top of the listener. Though their proximity makes them very enjoyable to listen to. Likewise, the instrumentation of this first half is also very much in the spotlight, amplifying that full and complete image.
The female voices expand even further and are the stars of the show. Their dimension is almost total, occupying the whole harmonic range without fissures, but also without sibilance. Another great thing LetShuoer has achieved is to soften the energy of the upper range, but without losing edge, nor sounding blunt or too soft. On many occasions, reducing this critical part can darken the sound. However, on this occasion, I don't perceive a hint of darkness, no rounding of the edges of notes, and no excessive loss of detail. This is how the S12 2024s present themselves as fabulous all-rounders, with a very full and expansive midrange presentation, great vocals and instrumentation to match, extremely rich, balanced, homogeneous and punchy.



Treble
Letshuoer has done it again. The treble energy is lowered once more, but I still think they are very good. They are subtly less incisive, yes, but the timbre, colour and extension are still stellar. The brand has the manual for reducing pressure in the treble, but without affecting expressiveness, informativeness, precision, finesse or delicacy. The treble remains sharp, very narrow, full, homogeneous and totally harmonious. There is a very pleasant, exciting, subtly sharp and sparkling crunch. There is a lot of life in the top end of the S12 2024. But there is also balance with the rest of the frequencies, assuming a higher point of control and harmony, all without losing that exquisite sparkle so characteristic of the S12 planar transducers. My conclusion is the same as with the S12 Pro: a level of treble that few drivers can achieve.



Soundstage, Separation
It seems that the scene is a little wider, that there is a greater point of transparency and cleanliness, which gives it a more expansive, volatile and gaseous feeling. The sonic cohesion is maintained, but the scene is no longer so dense and opaque. It is still seamless, but there is more space, more separation: a wider stage oval on all three axes. The sound is not enveloping, but the wall feels higher, which gives a more impressive zenithal sensation. In the recreation of layers and their layering, a remarkable level of accuracy persists. In the exposure of details, the differential improvement between them is noticeable, which translates into more looseness and liveliness. In this way, the image and the positioning of the elements are perceived clearly, concisely, sharply and with very good spatial positioning.



Comparisons
LetShuoer S12
The classic S12s are among the most recommended and appreciated IEMS among audiophiles in my country and in the circles in which I move. They are not the latest IEMS, but they are still a great value compared to other new products. That's why the new S12 2024s may arouse a certain amount of expectation.
Focusing on the sound, there is a change in profile between the two models. A quick change attests to this. The older S12s seem to have a more V-shaped profile, with the lower mids a little more distant, but with the upper mids and first treble more excited. The 2024 Editions are more balanced, homogeneous and pleasant, with a more accentuated fullness and a more natural sound.
The lower range is very similar, but the sub-bass is a little more emphasised in the 2024 Edition. The S12s have more colour and presence in the mid-bass, which gives them a bit more consistency, elasticity and rubberiness. Bass is drier in the 2024 Edition, a little deeper and darker, with a slightly greater amount of texture and roughness. In this respect, I'm sticking with the 2024 Edition.
The profile of the 2024 Edition is a little darker and more relaxed, but for the better. The lower mids are warmer, with better presence and vocal fullness, with more body and physicality, giving a slightly more analogue, natural and rich sound. The S12s again have a bit more colour, sparkle and brightness, but also a bit of tonal shift and a lighter presence, making it feel more splashy.
The upper mids of the 2024 edition are much softer, calmer and controlled. Perhaps someone might think that they are more nuanced. The S12s put the emphasis on female vocals, which are closer and more expressive. In the 2024 Edition, those voices feel drier and less bright. The S12s focus more on the details of the upper mids, while the 2024 Editions focus on the base.
With the 2024 Edition, the sibilance tends to flatten out, while with the S12s and their more splashy sound, the sibilance is more accentuated.
The amount of energy present in the treble of the S12s is evident. The treble of the 2024 Edition is drier, more controlled and smoother. The treble of the S12s clearly feels more crisp, thin, energetic and penetrating, but also more controlled. You might think that the highs of the 2024 Edition are a bit filed down and that their brilliance is a bit cut back. In comparison, this is true. But perhaps the S12s are more excessive in the long run.
The superior sparkle of the S12s allows a slightly better glimpse of the micro-detail, when it is brighter. In that case, the 2024 Edition seems to have those frequencies more camouflaged. Being more splashy gives the S12s a point of greater informativeness, with slightly finer and more defined notes in the background, as if they had a point more resolution. The 2024 Edition is a little blunter; the micro-detail seems to be there, but a little more diluted, not as crisp or sharp.
The 2024 Edition's soundstage seems wider, with a higher wall of sound and more depth. The sound is denser, with more volume, punch and presence. That makes it bigger and wider.

LetShuoer S12 Pro
The Pro version already offers a more obvious approach to the 2024 Edition. It was the first step in cleaning up the bass, raising the sub-bass and tilting its roll-off. The energy of the upper mids and treble was also reduced.
The 2024 Edition's bass seems more precise and contained, with a little more technical skill than the Pro's, which seem more diffused. In fact, the 2024 Edition's bass seems to have a little more oomph, punch and power.
To look for the seven differences in the lower mids would be to enter the realm of suggestion, because the frequency responses up to almost 2 kHz are identical. The difference is still in the nuances, in the harmonics. The sound seems a bit drier and duller in the 2024 Edition, while the Pro version has slightly juicier notes.
The upper mids feel a little lighter in the Pro version. The density and the full-bodied, grounded feel of the 2024 Edition persists, as well as that drier, more restrained feel in the female vocals. However, the female vocals come across as fuller and less diluted than in the Pro, giving them a firmer, closer, more engaging and richer appearance.
The high end of the Pro version has a bit more sparkle and energy. However, the highs of the 2024 Edition seem better calibrated, balanced and exposed. They possess a certain homogeneity that makes them more realistic, natural, even less strident.
Again, the Pro version seems to have a sharper, clearer and more profiled background, where some of the micro-detail can become more visible.
I have the same impression as with the S12s, although the distance is not as great. The scene is superior on the 2024 Edition.

Conclusion
LetShuoer continues to celebrate its eighth anniversary and now it's the turn of one of the brand's most iconic models: the S12. To celebrate, they have released a special version: the LetShuoer S12 2024 Edition. This is a limited edition of 2024 pieces, priced at $199. The first thing I would like to say about this is that I feel privileged to have one of these units. Secondly, I regret that this is a limited edition, as it is the best version of the S12, in my humble opinion. Going into more detail, as a special edition, it has a deluxe presentation, with commemorative accessories, as well as a unique numbering on each capsule. The capsules are made of titanium alloy and have a golden colour on all metal parts, as well as on the packaging itself. The quality of the cable is maintained, with three interchangeable plugs. However, it's not just a change on the outside: the sound has also been improved. This is undoubtedly the most balanced, dense, full and homogeneous version of all S12s. LeShuoer has been able to smooth out the upper mids and treble to create a quieter, more controlled tuning for long hours of music enjoyment. And all this without losing the clarity and transparency of the whole. It is true that micro-detail is still not the strongest part of the product, but the soundstage, depth and fullness of sound are now superior. For all those who have always complained about the high energy of the top end of the S12s, this special edition is the refined, more precise, dry and restrained answer. Too bad there won't be a regular version of this model in the future, without the lush packaging that goes with it. Because I think it would be a bestseller.


Sources Used During the Analysis




Purchase Link

You can read the full review in Spanish here

LetShuoer continues to celebrate its eighth anniversary and has released a new edition of its most famous IEMS: the S12 2024 Edition. As everyone knows, these are Planar Magnetic with a 14.8mm driver, in a limited edition of 2024 units worldwide. For this special occasion, Letshuoer provides a truly luxurious packaging with unique accessories to commemorate the special eighth anniversary edition. The capsule consists of a gold-plated outer part made of lightweight titanium alloy and a black inner side. The cable is made of silver-plated monocrystalline and has 392 wires. It has detachable 2.5mm (BAL), 3.5mm (SE) and 4.4mm (BAL) plugs. Each capsule is uniquely numbered by laser.



Specifications
- Driver Type: 14.8mm magnetic planar.
- Frequency Response: 20Hz-40kHz.
- Sensitivity: 102dB.
- Impedance: 16Ω.
- Jack Connector: interchangeable 2.5mm (BAL), 3.5mm (SE) and 4.4mm (BAL).
- Cartridge Connection Type: 2Pin 0.78mm.
- Capsule Material: Titanium light alloy.
- Cable: 1.2m of 392-wire silver-plated monocrystalline copper.
- Launch price: $199.



Packaging
The LetShuoer S12 2024 comes in a sealed, unbleached cardboard box with light black lines and the brand logo on the lid. The inside is black and repeats the external pattern in white ink. The IEMS packaging is inside, protected by bubble wrap. On the inside of the box you can read the brand's slogan. The IEMS box is gold, read vertically. At the top is the brand name, while the eighth anniversary is repeated in the lower phrase and in that large, background design with the 8 as the protagonist of the entire golden box. At the bottom is the model name. On the back are the specifications in several languages. With the outer gold cardboard removed, the inner box is black and repeats the pattern of the outermost box. After lifting the lid there is a white cardboard repeating the brand name, the eighth anniversary and the special edition. In the centre is a golden commemorative 8th anniversary medal. The inside is mounted on a rotating shaft. It has a ring as a key ring. Removed from this level there is again a black cardboard sheet that follows the same pattern. Underneath is a gold and black foil commemorating the eighth anniversary and all the other accessories. To sum up:
- Eighth anniversary commemorative medal.
- Eighth anniversary commemorative print.
- User's manual.
- Warranty card.
- Three pairs of LxMxS vocal tips (black).
- Three pairs of balanced tips LxMxS (white).
- Three pairs of LxMxS foam tips.
- The two S12 2024 capsules.
- Round black box with the brand's classic screw case.
- Keyring with leather loop and gold-plated rings with brand name inscription.
- 1.2m silver-plated monocrystalline copper cable with 392 wires.
- Three interchangeable 2.5mm (BAL), 3.5mm (SE) and 4.4mm (BAL) plugs.
The unboxing experience is very good, with many details that hint at a limited edition model, with accessories for collectors or for those who like these kinds of superfluous accessories.



Construction and Design
For this special occasion, the capsules are made of titanium alloy and machined on a 5-axis CNC machine. The outer face is gold-plated, while the inner face is black. The luxurious brushed marbled polish on the outer face is noticeable. The rim legend is laser engraved. But my model has no serial number, perhaps because it is a ‘demo’ version. There is an inscription of the R or L channel.
The capsules, on their outer side, have an almost triangular shape, with very rounded corners. In reality, there is only one flat side and the rest is one same curve. The outer face is flat, but there is an overlapping rectangular piece that houses the 2Pin 0.78mm connection. This connection is shallow and the connectors are inside a translucent plastic piece, which in turn is inside the capsule. Next to this connection, there is a rectangular hole through the two parts of the capsule.
The edge is also rounded and the line separating the two sides is visible. In the centre of the inner side there is another hole.
The nozzles grow from the centre of the inner face, although they are not very long. They have two tiers and are 4mm high. The first tier has a smaller diameter of 5.3 mm. The second, outermost tier has a diameter of 6.25 mm. The mouthpiece is protected by a perforated metal grid.
All in all, the capsule lines are rounded and smooth, but the mouthpieces are somewhat short.
The cable is made of silver-plated monocrystalline copper, has 392 wires and 4 strands, two by two, with three interchangeable connectors: 2.5/3.5/4.4mm. The colour again matches the capsules and has a slight gold patina. The plug is relatively large and the interchangeable connectors are press-fitted. It has 4 gold-plated pins and a guide for easy connection. The removable part is completely cylindrical. The fixed part has a rough edge. All parts are gold-plated. Includes a Velcro strap for cable management. The splitter piece is a smooth cylinder in the same gold colour as the plug sleeve. It measures 13mm long and almost 8mm in diameter. It has the same shape and appearance repeated for the 0.78mm 2 PIN connector sleeves, which are inscribed with letters to indicate the channel. The plastic base on which the pins sit is transparent for both channels. It is completely flat. At this end, the cable has a semi-rigid guide on the ear. Finally, the pin is a small, cylindrical, translucent plastic piece with an 8-shaped hole inside through which the cables pass.
The cable is still modular with 3 interchangeable pins, very similar in design to the S12 Pro model.
The design is based on the S12 Pro but with light titanium alloy for the outer face, a dark inner face and a cable with all metal parts in gold to bring that commemorative eighth anniversary luxury. To comment that gold is not my colour, I don't have that ‘gold fever’.



Adjustment and Ergonomics
If the external shape is the same, the fit and ergonomics do not change either. The different materials used for the capsule and the cable do not affect this. I still find the fit very good, the minimal rotation inside the bell is maintained. The mouthpieces are somewhat short and unchanged, not much else to comment on. The insertion remains shallow. The level of isolation is maintained, which will depend on the tips used. With my homemade foam-filled tips, they have a good level of seal and occlusion. The fit, although simple, may require some minor tweaking, but the in-ear feel is very good. Both the surface and the rounded shape make contact and rubbing pleasant. In addition, their contained size raises the level of comfort and ergonomics, as they barely protrude from the ears. They are pleasant to wear for hours and again I would like to point out that only the weight (now it seems to be lower in this version) can be a little inconvenient if you make quick or sudden movements, as well as if the guides touch your ear.



Sound
Profile
I mentioned in the S12 review that I don't have a default curve in SquigLink, but if I were to draw one, it would be very similar to the S12's at the time. More than two years later, my SquigLink still doesn't have that reference curve and this is the third version of the S12 I've had. With the S12 Pro's, the meat in the mid-bass area was reduced to emphasise the sub-bass. An adjustment was also made to smooth out the upper mids and the first half of the treble. Now, in the 2024 edition, there is hardly any change from 20 Hz to 1500 Hz, but there is again an adjustment towards smoothness from this figure down to 10 kHz. I have always read that the S12s had a noticeable energy level in this area. So it seems that LetShuoer has taken user feedback into account in this regard. Now, the curve of the 2024 edition slightly resembles a lower case w. The slight exaltation is maintained. The slight exaltation of the sub-bass is maintained, while almost the entire frequency response moves within a 10 dB range, although it is now even more homogeneous. And, although it would seem that this profile should be darker and denser, it doesn't feel that way. Either it's just me changing or it's this current trend towards darker profiles that has made me feel that the S12 2024s are very balanced.

Bass
I always talk about the bass performance of a good dynamic driver, about its realistic and natural behaviour. In the review of the S12 Pro I described the planar bass behaviour as a hybrid combination of a dedicated BA driver and a DD driver. In reality, after all this time, the sonic and behavioural duality is still very similar in this new version. In the pure tone test, the oscillatory behaviour reminiscent of a BA driver is maintained, with that colouring caused by vibration. As the Hertz increase, the sound becomes more natural and the behaviour more realistic. Of course, this behaviour of the lower frequencies does not affect the music. On the other hand, the resemblance to dynamic drivers is in physical capability, power, punch, depth, volume and body. The combination feels smoother and less textured, but the technical ability is superior. It is not as dark bass, nor does it reach as low sensory levels as some dynamic drivers. However, it is a good evolution between the two worlds. In it, the planar bass of the S12 family persists in its abilities such as precision, definition, speed, dryness and fast decay. The result is a fairly smooth and clean bass, not very intrusive, but with plenty of punch and good presence in the room. The good technical characteristics are demonstrated in the reproduction of dirty and unfiltered bass. It is in these bad situations that the S12 2024's abilities shine, achieving a very reliable, precise, meticulous, concrete, rigorous and very orderly reproduction. The layers are well differentiated, as well as the different bases and bass lines, generating a specific and well-determined layering. What you would expect from a good planar driver.



Mids
I think LetShuoer has done well to continue to maintain that bass response, leaning more towards the mids, so that the midrange doesn't get bleed from the low end. The distance between the bases and the vocals feels crisp and clear, well differentiated, and it persists in that planar ability to split frequency ranges very easily. The clarity of the mids is obvious, but it is still not an analytical profile, and the micro detail continues to be unobvious. On the other hand, the sense of transparency is very good, as is the distance between elements. There is a sense of sonic precision, but the notes are neither sharp nor too bare. There is a musical cohesion that threads the pieces together, adding balance and harmony. While that wall-of-sound feeling no longer seems to me as opaque or dense, but offers an impression of openness and superior width. The background is still not completely dark, which accentuates that sense of continuity and wall. Although there seems to be a point of greater gaseous and volatile sensation, less attachment to the base and better expansive effect.
I like to see that the dreaded sense of hollowness in the first part of the middle section does not occur here. The male voices are grounded, full-bodied and physical from start to finish. They feel quite full and relatively close, though not on top of the listener. Though their proximity makes them very enjoyable to listen to. Likewise, the instrumentation of this first half is also very much in the spotlight, amplifying that full and complete image.
The female voices expand even further and are the stars of the show. Their dimension is almost total, occupying the whole harmonic range without fissures, but also without sibilance. Another great thing LetShuoer has achieved is to soften the energy of the upper range, but without losing edge, nor sounding blunt or too soft. On many occasions, reducing this critical part can darken the sound. However, on this occasion, I don't perceive a hint of darkness, no rounding of the edges of notes, and no excessive loss of detail. This is how the S12 2024s present themselves as fabulous all-rounders, with a very full and expansive midrange presentation, great vocals and instrumentation to match, extremely rich, balanced, homogeneous and punchy.



Treble
Letshuoer has done it again. The treble energy is lowered once more, but I still think they are very good. They are subtly less incisive, yes, but the timbre, colour and extension are still stellar. The brand has the manual for reducing pressure in the treble, but without affecting expressiveness, informativeness, precision, finesse or delicacy. The treble remains sharp, very narrow, full, homogeneous and totally harmonious. There is a very pleasant, exciting, subtly sharp and sparkling crunch. There is a lot of life in the top end of the S12 2024. But there is also balance with the rest of the frequencies, assuming a higher point of control and harmony, all without losing that exquisite sparkle so characteristic of the S12 planar transducers. My conclusion is the same as with the S12 Pro: a level of treble that few drivers can achieve.



Soundstage, Separation
It seems that the scene is a little wider, that there is a greater point of transparency and cleanliness, which gives it a more expansive, volatile and gaseous feeling. The sonic cohesion is maintained, but the scene is no longer so dense and opaque. It is still seamless, but there is more space, more separation: a wider stage oval on all three axes. The sound is not enveloping, but the wall feels higher, which gives a more impressive zenithal sensation. In the recreation of layers and their layering, a remarkable level of accuracy persists. In the exposure of details, the differential improvement between them is noticeable, which translates into more looseness and liveliness. In this way, the image and the positioning of the elements are perceived clearly, concisely, sharply and with very good spatial positioning.



Comparisons
LetShuoer S12
The classic S12s are among the most recommended and appreciated IEMS among audiophiles in my country and in the circles in which I move. They are not the latest IEMS, but they are still a great value compared to other new products. That's why the new S12 2024s may arouse a certain amount of expectation.
Focusing on the sound, there is a change in profile between the two models. A quick change attests to this. The older S12s seem to have a more V-shaped profile, with the lower mids a little more distant, but with the upper mids and first treble more excited. The 2024 Editions are more balanced, homogeneous and pleasant, with a more accentuated fullness and a more natural sound.
The lower range is very similar, but the sub-bass is a little more emphasised in the 2024 Edition. The S12s have more colour and presence in the mid-bass, which gives them a bit more consistency, elasticity and rubberiness. Bass is drier in the 2024 Edition, a little deeper and darker, with a slightly greater amount of texture and roughness. In this respect, I'm sticking with the 2024 Edition.
The profile of the 2024 Edition is a little darker and more relaxed, but for the better. The lower mids are warmer, with better presence and vocal fullness, with more body and physicality, giving a slightly more analogue, natural and rich sound. The S12s again have a bit more colour, sparkle and brightness, but also a bit of tonal shift and a lighter presence, making it feel more splashy.
The upper mids of the 2024 edition are much softer, calmer and controlled. Perhaps someone might think that they are more nuanced. The S12s put the emphasis on female vocals, which are closer and more expressive. In the 2024 Edition, those voices feel drier and less bright. The S12s focus more on the details of the upper mids, while the 2024 Editions focus on the base.
With the 2024 Edition, the sibilance tends to flatten out, while with the S12s and their more splashy sound, the sibilance is more accentuated.
The amount of energy present in the treble of the S12s is evident. The treble of the 2024 Edition is drier, more controlled and smoother. The treble of the S12s clearly feels more crisp, thin, energetic and penetrating, but also more controlled. You might think that the highs of the 2024 Edition are a bit filed down and that their brilliance is a bit cut back. In comparison, this is true. But perhaps the S12s are more excessive in the long run.
The superior sparkle of the S12s allows a slightly better glimpse of the micro-detail, when it is brighter. In that case, the 2024 Edition seems to have those frequencies more camouflaged. Being more splashy gives the S12s a point of greater informativeness, with slightly finer and more defined notes in the background, as if they had a point more resolution. The 2024 Edition is a little blunter; the micro-detail seems to be there, but a little more diluted, not as crisp or sharp.
The 2024 Edition's soundstage seems wider, with a higher wall of sound and more depth. The sound is denser, with more volume, punch and presence. That makes it bigger and wider.

LetShuoer S12 Pro
The Pro version already offers a more obvious approach to the 2024 Edition. It was the first step in cleaning up the bass, raising the sub-bass and tilting its roll-off. The energy of the upper mids and treble was also reduced.
The 2024 Edition's bass seems more precise and contained, with a little more technical skill than the Pro's, which seem more diffused. In fact, the 2024 Edition's bass seems to have a little more oomph, punch and power.
To look for the seven differences in the lower mids would be to enter the realm of suggestion, because the frequency responses up to almost 2 kHz are identical. The difference is still in the nuances, in the harmonics. The sound seems a bit drier and duller in the 2024 Edition, while the Pro version has slightly juicier notes.
The upper mids feel a little lighter in the Pro version. The density and the full-bodied, grounded feel of the 2024 Edition persists, as well as that drier, more restrained feel in the female vocals. However, the female vocals come across as fuller and less diluted than in the Pro, giving them a firmer, closer, more engaging and richer appearance.
The high end of the Pro version has a bit more sparkle and energy. However, the highs of the 2024 Edition seem better calibrated, balanced and exposed. They possess a certain homogeneity that makes them more realistic, natural, even less strident.
Again, the Pro version seems to have a sharper, clearer and more profiled background, where some of the micro-detail can become more visible.
I have the same impression as with the S12s, although the distance is not as great. The scene is superior on the 2024 Edition.

Conclusion
LetShuoer continues to celebrate its eighth anniversary and now it's the turn of one of the brand's most iconic models: the S12. To celebrate, they have released a special version: the LetShuoer S12 2024 Edition. This is a limited edition of 2024 pieces, priced at $199. The first thing I would like to say about this is that I feel privileged to have one of these units. Secondly, I regret that this is a limited edition, as it is the best version of the S12, in my humble opinion. Going into more detail, as a special edition, it has a deluxe presentation, with commemorative accessories, as well as a unique numbering on each capsule. The capsules are made of titanium alloy and have a golden colour on all metal parts, as well as on the packaging itself. The quality of the cable is maintained, with three interchangeable plugs. However, it's not just a change on the outside: the sound has also been improved. This is undoubtedly the most balanced, dense, full and homogeneous version of all S12s. LeShuoer has been able to smooth out the upper mids and treble to create a quieter, more controlled tuning for long hours of music enjoyment. And all this without losing the clarity and transparency of the whole. It is true that micro-detail is still not the strongest part of the product, but the soundstage, depth and fullness of sound are now superior. For all those who have always complained about the high energy of the top end of the S12s, this special edition is the refined, more precise, dry and restrained answer. Too bad there won't be a regular version of this model in the future, without the lush packaging that goes with it. Because I think it would be a bestseller.


Sources Used During the Analysis
- EPZ TP50.
- Tempotec V3.
- Burson Audio Playmate 2.
- Aune X8 XVIII Magic DAC + EarMen ST-Amp.
- Aune M1p.


LetShuoer offered me this model, in exchange for writing an honest review. I want to make it clear that all my opinions written in this review have not been conditioned by this fact, nor will I ever write anything that I do not really think or feel here. I will only write about my personal opinion in relation to the revised product.


Purchase Link

You can read the full review in Spanish here

Last edited:
cqtek
1000+ Head-Fier
Pros: Two mouthpieces with certain enriching differences.
- Almost canonical bass.
- Versatile, musical, all-round, pleasant and quiet profile with golden mouthpieces.
- Excellent quality/price ratio.
- Very good level of construction, despite not being an alternative design within the brand.
- Although the sound is denser, warmer and more cohesive, a good level of clarity and transparency is maintained.
- Three finish options.
- Good ergonomics.
- Almost canonical bass.
- Versatile, musical, all-round, pleasant and quiet profile with golden mouthpieces.
- Excellent quality/price ratio.
- Very good level of construction, despite not being an alternative design within the brand.
- Although the sound is denser, warmer and more cohesive, a good level of clarity and transparency is maintained.
- Three finish options.
- Good ergonomics.
Cons: Just a set of tips.
- Treble extension is not the best.
- Micro detail is somewhat limited. Can be improved in technical aspects, stage and separation.
- No balanced cable option.
- Treble extension is not the best.
- Micro detail is somewhat limited. Can be improved in technical aspects, stage and separation.
- No balanced cable option.
Introduction
As I said recently in my review of the Simgot SuperMix 4, the Shenzen-based company is still very active. Moreover, it continues on the path of multi-hybrid IEMS creations. This time, Simgot has released a true triple driver, which mounts three different transducers (1DD+1Planar+1PZT). The brand persists in offering two types of sound using two different pairs of mouthpieces. One is Silver, made of steel and has a red washer. Its reference is the Simgot Golden 2023 curve. The copper mouthpiece with a purple washer has the H-2019 curve as its reference. It is curious, but the copper mouthpiece has been designed specifically for gamers, tailored to gaming scenarios. On the other hand, the capsule is all-metal, CNC machined from high-density alloy. It has a shiny mirror finish. Its design has been possible thanks to an exhaustive 3D analysis of the ear contour and an expert ergonomic molding, providing a perfect fit.
Also, it is curious to note that there are several versions of this model: there is the standard version, the HBB limited version, in collaboration with the famous YouTuber Hawaii Bad Boy (HBB) of BadGuyGoodAudioReviews. This version has the matte black housing, but keeps the tuning of the standard model. The other version contains a USB Type-C DSP instead of the classic 3.5mm SE audio jack. Let's take a look at what this new Simgot model, in its standard version, has to offer.


Specifications


Packaging
The EW300 comes in Simgot's classic size packaging, which is 140x120x60mm in size. It is almost square and is black. On the main side there are alternating hearts and silver X's. The logo is at the top center and the model name and drivers are at the bottom. The logo is at the top center and the model name and drivers are at the bottom right. On the rear face you can see the frequency responses of the two mouthpieces, a description of them and the specifications in several languages. Once the cover is removed, you can access the box protected by a black cardboard flap with the external face of the IEMS engraved on it in large size. Underneath, the capsules are enclosed in dense black foam. On the outside there are two transparent plastic sheets for protection. At the bottom there is a box with the accessories. The complete contents are as follows:
Although it is a continuist set of accessories, I like the zippered case and the details of accompanying washers and extra foam filters. There is only a single set of silicone tips, but I must admit that the large size is the one I usually use, filled with homemade foam, of course. Finally, the cable is the same as the brand usually uses in models of this price. Little to object, I would only like the possibility of a balanced plug option.


Construction and Design
I repeat what was written in the introduction: the capsules are all-metal, manufactured in high-density alloy by CNC. They have a shiny mirror finish. The external face has a shape that mixes flat parts with a lower curve. On one vertex is inscribed the brand name and on the opposite vertex is a gold-plated Torx screw. In the center is a depressed circle and each capsule has a different drawing. The right capsule has a pixelated heart and the left one has a pixelated cross. On the edge there is a hole near the 2Pin 0.78mm connection interface which is completely recessed. The inner side is composed of three levels. The first is flat and is inscribed with the model name and the letter indicating the channel. The second level starts with a step and grows in a cone shape towards the nozzles. The third tier is the mouthpieces themselves, with a length of 4.6mm, a center diameter of 5.1mm and a crown of 6.2mm. Like all alloys they have some weight, but not very noticeable in the ears. The construction is impeccable.
The cable has two coiled strands. Inside there are two wires, one black and one gold. It has a transparent PVC coating. The OFC cable is specified as high purity silver plated. The splitter piece is a black metal cylinder. The plug sleeve is the same, slightly longer, with the brand name written lengthwise. Both cylinders have whitish plastic cable outlet protectors. The plug is gold-plated 3.5mm SE. The pin is a gold-finished ring with a hole in its center. The connection interface is 2Pin 0.78mm and it is the classic one mounted on transparent rectangular pieces with a dot to determine the channel, as well as a barely visible raised letter. They have transparent ear guides. There is also a white Velcro strap with the brand's slogan.
This is the classic Simgot cable in this price range, while the shape of the capsules is very similar to that of the EW200 model, except for the heart and the cross.


Adjustment and Ergonomics
The ergonomics are very good. Its flat shape on the outer face makes it integrate quite well in the ears. The curved shape of the rim fits perfectly in the pinna and its integration is very high. Once the capsules are adjusted, the movement is minimal and the discomfort is almost nonexistent, fading, even the weight of the capsules. The inclination of the nozzles is sufficient for orientation to be noticeable. The length is not long enough for the insertion to be more than superficial, hopefully, it can be average if longer tips are used. As usual, I have used my large foam-filled tips, which I make at home. With them the fit is immediate and the level of insulation is good. The seal is subtly occlusive although slight movement can spoil it. To improve it, the mouthpieces should be subtly longer.
Finally, to note that a good metal construction like this implies a light weight of each capsule. But, as I said, the good ergonomics of the model means that once in the ears, this weight is relative.


Sound
Profile
Simgot presents two mouthpieces to reproduce two profiles. It should be noted that the Silver mouthpiece, made of steel and with a red washer, makes the frequency response almost identical to that of the EW200 model. It is clear that its reference is the Simgot Golden 2023 curve. With the copper mouthpiece and purple washer, its reference is the H-2019 curve. According to the brand itself, this copper mouthpiece has been designed specifically for gamers, tailored to gaming scenarios. According to the brand's own description: it excels in accurate sound reproduction, making it perfect for both audiovisual content and game playback. With powerful bass, precise positioning and immersive spatial effects, it ensures that crucial sounds such as gunshots and footsteps are clearly distinguished, giving it a competitive edge in the game.
Unlike the EW200 model and despite the fact that the H-2019 profile is very common, I will use the gold mouthpieces for the sound description.


Bass
As usual, starting in the bass with the gold-plated mouthpiece, a moderately high sub-bass boost is achieved. Simgot's good workmanship is maintained, with a deep, punchy, relatively dry and tight low end. There is a point of springy gumminess that promotes fun, but limits the punch from being too concise, adding a point of extension and relaxing the speed. Still, the brand's classic canonical bass behavior trend persists. The lower range feels deep, sufficiently clean, precise and non-invasive. Once again, the respect for the rest of the range is emphasized, allowing the voices to be free, even protagonists. This implies that the bass knows how to disconnect correctly from the upper frequencies, despite its power and energy. It does not reach Bass-Head level, but it is above neutrality. In my opinion, it is in that sweet spot that allows you to enjoy its quantity and power, but without overwhelming. It may be high for some, but not for me.
In the very low frequency pure tone test the ability of the brand in the lower range is manifested. The sound is pure, physical, dark, deep, with a natural behavior, subtle wave character, but not colored. It already achieved a great effect with the EW200 for a ridiculous price and redoubles the bet with the EW300 while maintaining excellent performance in the lower range. The translation when it comes to playing music is obvious, precision, technical skill, extended ability to follow various complex bass lines, remarkable competence in recreating different layers and layering bass. Of course, the EW300s pass the dirty, unfiltered bass test with flying colors. No suffering is shown, there is no sound out of naturalness, reproducing such bass accurately, including a soft but perceptible texture, very nice too, knowing how to maintain a very high and accurate resolution quality. Even, it still moves very well at high volumes, which attests to the great quality that treasures the low end of the EW300.
Finally, it should be noted that as a good bass emphasized in the sub-bass, its mid-range is not too prominent, allowing, on the one hand, to maintain a good volume of occupied space, on the other hand, to sound clean and never swollen.


Mids
While the bass roll-off is relatively relaxed, it seems that the midrange valley is not very pronounced. The bass possesses just enough roll-off to make the lower mids sound clean, but has enough energy to bring a slight warmth to the midrange. Again, almost 9dB separates the high end from the lower midrange. But the excitement is not very sustained in the upper mids and I think a balance has been sought when it comes to adding clarity and transparency to the sound, but respecting the smoothness, naturalness and realism of the timbre. In that respect, this is not an exalted or polarized midrange. I would delete the word “splashy” to describe the EW300s and consider using terms like “relaxed”, even “more homogeneous”. Thus, their sound is more pleasant, restrained, much more all-rounder than other IEMS in the range. Moreover, with the advantage of possessing a remarkable technical ability based on its concise, precise and resolute sound. The male voices do not appear complete, but they remain a step and a half away from the listener. Enough to be observed with clarity, feeling their body and half physicality. They don't feel thin, nor do I seem to observe that hollow feeling I usually abhor. Without being completely full, they possess a fairly full timbre, which doesn't make them thin, nor do they sound more organic and analog, very close to neutral.
The female voices gain in prominence, but are equally measured in the aspects of tonality and timbre. By gaining that half-step, they feel closer to the listener, but remain free of sibilance, performing in a very clean, clear and transparent way.
Again, I must emphasize the naturalness in the execution of the upper midrange. I think Simgot has found a very good balance, moving away from brighter profiles, as in the big EA1000s, to find a very versatile, pleasant, smooth, yet explicit and informative midrange. He's packed more meat into the bass to lower midrange transition, but also thinned out the upper mids to balance the midrange in a very musical way. The result is a double gain, maintaining resolution richness while gaining stability, weighting and timbral restraint. In this way, both the instrumentation and the voices are more profuse, lush and rich. The central range is copious and nourished, being too dense or busy, as there is plenty of room on the stage to expand.


Treble
I think the EW300s have been tuned to achieve a smooth finish with the golden mouthpiece, with a relatively controlled transition between upper mids and first treble. And so it is, the sibilances tend to zero and the first highs are sweeter, moderately well extended, with a good amount of harmonics, but without becoming penetrating, incisive or too energetic. All this implies a more relaxed listening (more demanding with the silver mouthpiece) and this is new for Simgot. As with the EW200s, it seems that this new path of more affordable IEMS may have a more musical, all-terrain and smooth tendency.
On the other hand, the combination of drivers for the high end may give a somewhat drier look on the high notes, and perhaps not the most resolving level here either. At some point, the timbre may feel subtly impaired by the behavior of these transducers.
Finally, I would like to comment on a certain limitation in the air area.


Soundstage, Separation
The scene is quite good, with a good width, noticeable lateral feel and decent height. It is not a completely open scene, but no congestion is noticeable. The perceptible sense of cleanliness, clarity and transparency gives a crisp impression of distance between elements. This characteristic does not clash with the musicality of the whole. In addition, its great fun factor, its remarkable versatility and its all-rounder character make it a set for everyday use.
Simgot has been known to squeeze the upper mids in such a way that his sound became excited, penetrating, incisive and splashy. He is adept at forcing situations of more analytical clarity, generating a very informative and expressive sound. But also more intense. With the EW300 and despite being a tribrid, Simgot has found a more restrained and organic profile. It does not possess as much expressiveness as its big brothers. While its level of macro detail jumps out, the micro detail is lost a bit more in the background of the music, being less discernible (the silver mouthpiece can subtly improve this aspect). On the other hand, it remains accurate, with a well-formed, defined image without artifice. This is not an analytical ensemble, the background is not the darkest as there is a latent cohesive feel. But it maintains a good balance in many technical aspects.


Comparisons
KZ ZS10 Pro 2 1111
The classic and popular Chi-Fi brand KZ, put on the market a good sequel called ZS10 Pro 2. Many last names, as usual in successive versions. In addition, these KZ have 4 micro switches to give more versatility to their sound. In the all ON position (1111 as I like to say) there is a clear resemblance to the EW300 with the golden mouthpiece. There is no doubt that the KZ are more economical, with 56$, they have that clear typical KZ design, with a resin capsule and open metal plate on the outside, with its semi custom shape, thicker to house the switches and the 5 drivers. The presentation is very simple, with a very fair, cheap headphone cable. The appearance of the mouthpiece seems fragile as well. Nothing to do with the EW300, metallic, with a careful design, smaller, with better cable (although it is not a marvel either, but it does not scream “change me”). The ergonomics are not bad in either model and although the EW300 are heavier, I prefer their fit as they are smaller. In the non-sound aspects, the Simgot clearly outperform the KZ. We are talking about a price of $70, $14 more, not a fortune.
In the sonic aspects you can see that both FRs are very similar. The EW300s have a bit more body in the mid bass and in the first half of the midrange. In the upper midrange they are more restrained and also in the treble, having less air and extension than the KZ. The KZs are more sensitive and at the same volume they sound louder.
FR aside, the KZs have a thinner and sharper sound, with a brighter and less dense feel. The EW300s sound relatively darker, denser, but also silkier.
I was surprised by the bass performance of the KZs, with very good behavior, darkness, density, naturalness and technical skill. The EW300s have all that and then some. A little more volume, a denser and deeper feel. It also has a little more volume and a little more power. The KZs have a little more color and are a little drier, subtly more concise. Very low frequency pure tone performance is slightly better on the Simgot, sounding a bit more natural and a bit better behaved.
In the mids, the first part is thinner and lighter in the KZs, giving the sensation of less body and less physicality. Although the proximity of the male voices is patent, thanks to the greater sense of finesse, cleanliness and transparency of the notes. The KZs are somewhat more detailed and analytical, with a point more separation. While the EW300s are warmer, more cohesive and a bit more blended.
In the upper mids the KZs are more splashy, maintaining that finer, lighter feel of their notes, accentuating that greater sense of sparkle, clarity and definition. The EW300s do not have as much definition, but their timbre and tone is more natural, full, musical and enjoyable. The KZs offer more punchy notes that become a bit unpleasant over time. The EW300s wrap the mids in a silky, harmonious richness, offering a more mellow, calm and enjoyable response.
While the first part of the treble has similarities in both models, the harmonics are more restrained and smoother in the Simgot. The KZs sound more crisp, energetic and punchy, while the EW300s are drier, with less power, a bit thicker and less extended. Both Simgot's PZT and KZ's BA drivers offer different treble reproduction. But I'll stick with the Simgot's high end performance, despite their characteristics.
The EW300s have a slightly wider soundstage, with a bit more depth and volume in it. The KZs are a bit more volatile with a bit cleaner separation.
Macro detail is obvious in the KZs, with a hint of micro detail. In the Simgot, the macro detail is more natural, not as pronounced, but clearly discernible. On the other hand, the micro detail feels more diluted.
Overall, the sound of the Simgot EW300 is more balanced, harmonious, musical, full, dense, powerful and enjoyable than the KZ. Only if the enthusiast likes to play with the switches, looks for a sharper, crunchier sound, like the one offered by the BA's of the KZ's, I can understand their purchase.

Conclusion
I like the Simgot in this price range. If I already thought the EW200s were good, the EW300s are an improved version of those. Including a tribrid configuration of drivers (1DD+1Planar+1PZT), the EW300s maintain that profile that mixes the H-2019 curve and Simgot's Target Gold, which fits my preferences very well. The Simgot EW300s have a fairly full, dense, well-balanced, musical and pleasant sound. Sibilance tends to zero and maintains a smoothness between the upper mids and first treble. This harmony makes the EW300 a very versatile model, all-rounder and ready to be used for many long sessions. The bass is practically canonical. I don't notice that hollowness that irritates me in the first part of the midrange and the upper mids stay away from shouting and harshness. On the other hand, the two filters allow us to emphasize or limit the energy level in the high and upper part, to adjust it to our preferences. But, the gold filter achieves a more placid and calm sound, maintaining that sense of cleanliness and clarity restrained, while rich and melodious.
On the physical side, Simgot maintains the design and metal construction of the capsules, adding those pixelated Love & X icons on each of them. Attached is the cable typical of the models immediately above, as well as its nice zippered case. Admittedly, there is a single set of tips. But, if I'm honest, the large Simgot tips are among the few I can take advantage of for my personal use. So, welcome to them.
Finally, with these two avenues of sonic profiling that Simgot follows in their IEMS, I'd like to see the brand look to improve the profile of the EW300s in the EA1000 range, see what they manage to do. My eyes and ears would point there without hesitation.


Sources Used During the Analysis




Purchase Link


You can read the full review in Spanish here


As I said recently in my review of the Simgot SuperMix 4, the Shenzen-based company is still very active. Moreover, it continues on the path of multi-hybrid IEMS creations. This time, Simgot has released a true triple driver, which mounts three different transducers (1DD+1Planar+1PZT). The brand persists in offering two types of sound using two different pairs of mouthpieces. One is Silver, made of steel and has a red washer. Its reference is the Simgot Golden 2023 curve. The copper mouthpiece with a purple washer has the H-2019 curve as its reference. It is curious, but the copper mouthpiece has been designed specifically for gamers, tailored to gaming scenarios. On the other hand, the capsule is all-metal, CNC machined from high-density alloy. It has a shiny mirror finish. Its design has been possible thanks to an exhaustive 3D analysis of the ear contour and an expert ergonomic molding, providing a perfect fit.
Also, it is curious to note that there are several versions of this model: there is the standard version, the HBB limited version, in collaboration with the famous YouTuber Hawaii Bad Boy (HBB) of BadGuyGoodAudioReviews. This version has the matte black housing, but keeps the tuning of the standard model. The other version contains a USB Type-C DSP instead of the classic 3.5mm SE audio jack. Let's take a look at what this new Simgot model, in its standard version, has to offer.


Specifications
- Type of Drivers: 1 dynamic driver + 1 planar magnetic driver + 1 piezoelectric ceramic driver.
- Dynamic driver: Dual chamber dynamic transducer with 10mm composite ceramic diaphragm.
- Planar magnetic driver: 6mm annular magnetic driver.
- Frequency Response: 8Hz-40kHz.
- Effective frequency response: 20 Hz-20 kHz.
- Sensitivity: 121 dB/Vrms (@1 kHz, silver steel tube and red silicon ring); 119 dB/Vrms (@1 kHz, gold copper tube and purple silicon ring).
- Impedance: 28Ω ± 15%(@1kHz)
- Cable material: High-purity silver-plated OFC.
- Jack Connector: STD&HBB Edition [3.5mm (without microphone)]; DSP Edition [Type-C connector (with microphone)].
- Capsule Connection Type: 2Pin 0.78mm.
- Launch price: $69.99.


Packaging
The EW300 comes in Simgot's classic size packaging, which is 140x120x60mm in size. It is almost square and is black. On the main side there are alternating hearts and silver X's. The logo is at the top center and the model name and drivers are at the bottom. The logo is at the top center and the model name and drivers are at the bottom right. On the rear face you can see the frequency responses of the two mouthpieces, a description of them and the specifications in several languages. Once the cover is removed, you can access the box protected by a black cardboard flap with the external face of the IEMS engraved on it in large size. Underneath, the capsules are enclosed in dense black foam. On the outside there are two transparent plastic sheets for protection. At the bottom there is a box with the accessories. The complete contents are as follows:
- The two capsules.
- One high purity silver plated OFC cable.
- Three pairs of translucent white silicone tips with black core, sizes S*M*L.
- One pair of copper nipples, one pair of steel nipples (already installed in the capsules).
- Four red washers, four purple washers.
- Six foam filter tubes.
- One black oval zippered case.
- Instruction manual.
- Warranty card.
Although it is a continuist set of accessories, I like the zippered case and the details of accompanying washers and extra foam filters. There is only a single set of silicone tips, but I must admit that the large size is the one I usually use, filled with homemade foam, of course. Finally, the cable is the same as the brand usually uses in models of this price. Little to object, I would only like the possibility of a balanced plug option.


Construction and Design
I repeat what was written in the introduction: the capsules are all-metal, manufactured in high-density alloy by CNC. They have a shiny mirror finish. The external face has a shape that mixes flat parts with a lower curve. On one vertex is inscribed the brand name and on the opposite vertex is a gold-plated Torx screw. In the center is a depressed circle and each capsule has a different drawing. The right capsule has a pixelated heart and the left one has a pixelated cross. On the edge there is a hole near the 2Pin 0.78mm connection interface which is completely recessed. The inner side is composed of three levels. The first is flat and is inscribed with the model name and the letter indicating the channel. The second level starts with a step and grows in a cone shape towards the nozzles. The third tier is the mouthpieces themselves, with a length of 4.6mm, a center diameter of 5.1mm and a crown of 6.2mm. Like all alloys they have some weight, but not very noticeable in the ears. The construction is impeccable.
The cable has two coiled strands. Inside there are two wires, one black and one gold. It has a transparent PVC coating. The OFC cable is specified as high purity silver plated. The splitter piece is a black metal cylinder. The plug sleeve is the same, slightly longer, with the brand name written lengthwise. Both cylinders have whitish plastic cable outlet protectors. The plug is gold-plated 3.5mm SE. The pin is a gold-finished ring with a hole in its center. The connection interface is 2Pin 0.78mm and it is the classic one mounted on transparent rectangular pieces with a dot to determine the channel, as well as a barely visible raised letter. They have transparent ear guides. There is also a white Velcro strap with the brand's slogan.
This is the classic Simgot cable in this price range, while the shape of the capsules is very similar to that of the EW200 model, except for the heart and the cross.


Adjustment and Ergonomics
The ergonomics are very good. Its flat shape on the outer face makes it integrate quite well in the ears. The curved shape of the rim fits perfectly in the pinna and its integration is very high. Once the capsules are adjusted, the movement is minimal and the discomfort is almost nonexistent, fading, even the weight of the capsules. The inclination of the nozzles is sufficient for orientation to be noticeable. The length is not long enough for the insertion to be more than superficial, hopefully, it can be average if longer tips are used. As usual, I have used my large foam-filled tips, which I make at home. With them the fit is immediate and the level of insulation is good. The seal is subtly occlusive although slight movement can spoil it. To improve it, the mouthpieces should be subtly longer.
Finally, to note that a good metal construction like this implies a light weight of each capsule. But, as I said, the good ergonomics of the model means that once in the ears, this weight is relative.


Sound
Profile
Simgot presents two mouthpieces to reproduce two profiles. It should be noted that the Silver mouthpiece, made of steel and with a red washer, makes the frequency response almost identical to that of the EW200 model. It is clear that its reference is the Simgot Golden 2023 curve. With the copper mouthpiece and purple washer, its reference is the H-2019 curve. According to the brand itself, this copper mouthpiece has been designed specifically for gamers, tailored to gaming scenarios. According to the brand's own description: it excels in accurate sound reproduction, making it perfect for both audiovisual content and game playback. With powerful bass, precise positioning and immersive spatial effects, it ensures that crucial sounds such as gunshots and footsteps are clearly distinguished, giving it a competitive edge in the game.
Unlike the EW200 model and despite the fact that the H-2019 profile is very common, I will use the gold mouthpieces for the sound description.


Bass
As usual, starting in the bass with the gold-plated mouthpiece, a moderately high sub-bass boost is achieved. Simgot's good workmanship is maintained, with a deep, punchy, relatively dry and tight low end. There is a point of springy gumminess that promotes fun, but limits the punch from being too concise, adding a point of extension and relaxing the speed. Still, the brand's classic canonical bass behavior trend persists. The lower range feels deep, sufficiently clean, precise and non-invasive. Once again, the respect for the rest of the range is emphasized, allowing the voices to be free, even protagonists. This implies that the bass knows how to disconnect correctly from the upper frequencies, despite its power and energy. It does not reach Bass-Head level, but it is above neutrality. In my opinion, it is in that sweet spot that allows you to enjoy its quantity and power, but without overwhelming. It may be high for some, but not for me.
In the very low frequency pure tone test the ability of the brand in the lower range is manifested. The sound is pure, physical, dark, deep, with a natural behavior, subtle wave character, but not colored. It already achieved a great effect with the EW200 for a ridiculous price and redoubles the bet with the EW300 while maintaining excellent performance in the lower range. The translation when it comes to playing music is obvious, precision, technical skill, extended ability to follow various complex bass lines, remarkable competence in recreating different layers and layering bass. Of course, the EW300s pass the dirty, unfiltered bass test with flying colors. No suffering is shown, there is no sound out of naturalness, reproducing such bass accurately, including a soft but perceptible texture, very nice too, knowing how to maintain a very high and accurate resolution quality. Even, it still moves very well at high volumes, which attests to the great quality that treasures the low end of the EW300.
Finally, it should be noted that as a good bass emphasized in the sub-bass, its mid-range is not too prominent, allowing, on the one hand, to maintain a good volume of occupied space, on the other hand, to sound clean and never swollen.


Mids
While the bass roll-off is relatively relaxed, it seems that the midrange valley is not very pronounced. The bass possesses just enough roll-off to make the lower mids sound clean, but has enough energy to bring a slight warmth to the midrange. Again, almost 9dB separates the high end from the lower midrange. But the excitement is not very sustained in the upper mids and I think a balance has been sought when it comes to adding clarity and transparency to the sound, but respecting the smoothness, naturalness and realism of the timbre. In that respect, this is not an exalted or polarized midrange. I would delete the word “splashy” to describe the EW300s and consider using terms like “relaxed”, even “more homogeneous”. Thus, their sound is more pleasant, restrained, much more all-rounder than other IEMS in the range. Moreover, with the advantage of possessing a remarkable technical ability based on its concise, precise and resolute sound. The male voices do not appear complete, but they remain a step and a half away from the listener. Enough to be observed with clarity, feeling their body and half physicality. They don't feel thin, nor do I seem to observe that hollow feeling I usually abhor. Without being completely full, they possess a fairly full timbre, which doesn't make them thin, nor do they sound more organic and analog, very close to neutral.
The female voices gain in prominence, but are equally measured in the aspects of tonality and timbre. By gaining that half-step, they feel closer to the listener, but remain free of sibilance, performing in a very clean, clear and transparent way.
Again, I must emphasize the naturalness in the execution of the upper midrange. I think Simgot has found a very good balance, moving away from brighter profiles, as in the big EA1000s, to find a very versatile, pleasant, smooth, yet explicit and informative midrange. He's packed more meat into the bass to lower midrange transition, but also thinned out the upper mids to balance the midrange in a very musical way. The result is a double gain, maintaining resolution richness while gaining stability, weighting and timbral restraint. In this way, both the instrumentation and the voices are more profuse, lush and rich. The central range is copious and nourished, being too dense or busy, as there is plenty of room on the stage to expand.


Treble
I think the EW300s have been tuned to achieve a smooth finish with the golden mouthpiece, with a relatively controlled transition between upper mids and first treble. And so it is, the sibilances tend to zero and the first highs are sweeter, moderately well extended, with a good amount of harmonics, but without becoming penetrating, incisive or too energetic. All this implies a more relaxed listening (more demanding with the silver mouthpiece) and this is new for Simgot. As with the EW200s, it seems that this new path of more affordable IEMS may have a more musical, all-terrain and smooth tendency.
On the other hand, the combination of drivers for the high end may give a somewhat drier look on the high notes, and perhaps not the most resolving level here either. At some point, the timbre may feel subtly impaired by the behavior of these transducers.
Finally, I would like to comment on a certain limitation in the air area.


Soundstage, Separation
The scene is quite good, with a good width, noticeable lateral feel and decent height. It is not a completely open scene, but no congestion is noticeable. The perceptible sense of cleanliness, clarity and transparency gives a crisp impression of distance between elements. This characteristic does not clash with the musicality of the whole. In addition, its great fun factor, its remarkable versatility and its all-rounder character make it a set for everyday use.
Simgot has been known to squeeze the upper mids in such a way that his sound became excited, penetrating, incisive and splashy. He is adept at forcing situations of more analytical clarity, generating a very informative and expressive sound. But also more intense. With the EW300 and despite being a tribrid, Simgot has found a more restrained and organic profile. It does not possess as much expressiveness as its big brothers. While its level of macro detail jumps out, the micro detail is lost a bit more in the background of the music, being less discernible (the silver mouthpiece can subtly improve this aspect). On the other hand, it remains accurate, with a well-formed, defined image without artifice. This is not an analytical ensemble, the background is not the darkest as there is a latent cohesive feel. But it maintains a good balance in many technical aspects.


Comparisons
KZ ZS10 Pro 2 1111
The classic and popular Chi-Fi brand KZ, put on the market a good sequel called ZS10 Pro 2. Many last names, as usual in successive versions. In addition, these KZ have 4 micro switches to give more versatility to their sound. In the all ON position (1111 as I like to say) there is a clear resemblance to the EW300 with the golden mouthpiece. There is no doubt that the KZ are more economical, with 56$, they have that clear typical KZ design, with a resin capsule and open metal plate on the outside, with its semi custom shape, thicker to house the switches and the 5 drivers. The presentation is very simple, with a very fair, cheap headphone cable. The appearance of the mouthpiece seems fragile as well. Nothing to do with the EW300, metallic, with a careful design, smaller, with better cable (although it is not a marvel either, but it does not scream “change me”). The ergonomics are not bad in either model and although the EW300 are heavier, I prefer their fit as they are smaller. In the non-sound aspects, the Simgot clearly outperform the KZ. We are talking about a price of $70, $14 more, not a fortune.
In the sonic aspects you can see that both FRs are very similar. The EW300s have a bit more body in the mid bass and in the first half of the midrange. In the upper midrange they are more restrained and also in the treble, having less air and extension than the KZ. The KZs are more sensitive and at the same volume they sound louder.
FR aside, the KZs have a thinner and sharper sound, with a brighter and less dense feel. The EW300s sound relatively darker, denser, but also silkier.
I was surprised by the bass performance of the KZs, with very good behavior, darkness, density, naturalness and technical skill. The EW300s have all that and then some. A little more volume, a denser and deeper feel. It also has a little more volume and a little more power. The KZs have a little more color and are a little drier, subtly more concise. Very low frequency pure tone performance is slightly better on the Simgot, sounding a bit more natural and a bit better behaved.
In the mids, the first part is thinner and lighter in the KZs, giving the sensation of less body and less physicality. Although the proximity of the male voices is patent, thanks to the greater sense of finesse, cleanliness and transparency of the notes. The KZs are somewhat more detailed and analytical, with a point more separation. While the EW300s are warmer, more cohesive and a bit more blended.
In the upper mids the KZs are more splashy, maintaining that finer, lighter feel of their notes, accentuating that greater sense of sparkle, clarity and definition. The EW300s do not have as much definition, but their timbre and tone is more natural, full, musical and enjoyable. The KZs offer more punchy notes that become a bit unpleasant over time. The EW300s wrap the mids in a silky, harmonious richness, offering a more mellow, calm and enjoyable response.
While the first part of the treble has similarities in both models, the harmonics are more restrained and smoother in the Simgot. The KZs sound more crisp, energetic and punchy, while the EW300s are drier, with less power, a bit thicker and less extended. Both Simgot's PZT and KZ's BA drivers offer different treble reproduction. But I'll stick with the Simgot's high end performance, despite their characteristics.
The EW300s have a slightly wider soundstage, with a bit more depth and volume in it. The KZs are a bit more volatile with a bit cleaner separation.
Macro detail is obvious in the KZs, with a hint of micro detail. In the Simgot, the macro detail is more natural, not as pronounced, but clearly discernible. On the other hand, the micro detail feels more diluted.
Overall, the sound of the Simgot EW300 is more balanced, harmonious, musical, full, dense, powerful and enjoyable than the KZ. Only if the enthusiast likes to play with the switches, looks for a sharper, crunchier sound, like the one offered by the BA's of the KZ's, I can understand their purchase.

Conclusion
I like the Simgot in this price range. If I already thought the EW200s were good, the EW300s are an improved version of those. Including a tribrid configuration of drivers (1DD+1Planar+1PZT), the EW300s maintain that profile that mixes the H-2019 curve and Simgot's Target Gold, which fits my preferences very well. The Simgot EW300s have a fairly full, dense, well-balanced, musical and pleasant sound. Sibilance tends to zero and maintains a smoothness between the upper mids and first treble. This harmony makes the EW300 a very versatile model, all-rounder and ready to be used for many long sessions. The bass is practically canonical. I don't notice that hollowness that irritates me in the first part of the midrange and the upper mids stay away from shouting and harshness. On the other hand, the two filters allow us to emphasize or limit the energy level in the high and upper part, to adjust it to our preferences. But, the gold filter achieves a more placid and calm sound, maintaining that sense of cleanliness and clarity restrained, while rich and melodious.
On the physical side, Simgot maintains the design and metal construction of the capsules, adding those pixelated Love & X icons on each of them. Attached is the cable typical of the models immediately above, as well as its nice zippered case. Admittedly, there is a single set of tips. But, if I'm honest, the large Simgot tips are among the few I can take advantage of for my personal use. So, welcome to them.
Finally, with these two avenues of sonic profiling that Simgot follows in their IEMS, I'd like to see the brand look to improve the profile of the EW300s in the EA1000 range, see what they manage to do. My eyes and ears would point there without hesitation.


Sources Used During the Analysis
- EPZ TP50.
- Tempotec V3.
- Burson Audio Playmate 2.
- Aune X8 XVIII Magic DAC + EarMen ST-Amp.
- Aune M1p.


Simgot offered me this model, in exchange for writing an honest review. I want to make it clear that all my opinions written in this review have not been conditioned by this fact, nor will I ever write anything that I do not really think or feel here. I will only write about my personal opinion in relation to the revised product.


Purchase Link


You can read the full review in Spanish here


S
sendstormer
don't know from your review is ew300 good for uplifting trance or you have better iems for this music genre?
Well, I don't have, nor have I tried the Aful performer 7, so I can't tell you for sure. But it's true that I really liked the Timeless II. Let's see if any reviewer can give you another opinion.