Introduction

Once again, another product from the brand launched in 2017, Tiantian Dongting TinHiFi. With their motto based on trying to listen to the world, it is possible that, on this occasion, they have listened to me... After two models that were far from my preferences, such as the last iteration of the T2, the MKII and the C0, their new T5S model has hit the nail on the head. It is true that it is clearly more expensive, costing around $130, but its price is the same as its previous T5 version. With improved aesthetics over its predecessor, thanks to its flat, textured outer panel, the T5S employs a unique topping diaphragm composed of three nano-materials, which strikes a balance between rigidity and flexibility for higher-fidelity sound reproduction. Together with a special acoustic design and a lightweight Japanese CCAW voice coil, it minimises non-linear distortion of the diaphragm, enhancing the high-fidelity performance of audio devices. The advanced magnetic circuit design reduces distortion, providing users with a clearer and more accurate sound experience. TinHiFi T5S are manufactured from lightweight, durable aluminium by high-precision five-axis CNC machining for each pair, with a manufacturing time of up to 2 hours. Featuring innovative triple-damping technology, the T5S ensures a natural and balanced sound while offering exceptional transparency. The unique sound cavity design creates a wider soundstage, effortlessly showcasing high-frequency details for a delicate and clear audio effect. This design aims to deliver a more realistic and immersive audio performance, creating a high-quality listening experience for users. Finally, the T5S comes with a high-quality cable that includes 28 strands of 0.06mm enamelled copper and 54 strands of 0.05mm silver-plated copper and 0.78mm 2Pin interface. Let's see how all this translates to my personal listening experience, in the following review.



Specifications

• Driver Type: Dynamic driver with new generation ultra-linear 10mm DOC diamond diaphragm.
• Frequency Response: 10-20kHz.
• Sensitivity: 103 ± 1dB @ 1kHz 0.126V.
• Impedance: 32Ω ± 15%.
• Nominal power: 3mW.
• Maximum power: 5mW.
• Maximum distortion: 1% @ 1kHz 0.179V.
• Capsule Connection Type: 2Pin 0.78mm gold plated.
• Cable: 4-conductor copper-silver hybrid (black) with 2 oxygen-free copper conductors + 2 silver conductors (0.06*28)2 + (0.0554)*2, custom PVC outer jacket.
• Cable length: 1.2m.

Packaging

The TinHiFi T5S comes in a medium-sized square box, whose dimensions are 136x137x74mm. On the front face is a drawing of what could be a Martian base, as the words "MARS" headline the top. In the middle are the hollow letters T5S and below that the brand logo. On the back there is not much information, there are the brand's contact details, as well as its e-mail, WEB address, 3 QR codes and the logos of the certifications that the product complies with. After removing the outer cardboard, a dark box with a texture of vertical columns is revealed, with the brand logo in gold ink in the centre. After removing the lid, the capsules are embedded in a white foam mould at the bottom. At the top is another elongated box with the brand logo in black ink. In it are some accessories, while the rest is in the second layer underneath the capsules. In summary, the full contents are as follows:

• Both T5S capsules.
• Warranty card.
• Instruction manual.
• Plastic tweezers.
• Cleaning brush.
• Magnetic case in white imitation leather.
• Three pairs of black silicone tips with coloured core, sizes SxMxL.
• Three pairs of black translucent silicone tips, sizes SxMxL.
• One pair of white foam tips.
• Three pairs of mouthpiece grids.
• Cable with 3.5mm SE plug and 2Pin 0.78mm interface.

The new type of box is welcome, cushioned, soft but rigid at the same time. It is spacious, rectangular, with a magnetised box-like opening, although somewhat large. On the other hand, the cable is of sufficient quality, but it's a pity that you can't choose a balanced termination. It comes with two sets of tips, plus a couple of foam tips, something that is not very common lately. On the other hand, there are some pieces and three pairs of grids to protect the mouthpieces. This type of accessory is becoming more and more common, although I have never had to change any of them. Finally, a small brush is the last accessory in a set that is quite adequate for its price.



Construction and Design

The capsules of the TinHiFi T5S are manufactured from lightweight, durable aluminium by high-precision five-axis CNC machining. Their entire surface is micro-textured grey. They have a semi-custom ergonomic design. The outer face has an equilateral triangle shape with very rounded corners. It is completely flat and also has a micro-textured surface. The brand name is written in white letters. There is a hole in the rim of the capsule, and there is also a hole in the base of the mouthpieces. The connection interface is integrated into the capsule, on a rectangular transparent plastic plate, with gold-plated connections. The internal shape is very ergonomic, with that typical semi-custom design that fits the pinna and the top of the outer ear. The mouthpieces are made of a different material, looking like gold-plated brass. It has three diameters, the base of 6.4mm, the longest central area of 5.4mm and the crown of 6mm. The approximate total length is 5.2mm. The metal protection grid has small holes.
The cable consists of 4 strands, two have a dark sheath, with a copper-silver conductor, while the other two strands have a transparent sheath and a silver-plated conductor. The plug is a 3.5mm SE plug with a sleeve to match the capsules, being metallic, cylindrical and micro-textured. There is a plastic protection for the cable at the exit of the sleeve. The splitter piece is the same style, but half the size. The pin is a metal disc with the brand logo on each side and two through holes. The cable has over-ear guides and the sleeves for the silver-plated 0.78mm 2Pin 0.78mm connectors are both cylinders to match the rest of the cable parts, with a slotted ring near the cable exit and hard plastic pieces at the base of the connections. One is red and the other transparent, to indicate the cable channel.
I have to admit that this is not a novel design, but it is very effective, both in terms of elegance, fit and ergonomics. The surface texture keeps fingerprints away, it is smooth against the skin. The outer face is simple, but attractive. The cable is quite good, but a balanced option is sorely missed.



Adjustment and Ergonomics

The tinHiFi T5S have a clear semi-custom design, which fits my morphology like a glove. The mouthpieces are a bit thick, but have a good length. They could have a medium insertion, but the diameter can be limiting in this respect. In my case, as usual, the tips used are large ones filled with foam that I make myself. With them, the fit is superficial, very occlusive and their size is enough for the capsules to mould almost perfectly in my ears, being totally integrated. The texture is soft and pleasant, there is no rotation, the fit is fast and durable, it doesn't bother with the passing of the hours, while the isolation is high. In my case, outstanding.



Sound

Profile

The profile of the TinHiFi T5S may appear to be a little overblown, considering its sub-bass scaling. However, its drop is quite rapid. So much so that it doesn't even fully enter Bass-Head territory. In my opinion, the T5S has a pronounced W-profile where the main emphasis is on the sub-bass. But on the other hand, from 100Hz onwards, the rest of the frequency response is slightly balanced. The early midrange is not sunk, the upper-midrange is emancipated but controlled, while the treble starts with a clear control zone, but without too much extension. It is a powerful sound at the low end, but smooth at the top end, seeking a nice, warm balance in the middle.
On the other hand, I have to admit that I like this profile in a natural way. I have a preference for high sub-bass and representative first midranges. It is true that the T5S has the former and not so much the latter. But they have enough grace in the midrange and nuanced treble to maintain a very pleasant and enjoyable listening experience, well suited for my electronic music sessions. As such, they have become one of my first choices when I go out on the road listening to new releases in this genre of music.



Bass

Bass doesn't just need an exalted profile, it needs to sound good and perform better. TinHiFi gets it right, and the T5S performs remarkably well on both counts. The base hit is compact, with just the right amount of dryness to be fast in execution and quick in pickup. The mid-bass is not very marked, but it is precise and this means that the bass is not too extensive towards the central range, generating a feeling of limited cleanliness and a certain disconnection, in spite of the presence demonstrated. It has just the right springiness to show texture and the elasticity to maintain power, power and punch. In this way, the volume achieved is remarkable, generating a large and appreciable amount of space and depth. On the other hand, the bass tone and timbre is dark, not at all coloured, with that distinctly sensory, yet audible tone that I like so much. This is reaffirmed in the very low frequency pure tone test. The low end feels powerfully physical, as well as slightly audible. It is worth commenting that there is a very small vibratory character that does not adversely affect the sonority, as the result is quite realistic, dark, deep, uncoloured, voluminous, physical and sensory. The T5S feel in a way that is close to the ideal canon I have in my mind, but there is some room for improvement, perhaps their timbre could be a little darker and lack that subtle, subtly noticeable undulatory character. However, its behaviour in the dirty, unfiltered bass test, it moves very well, executing the complex passages with very good skill, without numbing the sound, freeing the midranges, without muddying the ambience, maintaining control, separating itself from the rest of the sound spectrum, but being able to generate a concrete and well focused volume. It is adept at recreating layers, separating them and following complex, unfiltered bass lines. It's true that you can feel its power and the volume it generates is ample, but it's also one of the things I look for without thinking about it. And I appreciate that the TinHiFi T5S generates it.



Mids

The character of the midrange is relaxed, musical, subtly dark, yet tending towards a warm, filtered neutralisation. It helps that the midrange is only gently exalted and that the first highs start from a short drop. The T5S establishes an agreement between darkness, luminosity, transparency and clarity. Admittedly, all this seems difficult to combine, but somehow it is all present in the T5S midranges. The subtle darkness comes from very deep bass and nuanced treble at the start. Clarity and transparency come from a midrange that is boosted and maintained at a level of energy that borders on sibilance, but ultimately controls it to present it in a slightly incipient form.
The first half of the midrange has a medium character, both in presence and distance. This area is partly lean and I miss some strength and a more marked and physical base. His drawing becomes typical of many other IEMS, a little further away from active neutrality, but clean in composition and execution. There is just enough transparency for it to come across as precise and well separated, but with just enough warmth to come across as musical, smooth and pleasing. And this is the most attractive part of the first half of the midrange; it is melodious and rich enough, despite that half-presential distance, which limits its fullness and strength. In this way, the male voices are represented in this central limbo, well-drawn, well-defined, but without making the leap in power and prominence.
The midranges are more splashy and present. This is how the female voices gain the favour of this tuning, sounding more lively, dynamic, as well as fuller and more complex.
The result is understood as a mutual benefit in the central zone, where there is a certain imbalance of presence, but which achieves a captivating musicality. It helps that the notes have good resolution, definition, but without sounding analytical, but rather more silky and even, generating a light continuity that is rich, descriptive and relatively delicate. To put it bluntly, it is true that these are not the best midranges, but it is a set that can become a first choice when choosing an all-terrain IEMS that allows for a faintly critical, musical, but sufficiently enticing and restful listening that one does not need to think about much else.



Treble

The treble begins in a controlled manner, starting from a slight dip that sustains the sibilance, but condemns the treble to a restrained, soft and low-energy form. The brightness is relegated to a second phase and you feel how the initial base is darker and duller, while the second phase is stretched out a little more to bring in more harmonics and a somewhat displaced sparkle. It's not the most natural of highs, but they are smooth, restrained and pleasant. They are also not very extended and lack a certain air, something that gives the sound a feeling of dryness, a more parsimonious and concrete style.
The upper range is good enough to retain an adequate timbre in the lower ranges, but it is far from stellar in its own right. That's why the treble has been tuned to maintain the balance and smoothness of the whole, rather than to shine for its own sake.



Soundstage, Separation

With a musical and certainly relaxed sound, the importance of the sub-bass and the smoothness of the treble play a decisive role in recreating the scene. But, perhaps other physical issues are worth noting, as the sound does not come across as concentrated or tight. There is good width, very good laterality, as well as obvious depth. The low end is able to inject a good amount of volume and depth into the scene. The first midranges sit in that middle zone, but busy from side to side, while the high-mids and highs move from here to there, but in a closer zone. They do not have the most obvious separation, nor the most discernible background, but their musicality gives that sense of continuity and homogeneity in the sound, but without becoming completely sustained. In this way, the scene is round but frontal, with an acceptable pitch and side notes that want to exceed 180 degrees. As it possesses a certain attachment, a volatile or gaseous sound is not contemplated, but there is a faint projected sensation that gives a greater freedom to the sound.
The image is efficient, well projected, easily glimpsed and not blurred. It is also not completely precise because its shapes are soft.
It is not very skilful at separating layers in the midrange and fails to layer the planes well. It suffers from some technical limitations in these aspects of depth separation. This is how the micro detail feels cohesive and continuous. With some effort, it is perceptible, which is already an achievement. But it feels somewhat relegated and dependent on the rest of the closer elements, which can hide or integrate them. It lacks a point of resolution, separation, distance and definition for such detail to be more explicit and descriptive. That's the thing about a more musical, homogeneous and pleasant sound.



Comparisons

Tri Meteor

For many months, I have found the Tri Meteor to be one of my favourite IEMS for 100$. Although, sometimes, they are not easy to get because they might be discontinued by now. These are simple hybrid IEMS: 1 x 10mm dynamic driver with beryllium-plated diaphragm and 1 x Knowles ED-29689 BA driver. They use a semi-custom capsule made of Egger resin, with a translucent inner body and an outer face with a flowing silver glitter pattern on a black base. Their design is attractive and elegant, on the same level as the TinHiFi T5S, even more beautiful. The inner face of the two look very similar, with the Meteors being a little more streamlined. But the T5S are not as thick, even though they are metallic and heavier. The in-ear integration is better on the TinHiFi because they are also thinner.
As you can see from the graphs, both IEMS have a very similar frequency response. And that profile is one of my favourites, because I immediately liked both models. I think the T5S have perfected the curve by making it smoother and more harmonic. With a higher sub-bass and a midrange with a balanced plateau.
The Tri Meteors are a little easier to move than the TinHiFi T5S.
In the lower range, the T5S are somewhat more muted, sensory and darker. There seems to be a bit more dryness in the bass of the T5S. While the Meteors sound juicier and with a bit more colour. In the pure tone test the T5S was more sensory and better behaved, performing the LFOs in a more natural and realistic way. The difference was small, though. The Meteors also performed very well. The difference in power is minimal, although that level of darkness, better behaviour and physical feel makes the T5S better at performing in the lower range.
In the midrange the Meteors feel a little clearer and more defined, with a little more sparkle, something that can be seen in the female vocals. They are slightly splashier, while their notes seem a little thinner. On the T5S the female voices do not appear as prominent, nor do they possess the same resolution. They are also softer. Something similar happens with the male voices: on the Meteors they feel fuller and more complete and somewhat closer. The sound seems denser and fuller in the midranges of the Tri, while the T5S seem more relaxed and softer, staying in that middle distance.
The treble is thinner and brighter on the Meteors, you feel that BA character a bit more abrupt, but it's also appreciated, when it comes to generating thinner, more defined high notes, with a bit more sparkle and energy. Believe it or not, I feel that the treble sounds more appropriate in the Meteors. The treble of the T5S is a little thicker, rounder and smoother.
In the background, micro detail is very much on a par for both models. It is true that the Meteors are a little finer, but they are no prodigy in resolution either. They are subtly more separated and with a slightly sharper treble they manage to define the notes better, giving them a little more visibility. The soundstage of both is similar in size, but the closer proximity of the Meteors makes it a little more intimate. The T5S are more relaxed and have a little more depth. In short, the Meteors are subtly better in the technical aspects, while the scene is slightly larger and deeper in the T5S.
As can be seen, the two sets have a lot in common and the difference between the two is very small. This means that the Tri Meteors are still going strong despite the time they have been on the market. The TiHiFi T5S seem to revisit them by giving them a bass boost and a slightly softer and slightly more musical sound.



Conclusion

There are tunings that I like almost without looking at them. I have never put a reference target on my SquigLink, because I can't make up my mind and because I don't think I have found my reference curve yet. But it is clear that the TiHiFi T5S curve is among my favourites. That's why I like this new model more than the sum of the individual notes I have given. The T5S is an IEMS with many plus points, great construction, ergonomics, design, good cable and better sound. In addition to an almost reference bass, they have a wide, smooth and very musical sound. The midranges are pleasant and relaxed, as are the highs. Everything about the T5S has been designed to entertain for the long haul, making it the first choice that comes to mind every time I go out on the street with a DAP. Simple, easy, but highly effective. That's all there is to it. Don't think, get them if their FR fits you.



Sources Used During the Analysis

• Tempotec V3.
• Aune Yuki.
• Burson Audio Playmate 2.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.

Purchase Link



You can read the full review in Spanish here

Introduction

In many ways, talking about Letshuoer is like talking about planar IEMS. And although it is true that Shuoer existed before its famous S12, this planar continues to be a reference within the $100 IEMS, at least in my country. But, I think it would be unfair to only talk about the S12, when the brand founded in 2016 has other great models to its credit, some of which I have had the pleasure of testing, such as the latest S15 planars, the S12 Pro, the DZ4 and the D13. It is clear that the brand does not live by planar drivers alone and this seems to be the reason for the new Cadenza series. The first model in this series to combine dynamic drivers with BA drivers was the Cadenza 12. A 2023 model that uses a 10mm dynamic driver with kevlar LSS diaphragm, together with 11 BA drivers from Sonion and Knowles to reproduce the whole spectrum. Undoubtedly, the Cadenza 12 is Letshuoer's top-of-the-line model, priced at $2100. Fortunately for the medium listener, the Cadenza 4 has just been released. A model with a price tag of $249 that effectively mounts 4 drivers: 1DD + 3BA. It is a 10mm dual chamber dynamic driver, with beryllium coating. It is joined by a Sonion BA driver and 2 Knowles BA drivers. The Cadenza 4s adopt 3 acoustic tubes that are combined with a four-way electronic crossover. The 50μm 3D printed acoustic tubes ensure a precise, smooth and even sound. Meanwhile, the four-way electronic crossover allows precise control of the frequency distribution and significantly reduces phase errors. Once again, Letshuoer collaborates with Heygear Technology to perfect the headphone chassis. The panel is made of CNC aluminium alloy with a matte finish that provides a delicate, textured feel. The cable used as standard is high-purity silver-plated monocrystalline copper with 392 strands. It adopts 90° interchangeable pin technology, which allows the use of 3.5mm SE, 2.5mm BAL and 4.4mm BAL terminations. Let's discover in the following review all that this fantastic new model from Letshuer called Cadenza 4 has to offer.



Specifications

• Driver Type: 1DD dual chamber with 10mm beryllium coated diaphragm + 1 BA Sonion + 2 BA Knowles.
• Frequency Response: 20Hz - 40kHz.
• Sensitivity: 102dB
• Impedance: 15Ω
• Cable material: high purity silver-plated monocrystalline copper with 392 strands.
• Outer plate material: anodised aluminium.
• Capsule material: 3D printed resin.
• Jack Connector: interchangeable BAL 2.5mm, SE 3.5mm and BAL 4.4mm.
• Capsule Connection Type: 2Pin 0.78mm.
• Cable length: 1.2m

Packaging

One tends to think that IEMS in this price range have to come in large packaging. But Letshuoer has created a contained packaging in size that, in turn, is actually very pleasant as an unboxing experience. The Lethuoer Cadenza 4 comes in a grey box whose size is 108x160x81mm. On the front side you can see the brand's logo vertically, written in white letters on the left margin. At the bottom right is the Hi-Res Audio logo and below that, the name of the model. The background of this side is composed of a series of staggered patterns forming various angles to each other, in various shades of white and light grey. On the back are the specifications in several languages, including Chinese and English, the brand name, icons of the specifications the product meets, as well as a warranty sticker. The pattern of white lettering on a plain grey background is repeated. After removing the cardboard, the box remains the same colour and only the brand name and the slogan "Sound Alive" in capital letters can be read in white. The box has a magnetised lid that folds out almost completely. On the top of the box is a sealed grey envelope with a silver sticker. Inside is the instruction manual, the warranty card and a small product certificate. Underneath the envelope is the first level: this is a thick black foam mould covered by a layer of grey cardboard, which contains the capsules. The second level has a grey ribbon that allows it to be pulled out like a drawer. On this level is the classic round box with rubber coating, but this time it is black. There are also the three interchangeable tuning pegs, all in a new black foam mould also covered with grey cardboard. Inside the round box are the final accessories, such as the cable and a disc with the silicone tips. There are two sets of tips with 3 sizes each: SxMxL. The grey tips are made of very soft silicone and have a medium core diameter. They are the balanced tips. The vocal tips are transparent and are wider, both externally and at the core, but are shorter. I must comment that the tips that come as standard with the IEMS are rarely compatible with my morphology. In this case, both sets are very soft and small. I need bigger and stiffer tips. That's why I always use my large tips filled with foam that I prepare myself. This way I can't experience the differences that exist when using one or the other set of tips of this model.
There is no doubt that Letshuoer has found a compromise between the size of the packaging and an excellent unboxing experience, by designing a two-tier box with a bottom drawer. Combining simplicity and cleverness, as well as great materials used in its accessories, both the presentation and the contents are outstanding.



Construction and Design

As with the previous S15 model, Letshuoer has once again relied on Heygear Technology to create its capsules. With an anodised aluminium outer panel, the capsule has been printed in resin using 3D printing. The capsule design is different from the one used for the S15. Although the final finish is virtually the same, the size of the capsule is distinctly larger. The capsule design of the Cadenza 4 is much more reminiscent of a highly crafted semi-custom capsule. It has a wide and very projected, elongated mouthpiece. Its inner diameter is 6.2mm, while the crown is 6.5mm. There are three holes in them. One has a metal crown that reaches the rim with a greenish textile grid. The second hole has the same crown but more recessed. The third hole is free. The rest of the inner side of the capsule is complex and has a pronounced valley, as well as a shape that seeks to adapt to the design of the pinna, with a pronounced lateral protrusion, as well as a series of reliefs all over the surface. Not even the rim of the capsule is spared from these reliefs and curved shapes. The 2Pin 0.78mm connection interface is fully integrated in an oval plastic plate with gold-plated connectors. Next to it is a small hole. Over the corner you can read the model name "Cadenza 4" and "True Virtuoso", as well as a larger lettering indicating the channel, all in black ink. The outer face is made of anodised aluminium and is reminiscent of the design on the front face of the case, but without the steps. It is in the shape of an African continent. The plate contains a small horizontal border in the upper third and above it is the brand name in dark grey ink. This border goes all the way to the second horizontal third, and from there it bends downwards and slightly backwards again, but also upwards and all the way to the end, but in a more subtle way.
The cable has a pure, shiny, silver-plated, almost white conductor. It consists of two coiled strands of 392 wires of high-purity silver-plated monocrystalline copper. It has an interchangeable 90° angled pin technology. There are three pins: BAL 2.5mm, SE 3.5mm and BAL 4.4mm. The pins combine a cylindrical silver metal part with a more rubbery, flattened part, where the inscribed mark is located. The connection of the parts is stable and durable enough not to worry about. But it is not a screw connection, only a press connection. The plug part of the cable is a metal cylinder with a wide textured ring for better grip. It has a transparent plastic sleeve to protect the cable outlet. The splitter is a rectangular piece, although on one side it has an edge pattern reminiscent of the outer face of the capsules. The pin is also a rectangular piece in hard, transparent plastic that imitates the splitter piece, but only on one side. It fulfils its function very well and the cables slide smoothly inside it, allowing a long-lasting and firm fit. The cable has over-ear guides in the form of semi-rigid transparent plastic sleeves. The sleeves of the 2Pin 0.78mm gold-plated connectors are on square translucent plastic plates and both are of the same shape, like elongated boxes but with rounded corners. They are metallic, matching the rest of the material used in the cable, and have letters written to identify the channel, in a faint dark grey ink. Finally, there is a dark grey Velcro strap with the marking written on it in white letters. The cable, almost white, is very striking for its colour and thickness. Although it does not seem thicker than the one used in the S15, its finish is more remarkable, appearing superior, both in beauty and in final performance.
The capsules have changed from the previous Heygear model. The S15s were simpler, with a flat inner face, a rounded edge, with the cable in one corner. The Cadenza 4 has a much more complex design, with a surface containing many more curves and reliefs, with a more elaborate rim. It is larger, but with more stylised mouthpieces and a much more ergonomic and studied shape.



Adjustment and Ergonomics

With a larger capsule, wider and more elongated mouthpieces, the Cadenza 4 can be a bit of an ergonomic challenge. Clearly, insertion can be deeper, but the large diameter of their mouthpieces can also impede this. On the other hand, the varying relief of their inner face may pose a challenge for the fit with the wearer's pinna. Depending on the degree of insertion, this aspect can be more or less compromised. In my case, as I usually use foam-filled tips, the insertion is superficial and the capsules do not touch any part of my outer ear, except for the rim, of course. The anchorage is perfect and although its size is bigger, it fits very well in my ears. The light weight and good relationship with the cable makes the whole thing very comfortable, occlusive, firm and durable, without rotation. As usual with the use of my home-made tips, the soundproofing is high, thanks to the fact that both its size and its internal foam filling tend to flood all the walls of my ear canal.



Sound

Profile

I think the Letshuoer Cadenza 4 has a smooth, decreasing W-profile, where each peak is polished and controlled. It starts with an emphasis on the sub-bass that gradually drops towards a midrange, the first half of which is very linear. From 1khz onwards there is an equally smooth rise and fall of the sub-bass, building up to a small plateau in the upper-midrange. At the entrance of the first treble, the curve decreases slightly again to maintain itself until the air zone, where there is a subtle upturn. As can be seen, I have done no more than describe a W where each peak and valley decreases in distance from each other. While it is true that none of the peaks are pointed and they are more like plateaus, the valleys are wide and flat. On the other hand, it is a balanced profile, not in vain the whole curve moves in less than 10dB from 20Hz to 14kHz, something that gives an idea of a quite successful homogeneity. But it's not just homogeneity as such, the Cadenza 4s have adjusted their profile to offer some very calculated emphasis at key points, while maintaining the energy level to harmonise their sound as much as possible. Thus there is a gently tapering sub-bass that achieves depth and a certain level of punch, a subtly disconnected and autonomous first mids, and upper-mids that are emphasised in a very calculated and restrained way, so that they never sound harsh or overly present. Finally, the highs have been nuanced to a control zone that extends with a good level of energy, but never projecting into a piercing or piercing sound. Without a doubt, I could conclude that the Cadenza 4's profile is based on a controlled cadence.



Bass

The Cadenza 4's bass is concrete and deep, possessing a subtle elasticity, and is quite compact and restrained. Even so, they possess a certain level of energy and presence, enough to impose a slight authority, delivering a controlled level of energy and power. However, all this goodness shown in the musical section comes crashing down in the very low-frequency pure tone test. Guided by the sound, I expected the LFO (Low Frequency Oscillation) reproduction to be more exemplary. On the contrary, this is not the case. The lower pure tones have a clear oscillatory and vibrating character, very typical of an unfiltered BA sonority. There is hardly any physical or sensitive sensation and a coloured, sonorous, off-tone vibration prevails. Realism and naturalness appears from 40Hz onwards, but the colour still anticipates the energy level and classic behaviour emitted by a simple dynamic driver. This is not the first time this has happened in DD + BA hybrids, even in this price range. But, having tested the Cadenza 4s on my usual bass tracks, I didn't expect this behaviour to be far from what a good dynamic driver emits.
It is in the other test of dirty, complex and unfiltered bass that the Cadenza 4s show these less advantageous characteristics. The deeper notes lack the necessary physicality, they feel coloured and infected with that vibrating, undulating aspect. This means a bass that is shallower and tends to vibrate more than it should, complicating the accurate and realistic tracking of very raw, fast and powerful bass lines. Still, the Cadenza 4s manage to retain a certain level of ability to layer and separate them, especially when it comes to separate bass. When the hit is well recorded, the Cadenza 4s respect their tone and deliver remarkably accurate reproduction. But it is when the bass is more linear, layered, continuous, sustained, mixed and dirtier that this less pure behaviour comes to the fore. In fast electronic music, with marked bases, it does not do badly, it is even when it shows its best side. But, when electronic music veers towards genres where the lows make up the melody, generate an ambience or form a dark and dense base, that is when certain anomalies appear that are appreciated when compared to dynamic drivers that have a more realistic behaviour.
It is worth noting that the overall bass performance is quite positive, as in conventional music reproduction, many of these faults are not noticeable, and it even sounds very good, remarkably controlled, with a slight level of pleasant texture and a good level of authority, precision, speed, both in the propagation and in the gathering. However, this does not detract from the fact that, at the limit, there is a certain behaviour that is not entirely correct. There are certain nuances that show that the execution is not canonical and that there are impure aspects in the sub-bass. Finally, these more negative aspects can be enhanced or minimised depending on the source used. And that is something that can be common, but in these cases it is usually more critical. A pity.



Mids

The frequency response of the Cadenza 4 is too particular to be the product of coincidence. I think it has clearly been sought and found. The first half of the midrange is a totally flat valley from 200Hz to 1000Hz. Then, there is a gentle rise of 8dB up to 2.5khz and it becomes a plateau up to 4kHz, to enter the treble in a descending, but very slight, way. First of all, what I like most about the midrange is that you don't notice a complete drop. Admittedly, I'd like a little more body between the transition between bass and low-mids, to gain body, physicality, density and fullness. But there is not much to be missed at this stage. It is true that it is observed at a light half-distance and that this first part is not the protagonist, but there is also a good degree of presential authority. The male voices are well represented, but they don't have as much flesh as I would like to feel and I miss a more robust base. In reality, the voices are rendered full if subtly lean. Their timbre is very correct, very natural, highly pleasing. As a whole, the male voices are very neutral, both in presence, distance, demeanour, sonority and timbre. That medium is synergetic and the overall value is superior, thoroughly enjoyable, elegant and suitably rich, but without overdoing it so as not to lose the value of that neutrality. The rest of the instruments based in this first half are no more prominent and the result is an area that sounds very good, but remains gently removed from the main focus. But the blending of all the elements is very complete and, in this way, the musical reconstruction in this first phase reaches more transcendental heights in the overall result of the Cadenza 4's sound.
The musical mood of the midranges is more creamy and milky than analytical, despite the remarkable resolution of the drivers. Neutrality also shows through in this respect. The sound is rich, musical, not overly lush, but elegant and smoothly rounded. It is not a polish that loses resolution, but a harmonious continuity that is completely cadenced. And in this respect, this model could not be better named. No one should expect midranges with totally fast transitions, with exaggerated dynamics. There are dynamics, yes, and very good ones, but at their own pace. Undoubtedly, the Cadenza 4 is designed to be enjoyed little by little, over the hours. And that is also thanks to their upper mids. There is nothing random in this aspect. The second half of the mids has been lifted for clarity and transparency, but kept sweetly neutral. It is never a dark sound, but never completely bright either. In this way, the timbre remains very realistic, the sibilance tends to zero, the transparency is remarkable and the brightness concrete. It is clear that there is more emphasis on the female voices and they have that flesh and body that I miss in the male voices, as well as having a more leading presence. But the correctness of timbre is still maintained in them, only their harmonic richness is superior, as is their closeness. It is worth noting that the plateau of the upper mids can also harbour some subtly more aggressive joy at times. At that point, the sound is not as creamy and liquid in this second phase. But it is also comforting to find some more sparkle and verve in the sound to raise the tension.



Treble

I would put the Cadenza 4 in the category of extended but energy-controlled treble. Somewhat distant from the level of extension and amount of energy that the brand's own S12 planars have, the Cadenza 4's treble has been carefully and neatly controlled in brightness, to maintain that neutral, creamy sound. The good thing is that the treble feels natural, slightly muted and rounded, but maintaining a high amount of overtones which makes them quite full in this respect. The timbre is logical and the sonority very adequate thanks to the linearity of the treble. There are no control zones that omit frequencies and the upper zone extends generously until it enters the air zone, where its inflection point lies. Even so, there's a clear amount of this air throughout the sound range that helps to maintain separation and distance.
All in all, this is a mellow and well extended high end, which can be enjoyed individually thanks to the good definition of the high notes, despite being restrained in brightness, energy and emphasis. Despite this, I don't find the treble to be nuanced or overly polished. And in that respect I think the Cadenza 4s have just the right balance: restrained but sufficiently explicit treble, which can both be enjoyed individually and can be at the harmonic service of the lower frequencies. Addictive for lovers of balanced, neutral and descriptive treble. But those looking for crisp treble will not find it here.



Soundstage, Separation

The sound of the Cadenza 4 is surprising in its open, expansive character, spaced in a concrete and separate way. Without being an analytical sound, there is a good sense of dispersion of the notes that gives the sound a sensitive, but not expansive separation. It is not a vaporous or volatile perception, but the sound is more concrete, precise and meticulously executed. The weight of the notes is appreciated, also their whole profile and shape. This gives a clear sense of definition and a fairly high level of resolution. But these are not hard, fully marked profiles. And, this is where the more liquid and creamy aspect of the Cadenza 4 comes in, accompanied by that very mobile dynamic feel, which gives a vibrant impression that adds speed to the sound, so as not to get lost in an overly fluid continuum. The result is a defined and musical sound, which does not reach a resolute limit, but is sufficiently broad, separate, rich and complex. In this sense, the micro detail is not stellar, and can even feel unobtrusive. But, both the movement of the notes and their slightly bombastic execution result in a richer, more nuanced, richer and fuller musical effect. The Cadenza 4s respond well to analytical sources to demonstrate their high level of resolution and, in this respect, the level of micro detail depends on it. But I insist again on the neutrality of this aspect, as the musicality prevails over the high level of resolution.
The scene is wide, without being surrounding, as I said, it is open and extensive. There is a remarkable level of depth, without going to the extreme, very good height too, and a representation that exceeds 180º frontally. Laterality is obvious, the stereo feel is pronounced. The Cadenza 4 is an excellent IEMS for watching movies with lots of sound effects, thanks to its remarkable spatial positioning, speed of execution, precision and definition. Thanks to space, distance and a fairly dark background, the good analytical sources allow very vivid sensations to be extracted with these IEMS.



Comparisons

Tanchjim Kara

They are IEMS with a configuration of 1DD 9mm with PEEK+PU diaphragm, 1 composite BA driver for midrange and high frequencies Sonion 2389D, 1 composite BA driver for ultra high frequencies designed by Tanchjim. In conclusion 1DDD+4BA as both BA drivers are composite. The current price is 179$.
They are smaller and lighter, but that is no guarantee for better ergonomics. In my case, the fit of the Kara is a bit more complicated because of the size of the mouthpiece. It is ergonomic, but the insertion is not as occlusive as with the Cadenza 4. The cable is much better on the Letshuoer, with the triple termination and thicker conductor.
The Kara's are distinctly harder to move, needing more power to perform at the same level.
The profile is similar but more reduced at the ends. The Kara's have a light sub-bass, while the Cadenza 4's are slightly emphasised. On the other hand, the Cadenza 4 has more treble extension and more air.
Of both, I have commented that in the pure tone test the result has not been as desired and there is a clear vibratory character more typical of BA drivers than dynamic drivers. This detracts from a deeper and more natural character. The Kara's focus on the mid-bass and feels more coloured and less realistic than the Cadenza 4's. Furthermore, the Cadenza 4's have a darker timbre and the performance is faster, more concise and tighter, while the Kara's are more boomy and elastic.
In the midrange you feel the splendour, clarity, separation and openness of the Cadenza 4, while the Kara is more muted and more nuanced. The notes have more sparkle and definition in the Cadenza 4. However, there is a similar neutral behaviour in both models, with some distance between the two models. Even in the level of resolution and micro detail they are similar. But the Cadenza 4's greater treble extension, its greater separation, makes the micro detail subtly more visible. There is a slight difference in the treble, with the Kara offering a little more initial energy. But I find the Cadenza 4 more expressive and descriptive in this upper band.
The better separation and open feel of the Cadenza 4s makes their soundstage a little bigger.



Simgot EA1000

Currently priced at $219, the Simgot EA1000s consist of a 2nd generation 10mm dual-magnet, dual-cavity DMDC™ dynamic 10mm driver plus a 6mm passive radiator. They are made of metal and the design is smaller, fitting my ears quite well. The fit is somewhat freer, while the Cadenza 4's don't have a degree of freedom, being thicker and larger. The Simgot are heavier, but they are quite comfortable as well. The cable is similar in both, consisting of two strands of similar thickness. But the Simgot's don't have 3 interchangeable ends, only 3.5mm SE option. Very good fittings on both, better unboxing experience on the Cadenza 4. But the Simgot have three filters to make a small adjustment to their profile. Despite that, the three profiles of the EA1000 are brighter than the Cadenza 4. The Simgot moves quite easily.
Switching between the two models requires some effort because they sound more different than you would expect from the frequency responses. There is a lot of energy, verve and sparkle in the Simgot, they are quite a bit clearer and also more analytical. But they can also be more abrupt and penetrating. The Cadenza 4s are more relaxed, creamy, dark/neutral comparatively speaking.
The behaviour is very good in the very low frequency pure tone test in the Simgot. This generates a low end that performs very well in any terrain. The bass is more extended, somewhat more physical and sensory. Musically speaking, things even out. I like the Cadenza 4's bass tuning, but I prefer the consistency, realism, naturalness and execution of the Simgot's bass.
In the midrange there are many differences. There is a little more body in the first half of the Simgot mids, but the big difference is in the higher energy level of the upper mids, as well as their more explicit, descriptive and analytical level of resolution. The Cadenza 4s are more balanced and that gives them a midrange that feels fuller and more complete, less polarised, more homogeneous. They are creamier, calmer and more musical. The equal energy makes the midranges denser, richer and closer. Simgot offer more detailed information, but sound more explicit and splashy. That upper-mids behaviour carries over to the EA1000's treble - more energy, more sparkle, more brilliance, more sparkle, more presence, generating a crisper, more expansive treble. The Cadenza 4's highs maintain the calmness of the entire profile.
As a good analytical profile, the Simgot's offer more obvious micro detail. They feel detached, open, expansive and volatile. But the Cadenza 4s are broad and enjoy good depth. Certainly, the presentation of the scene is different in the two models. The Cadenza 4's offer a more concave, oval scene, with good laterality, which transcends 180º. The EA1000s are more gaseous, surrounding and sparkling, the effects feel closer.
Undoubtedly, they are two different beasts in many ways with a distinctly different sound.



Conclusion

I think that Letshuoer wants to stop being known only for its planar IEMS and the Cadenza series is a clear proof of that. Without having tried the Cadenza 12, the Cadenza 4 is a set of IEMS with, of course, 4 drivers (1DD + 3BA) that seeks a tuning already marked by the DZ4, but with more extension and neutrality. Again relying on the collaboration with Heygear Technology, Letshuoer has created an IEMS whose design base continues where the S15 left off, but with a more semi-custom shape. The idea of packaging, the round box, the thick, silver-plated cable, with 3 interchangeable terminations, is still there. But above all, it persists in the search for a very musical, highly pleasant, natural, realistic and balanced sound. Well-presented and deep in the lower range, smooth, restrained and well extended in the upper range, the Cadenza 4 shines with a rich, descriptive, separate, large, harmonious and cadenced central range, as the name suggests. Without a doubt, the sound of the series is marked from the name and Letshuoer has hit the nail on the head with the Cadenza 4. Arguably one of the best IEMS in its price range, if you are looking for a secure and captivating tuning.



Sources Used During the Analysis

• Aune M1p.
• EarMen Angel.
• EarMen Colibri.
• Burson Audio Playmate 2.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.

Purchase Link



You can read the full review in Spanish here

Introduction

Once again, and in a very short space of time, I am once again reviewing a product from Rose Technics. Since 2012, the Chinese brand has produced a multitude of very interesting models, especially in the field of IEMS and earbuds. Previously, we have seen that they have also made the leap to TWS, but I still think that their great value is still in wired headphones, something you could already see in my review of the excellent QuietSea. Rose Technics continues to delve into somewhat distinctive and differentiating profiles. Proof of this are these new Rose Star City 5 Pro. This time it is a classic triple driver with a dynamic driver and 2 balanced armature drivers. The dynamic driver is a self-developed, Japanese 10mm LCP composite diaphragm dynamic driver with N52 magnetic circuitry, which reduces partition vibration and lowers distortion. The two BA drivers are balanced armature driver units imported from Denmark, which have been customised and handle the high frequencies. Rose has enlisted the dedicated tuning expertise of a former Sony engineer. In addition, an acoustic physical-electronic hybrid crossover filter system has been incorporated. For the capsule, a new-generation 3D-SLA-printed resin has been used, with a stainless steel rear cavity. On the other hand, the cable consists of 6N OCC double-stranded monocrystalline copper with additional wire cores and top shielding layers. The interface used for the connection is the classic MMCX brand interface. Let's take a look at this and much more in the following review.



Specifications

• Driver Type: 1DD with 10mm LCP diaphragm + 2BA.
• Frequency Response: 10Hz - 25000Hz.
• Sensitivity: 104dB @ 1mW.
• Impedance: 24Ω @ 1000Hz ±15%.
• Distortion: 1% @ 1000Hz.
• Capsule material: Metal and resin.
• Jack Connector: 3.5mm SE gold-plated.
• Capsule Connection Type: MMCX.
• Cable Length: 1.2m.
• Weight 28g.

Packaging

The Rose Star City 5 Pro comes in a box whose size could be considered medium-large. Its dimensions are 192x143x50mm. On the main side you can see a clear division of two colours. The top side has a very soft brown background. On it there is a real picture of the IEMS with its cable. On the bottom side the background is black and there is the model name in capital letters, the description of the model and two logos (MMCX and HIFI) located at the bottom of the box. The brand logo can be seen on the long sides of the box. The same logo is on the top of the back of the box, next to the text "Light Year Series". This side continues with the black background. Underneath, the model name and description can be seen in the same way as on the main face. In the centre of the face is a box containing the specifications and the brand's contact details. At the bottom are the various logos of the product's certifications and to the right is an Ean13 barcode. Sliding the cardboard sleeve sideways reveals a matt-finished black box with a logo and the words "Light Year" inscribed in silver in the centre. The box opens like a magnetised box at its longest side. The first thing you notice inside is a sheet of onion paper with the product design and a slogan. Underneath is a thick black foam mould in which the two capsules are located on the left side, while on the right side is the round storage box. The storage box is made of a very good leather look, is black and has the same logo and text as the matt box. After lifting the foam layer, you can access another level of black plastic that contains the rest of the accessories. In summary, the complete contents are as follows:

• The two Rose Star City 5 Pro capsules.
• The round storage box.
• 4 pairs of white tips with wide orange core, sizes XSxSxMxL.
• 3 pairs of white translucent tips with narrow orange core, sizes SxMxL.
• 1 two-strand cable with black textile sheath.
• 1 user manual.
• 1 USB Type-C to 3.5mm female connector adapter.

Rose has kept a surprise inside these accessories. It's a USB Type-C to 3.5mm jack adapter. In short, it is a dongle recognised by both my Android smartphone and my PC as KT USB Audio V1. It has a small cable with a black textile coating, in line with the IEMS cable itself. It is capable of playing 24-bit, 96kHz PCM audio, and I'm not going to analyse the audio quality of such a device. But the inclusion of such a connector alone is a big plus. Turning to the accessories, I really like the look of the round case and the wide-core tips. At least they are different from the usual ones. I have a predilection for textile covered cables. But it should be noted that the cable of the previous QuietSea model reviewed was very hard to beat. Finally, I would like to point out once again that I don't like the MMCX interface and that, in this case, it is not possible to choose a 4.4mm plug, which I find incomprehensible, given that the QuietSea model is possible and cheaper than the current one.



Construction and Design

Rose Technics designs are not simple. True, the previous QuietSea was based on a joint venture with Ikko. But this time, the Star City is very original. With a capsule whose inner side is made of black 3D printed resin, it has a very stylised semi-custom shape, which is far from the more classic shapes in shape and size. As I said, its inner face is small, with a clear projection on the bases of the mouthpieces, looking for a deeper insertion. The mouthpieces are metallic and gold-plated. They have an inclined base, a midrange cylinder with a smaller diameter of 5.2mm and a crown with a diameter of 5.9mm. The outer face consists of two parts, one consisting of a ring attached to a cylinder that houses the MMCX connection interface. The other, which is the rear and outermost cavity. Both are made of metal and are CNC machined. The difference between the inner resin face and the double-composite outer face is very clear. The ring is integrated into the resin cavity, although it has two openings on both sides that reveal the edge of the ring. The backplate retains the "Light Year" series name and icon. It has an opening in the shape of an oval rectangle, protected on the inside by a metal grille. The side cylinder containing the gold-plated MMCX interface has holes on both sides. At the other end of the ring, but integrated into a flat part of the outer base of the resin capsule, there is a hole covered with a metal ring and an orange grille.
Inside the capsule there are 3 drivers, two BA drivers imported from Denmark, one for the midrange and one for the high frequencies. They have been customised by Rose. The dynamic driver has a 10mm Japanese LCP diaphragm, developed by Rose. It has a high-performance N52 magnetic circuit. It uses film capacitors and micro resistors to create a hybrid physical-electronic crossover filter. The interior also houses some dampers all built into the resin capsule.
The cable uses two strands covered with a black textile sheath. The plug is a gold-plated 3.5mm SE plug. Its sleeve is a black, metallic cylinder with the series name "Light Year" written on it in white, capital letters. It has three slots, one near the connector, two near the cable exit. At the cable outlet, the cable is protected by a two-level black plastic sleeve. The splitter piece is a simple small black cylinder, while the fitting piece is made of dark plastic with a double hole inside. The connection interface is gold-plated MMCX and its sleeves are black plastic in the form of a curved cylinder at the cable exit. Finally, it has ear guides. The conductor is made of 6N OCC double-stranded monocrystalline copper with additional wire cores and top shielding layers.
As I said, the designs are quite unique, taking ideas from here and there to create a different, elegant and attractive shape. The cable is manageable and flexible enough, despite its textile covering. It is not as thick and excellent as the cable of the QuietSea, but it maintains a remarkable level. Once again, I miss the possibility of choosing a balanced connection and I insist once again that the MMCX interface is not my favourite. In its defence I have to say that the design helps it stand up well, although it is true that the connectors are susceptible to rotation.



Adjustment and Ergonomics

The capsule assembly is small to medium in size. The inner part of the capsule is very slim, narrow, and projects towards the mouthpieces. It is not the type of capsule that fits completely in the ear canal. Depending on the size of the tips used, they will barely touch any part of the ear. And the insertion can be medium, but not deep, due to the diameter of the tips. Using my classic large foam-filled tips, the fit is very pleasant, almost instantaneous, quite occlusive and durable. It is true that it allows some rotation, but the good fit of the tips ensures a long-lasting insertion, which produces a great isolation, secure and very comfortable. On the other hand, the design of the ring containing the cylinder with the connection interface ensures a very advantageous position of the cable on the ear, which is hardly noticeable. All this, together with the low weight of the capsules, the cable and the softness of the textile cover, makes the whole more comfortable than the individual parts. Clearly excellent, even more so when the comfort extends over hours of use. Very suitable for everyday, outdoor use, even for running or going to the gym.



Sound

Profile

The Star Citys have a balanced profile with a tendency towards clarity, due to their evident emphasis on the midrange and early treble. The bass rises subtly from neutrality, making itself felt with restrained power, thanks to its extension in both directions. The first half of the midrange is not dipped in relation to the bass, but there is a slight imbalance between the second half of the upper midrange. The treble is present in alternating zones of control, while the extension of the higher notes suffers a little. Overall, this is a splashy, vivid sound, which does not forget the bass, although it never dominates. The control in the treble, its more limited extension and the restrained energy at the limit, contribute to maintain a certain overall balance in a sound that I feel exceeds neutrality in its luminous side.



Bass

The lower range of the Star City is quite linear. Its emphasis is fixed at its midrange, while the sub-bass loses relative energy. One aspect that I personally think would have improved the Star City's tuning would have been a generous increase in the sub-bass end. The sound would have gained depth, the bass would have gained authority and its bright side would have been balanced with some warm darkness. But this was not the case. In reality, the bass overcomes the neutrality in a slight way, but never becomes the protagonist. The energy of the bass is just right, although it does have a certain roundness and gumminess that gives it a more voluminous appearance. This achieves a subtle authority that never exceeds in presence or frequency, maintaining a clean and uninvasive area.
The very low-frequency pure tone test reveals a light, subtly sensory sub-bass, low in audibility, but very realistic and natural. As the frequencies increase, this reliable behaviour is accentuated and combined with a very adequate, uncoloured reproduction, which retains a certain darkness and depth, as well as possessing a matching timbre and exemplary behaviour, free of interference from the BA drivers, sounding like a pure canonical dynamic driver. As I say, no vibrations or unwanted colouring are perceived, and this means that its translation to real music generates an optimum result in terms of behaviour. It is not the fastest bass, but it is not dry either, it has a subtle degree of elasticity to generate that certain volume I mentioned at the beginning, which projects its importance and produces a more discernible, evocative and descriptive texture. The sonority of the low notes is very successful and very pleasantly executed. The bases are rounded, voluptuous in just the right measure. This is a bass in its late teens, entering maturity and has managed to stay tight, despite its curves. It sounds very good and performs better, has a certain thickness, but remains agile, technically proficient, balanced and dynamic, but never heavy.
In the dirty, unwieldy and unfiltered bass test, the Star City has proven to execute such passages with astounding ease, without offering any hint of suffering, always maintaining control, delineating the bass lines from each other and from the rest of the frequencies. It has demonstrated the ability to layer and stratify the bases, managing to define them with clarity, definition, without becoming blurred or fuzzy, maintaining separation across the spectrum and, most importantly, sounding natural, realistic, even beautiful. Great work. Too bad some of us want something more. In that sense, even turning up the volume doesn't lose an iota of their control and good work. Very good.



Mids

I like the fact that the centre range of the Star City is not far away. It is noticeable in the frequency response that there is no classic dip in the first half of the midrange. This offers a subtle warmth in this phase and an additional fullness, both in the instruments based in this area and in the male vocals. As it is never predominant, not a hint of muddiness is shown and a quite natural timbre emerges from this zone. However, the sense of body or physicality is not complete, even though the good balance between bass and this phase is reflected in a relatively close, but not leading, fringe. It is neither thick, nor thin, it maintains a certain neutrality in that respect, nor is it exuberant, nor is it relatively restrained. It remains in a broad middle ground, seasoned with the ornamental richness suggested by a distinctly emancipated midrange. However, the imbalance is not pronounced. I can't say that this is an IEMS that focuses more on the details than on the base, because that's not the case. It is true that the tuning seeks that clarity, that level of transparency and light. But the homogeneity between the bass and the first half of the midrange leaves no room for that prominence to be unique or disproportionate. In this way, the Star Citys manage to sound with a good fullness in the initial phase, as well as having an extensive harmonic tilt from 2kHz onwards, but without the sound becoming sibilant, penetrating or piercing. I won't deny that they can sound a little splashy, but the overall character of the sound is not bright, but more calm and balanced, seeking musicality within that situation of crispness and clarity. In that sense, the female voices are the real protagonists, being very full, complete and coherent in their timbre. Here is the flesh that is lacking in the male voices. In the same way, the string instruments and guitars also benefit from this predominance, but maintaining that naturalness that does not become abruptness, as it happens in other occasions. Star City maintain the musicality even in these more explicit situations, and that is a triumph of the tuning of these IEMS.
On the other hand, I've come to forget that this is a triple-driver hybrid. The BA midrange driver is very effective and natural, controlled to a great extent to generate a smooth, rich and pleasant sound, far from any metallic aspect or timbre. On the other hand, the integration between the timbres is also homogeneous, balanced and effective, maintaining a cohesive, full sound without sounding like a wall of sound, which knows how to keep its distance, both horizontally and in depth. The result is a very pleasant, crisp midrange, which is not cold or too descriptive. The Star City are not analytical IEMS, but are quite neutral in that respect, fusing naturalness, sobriety, musicality, ornamental richness, clarity and transparency in very equal terms, albeit with that more visible touch of light. There is certainly a lot of music in the Star City 5 Pro midrange.



Treble

The treble begins in slight recession to create a zone of control or rest, within a relatively excited mid-high range. This effect is smooth and generates a treble with present but restrained energy. The extension is projected and maintained in the first and second phase of the treble, before clearly fading out at 10kHz and above. This is how the Star City's sound suffers from a certain amount of air and is a little more sparse and dry in general, with more delimited edges. On the other hand, up to that point there is a good level of energy that manages to draw a sparkling, explicit treble, with a thinness that matches reality, without sounding too crunchy or forced. Again, the sonority and timbre of the BA treble driver is well controlled and does not fall into the classic pitfalls of cheap drivers. It is explicit enough to show good definition, some edge and resolution, but without losing musicality or sounding piercing or sharp. There is brightness, energy and some power, but it never reaches treble-head territory, far from it. The result is an area that is present, which also supports the rest of the sound, but falls a little short in the air phase.



Soundstage, Separation

The scene appears relatively wide and broad, with a good sense of depth and some height. Overall, it appears more frontal, with a good lateral feel. The elements have a good relationship of closeness to each other. Macro detail is explicit to a good degree, sharing the limelight with voices and instruments, but not dominating. This creates a sense of a sound that is rich and nuanced, but not focused. In this way, the musicality predominates, while the descriptive feel of the music is heightened. Nevertheless, it is not an analytical sound, but a good synergetic balance between the two aspects is maintained.
Micro detail is intuitive and the Star City has good resolution to generate it, but in a soft way. It feels like it has a good level of resolution to interpret it, but it falls a little short when it comes to isolating it, separating it and distancing it from the rest of the layers or sounds. It is there, it is felt, but it is perceived as surrounded by other elements. However, the Star City does not give the feeling of a congested sound, it has good separation, even if it is not very apparent. There is distance between the elements, clear separation, but there is no dark space or background to it. It feels splashy and descriptive, but also musical and natural, well put together and cohesive.
The image is adequate, a medium distance is maintained, there are not many elements that are distant and this generates a feeling of fullness, both ornamental and instrumental. In this way the sound is perceived as full, complete, voluminous and full-bodied. The presence is more rounded and the provenance is not so exact or precise, due to the space occupied in the space. This is how the forms appear smooth, naturally evident, well placed in space, giving a good sense of openness, even if eminently frontal, but with enough space to distinguish many elements within.



Comparisons

7Hz Sonus

The 7Hz Sonus would be a more bass-heavy version of the Rose Star City 5 Pro and somewhat more treble-calmed. With a current price of $51, the Sonus are hybrids (1DD + 1BA) with a U-profile, excited in the sub-bass and mid-highs. With a good design and low weight, the ergonomics are good but not as perfect and comfortable as the Star City. They are larger and bulkier, while the Rose's are smaller and have a privileged fit and adjustment. It comes with good accessories in terms of tips and a leatherette pouch. However, the Rose with its round case and textile-coated cable is superior to the flat cable of the Sonus.
The Rose are easier to move and are more sensitive. They need a little more power to match the volume of the Sonus. I have spoken highly of the Star City's bass and its great behaviour and I corroborate this with the Sonus, whose bass is quite good. I like the bass tuning of the 7Hz, but I think that, qualitatively speaking, the Star City's bass is better in its performance and reproduction. I would have liked to see how the Rose would have sounded with the Sonus bass tuning. It is clear that they would have less colour and would be deeper, but they would certainly be more natural as well. The Sonus' bass is deeper and darker, something that gives it a more suitably coloured punch, while the Star City's feel is more in the mid-bass, something that shifts it into a more coloured, slightly shifted bass, with a different timbre.
The Sonus have a clean midrange, disconnected from the bass, but also somewhat polarised. While the first half is somewhat lean, the second half of the mids is clearly boosted. Male vocals are lonelier on the Sonus. While on the Star City there is a better balance with the rest of the instruments, generating a denser sound. The Sonus sound more U-shaped, with that cleanness in the mids, but with that remoteness that generates a poorer and simpler sound. On the other hand, the Rose's are more lush and generous, enjoyable and full. If you're looking for mids, the Star City 5 Pro is the one for you.
The treble of the Sonus is a bit dry, while the treble of the Star City has more sparkle. Perhaps an average of the two would have been better. But the dryness of the Sonus makes their treble sound less natural, somewhat nuanced, controlled. On the other hand, the Rose's treble has more energy and a more appropriate timbre, perhaps a little more excessive, but certainly crisper. The Sonus offers a thicker, more muted treble. Both have good extension and, subtly, there is a little more air in the 7Hz range.
The U-shaped sound of the Sonus, with its cleaner mids, creates a more vaporous soundstage. You also feel its depth and laterality with greater emphasis. Thus, the music feels wider, more volatile, gauzy and dispersed. Star City are more homogeneous, not as deep, but they are fuller, without hollows. Their soundstage is shallower, somewhat closer, also flatter, not as concave as the Sonus, but fuller and denser. There are many nuances and a more explicit ornamental richness in the Star City, while the Sonus are more sparse. Being less dense, there is more distance between elements. The Star Citys don't sound congested, but there is more music in a smaller space, with less distance. But they manage very well to achieve a superior technical performance than the Sonus. If the 7Hz's have good ability, finesse and speed to achieve good detail at macro and micro levels, the Rose's gain in expressiveness, nuance, even resolution. They may not express detail in as isolated a way as the Sonus, but their sound is richer and more expansive.
The image may be more accurate at 7Hz, but also somewhat more diluted. Star Citys have more body and more obvious positioning.



Conclusion

The Star City 5 Pro are another Rose success. The brand surprises again with a very careful, balanced tuning, which seeks the fullness of the music and achieves a very rich, homogeneous, full, dense and very musical sound. From the bass to the treble, the Star Citys are designed to achieve a synergic sum. Starting from an excellently executed low end, with a lush and wide midrange, crisp and concrete highs are added to recreate a seamless sound, very well represented in all its bands. It is also technically very competent, which adds an all-rounder bonus that makes it very versatile. To round off a great value product, the design, size, ergonomics and accessories all match the music they produce. Without a doubt, the Rose Star City 5 Pro is a fully rounded IEMS and an easy recommendation for those looking for a full and balanced sound, not polarised in any particular band, but highly musical, descriptive, expressive and timbral, yet natural. Plus, they come with a cable-dongle that sounds like nothing else. What more could you ask for?



Sources Used During the Analysis

• Aune Yuki.
• Tempotec V3.
• Tempotec March III.
• Burson Audio Playmate 2.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.

Purchase Link



You can read the full review in Spanish here

Introduction

I must admit that headphone brands from China are like flowers in spring: there are many, many different ones, and a new one is appearing all the time. ZiiGaat seems to be one of them. However, they have been developing OEM and ODM products for numerous global audio brands for more than a decade. Their passion for audio has led them to found their own brand. The name ZiiGaat is an acronym derived from their core values: Zero-in on Ideas, Innovate, Grow and Achieve All Together. They express their desire to collaborate with the audiophile community, listen to their suggestions and work together. Their vision is to be the world's leading brand in collaborative audio solutions. As for the product to be discussed in this review, the ZiiGaat Cinno is a hybrid IEMS with a 10mm liquid crystal polymer dynamic driver for powerful bass and four balanced armature drivers for optimal audio quality, meticulously tuned for a balanced tonal signature, and designed with a tiny, ergonomic shape for comfortable and extended listening sessions. The sub-bass and bass are powerful, the midrange is slightly warm and the treble is perfectly matched to the response of the human pinna. The Cinno is tuned according to the most optimal balanced tonal signature, which is suitable for both audiophile and professional stage use. As stated on their packaging, the Cinno belong to the ZiiPluse series. Actually, the description of the brand is complete and I am only left with the rest of the questions in this review. Let's get to it.



Specifications

• Driver Type: 10mm dynamic driver with LCP diaphragm + 2 BA drivers for midrange and treble + 2 BA drivers for treble.
• Frequency Response: 20Hz + 20kHz.
• Sensitivity: 107dB(at 1KHz/mW)
• THD: <0.5% (@1kHz).
• Impedance: 32Ω
• Nominal power: 5mW.
• Maximum power: 10mW.
• Jack Connector: SE 3.5mm
• Capsule Connection Type: Detachable 2Pin 0.78mm.
• Price: 99$ USD.

Packaging

The ZiiGaat Cinno case is small and black, measuring 116x83x33mm. On the main side, at the top, there is the brand logo, at the bottom left is the name of the model and a small description, all in white letters. In the centre, on the right, there is a semicircle with various fluid colours. On the back side, at the top, are all the icons of the certifications it meets. The lower half repeats the name and description of the model, while at the bottom are the brand's marks. In the centre, the coloured semicircle on a grid is also repeated. Throughout the packaging are capsules of different colours and sizes, like rain falling diagonally. After removing the outer cardboard, a completely black and smooth box appears. Under the lid you can see the two capsules embedded in a foam base lined with black cardboard. Underneath are a pair of transparent zip bags containing the rest of the accessories. In summary, the complete contents are as follows:

• The two ZiiGaat Cinno capsules.
• Three pairs of black silicone tips, sizes SxMxL.
• One two-strand cable with gold-plated 3.5mm SE connector and 2Pin 0.78mm interface.
• One warranty card.

Nothing else, no carrying bag, let alone any accessories for storing the IEMS. In my opinion, the basic packaging should consist of a set of tips and an accessory for storing the set. If we look at the fact that this product costs 99$ USD, the contents are clearly insufficient. In fact, the tips are quite generic and only one set is included. On the other hand, the cable does not seem to be of poor quality, but it is not specified anywhere what materials have been used for the construction of the conductor.



Construction and Design

According to the brand itself: "One of the Cinno's goals was to achieve a sound signature and physical design that would be comfortable and enjoyable even in the longest listening sessions. The Cinno's housing is tiny in relation to the configuration of its drivers." Indeed it is. The capsules are constructed of dark grey polished resin. There are two distinct parts, the outer face and the inner face. The outer side is flat and shows the brand logo in black. The shape of this face has a tendency to resemble a right triangle, but with very rounded corners, so much so that even the sides are also slightly curved. The inner face is smooth and slopes gently downwards towards the nozzles. It has no shape or apex to fit into the pinna, as its size is small and it protrudes only minimally from it. All edges are very rounded, and the thickness is on the thin side. The 2Pin 0.78mm interface is fully integrated into the capsules and does not protrude at all. Next to it there is a hole. There is another hole at the base of the mouthpieces. These nozzles are also integrated with the capsule. They are on a wider circular base, their central part is narrower and the crown is wider, but their step is slightly progressive and irregular, they are not perfect cylinders, but there is a rounded irregularity. The height of the mouthpiece could be up to 5mm. The centre diameter is 5.5mm, while the crown is 6.3mm. The design is solid and robust despite its ultra-light weight. They are relatively small and it is true that for their small size it is difficult to accommodate so many drivers, even though they are not very thick. They must have made good use of the space inside.
The cable has two strands coated with slightly translucent PVC. The inner conductor appears to have a dark turquoise blue coating. The sleeve of the gold-plated SE 3.5mm connector is a black metal cylinder, which has 3 grooves around it, one near the connector, two at the cable outlet. This exit is protected by a rubber sleeve which is tapered in two diameters. The splitter piece is another, smaller, black metal cylinder of the same style, with two grooves near the cable entry and exit. The pin is a metal ring with two holes inside, they are somewhat large and the wires slide through them more than usual, so their adjustment function is minor, sometimes insufficient. The gold-plated 0.78mm pin sleeves are still two black, metallic cylinders. The two grooves are close to the cable entry, while the cylinder becomes conical from them. The cable has an over-ear guide made of a transparent plastic coating. Hard to see, but at the base of the 2Pin connection interface, on the upper short side, there is a blue dot to indicate the left channel and a red dot to indicate the right side.
As the brand itself says, in the construction and design, comfort, lightness and a small size that favours ergonomics and a long-lasting continuous use have been the priority. Despite this, as I said, the capsules look solid and with a simple but quality finish. Although, when you look a little closer, there are small details and finishes that seem a little fragile, such as the nozzle grilles. Worst of all, the glossy surface is a magnet for fingerprints and the slightly stiff cable.



Adjustment and Ergonomics

The Cinno's soft shapes, light weight and small size are a great success in terms of comfort and excellent fit. The mouthpieces are not very long, but have good projection. But, being relatively wide, the insertion varies between shallow and medium, depending on the tips that can be used. As usual, I have used my large foam-filled tips and the fit is immediate, very occlusive. The capsules fit very well in the pinna and once seated they do not rotate or move. As they are not very thick, they do not stick out too much, which helps when wearing them outside the home. These capsules are ideal for daily or sports use thanks to their ergonomics, small size and light weight.



Sound

Profile

The ZiiGaat Cinno's profile is warm, slightly dark, enhanced in the sub-bass, but fairly balanced throughout its frequency range. It is relatively flat from 100Hz to almost 10kHz, moving in a 6dB range, giving an idea of the homogeneity of its profile. It is clear that its foundation is a powerful lower range, warm, full-bodied midrange, a good level of physicality and fullness. The upper-midrange is subtly emancipated, just enough to add a necessary point of transparency and clarity. Beyond that, the treble is extended, slightly flattened, controlled, shaded, but in continuous and gentle descent, to give the sound the necessary harmonics, a very light brightness, with a lot of smoothness and control. The result is a sound that is powerful at its base, but more explicit than one might think when looking at its FR. The midrange is very full, relatively bleed-free and with a lot of personality. The highs have some sparkle with a moderate presence and energy level, as well as a fairly accomplished extension, though admittedly the whole has a dark edge to it.



Bass

The Cinno's bass has that dark, sensory feel that is attractive for a low end. The lower range feels deep and slightly perceptible, but it also comes together with some more audible behaviour that counteracts the good bass performance. This is apparent in the pure tone test. While the more extreme LFOs are reproduced in a dark and sensory way, a very slight parallel vibration appears that detracts from the naturalness during the execution of those very low notes. On the one hand, there is a physical, deep and dark bass, but on the other hand, a certain colouring that prevents it from being perfect. Fortunately, this behaviour does not always affect the performance of the actual music and the subtle vibration that colours the sound is almost always deactivated.
There is a slight pleasant boomy feel to the hit, which prevents it from being completely dry or tight. Likewise, the texture shows up in a similar vein. It is not very rough, but there is texture at the lower end, something that gives it a particular sonority coupled with the sensory focus of the sub-bass. The bass is relatively large and voluminous. In contrast, the perception of air movement or energy is not as high as it might seem. It gives the impression that both volume and energy are spread throughout the range. Although it is also possible that the more sub-bass oriented tuning relieves the pressure and releases the energy.
In the reproduction of dirty, complex, unfiltered bass, I found that sense of duality that is felt in the pure tone test. Not that I'm claiming that the Cinno suffers in these complex situations, but its performance is something particular, something that takes it away from a bass with a more canonical behaviour.
Finally, on a technical level, it doesn't seem to be the most effective, nor the most decisive. Its hit, slightly rubbery, prevents a quicker recovery. Nor does it seem to be the most skilful when it comes to moving in fast passages, losing some precision in this aspect.



Mids

It is clear that the midrange is warm, but there is also a certain darkness combined with a slight lack of brightness. This situation produces a sense of dryness, dullness and nuance in the male voices, feeling somewhat muffled. However, they feel well integrated with the instruments and their blend prevents them from taking centre stage. There is flesh and depth to the lower voices and they feel like they rise from the background. There is a certain level of exuberance in that aspect, especially in that physical part of their base. On the other hand, they feel more limited in the harmonic section, remaining somewhat incomplete and shaded. It is clear that there is no trace of sibilance, but their pattern is too rounded. Something similar happens with the detail. The sound is rather compact and the drivers don't seem to work very airy. Layer generation is not very efficient and background details are barely perceptible. This generates a two-dimensional midrange, there is a deeper area and then a midrange section, where the bulk of the sound is concentrated, both vocals and instruments. The female voices also do not escape this duller warm feeling and a certain lack of sparkle and brightness that might be necessary at times, especially to gain detail and a better finish to the timbre. The level of transparency is just right. The manufacturer claims to have generated a slight peak at 3kHz to add precision and detail. However, in my opinion, it is only sufficient in both these areas. It does not have enough light to gain clarity, nor the precision needed to recreate audible micro detail.
On the other hand, there are always some genres that lend themselves to sounding more pleasing with this safe tuning. If you are looking for a good central presence, while maintaining a certain distance, a meaty, full-bodied sound and a certain level of physicality, the Cinno can be ideal. But as soon as you demand a certain technical performance from them, you will find their limitations.



Treble

The treble is very securely tuned. As mentioned, there is a good extension that prevents them from sounding incomplete. On the other hand, the level of energy, sparkle and brilliance is low. It is a shaded high end, with a limited edge. The high notes feel moderately thick, as in the other frequency ranges. This prevents them from sounding more individualised. The result is a compact, smooth and soft treble. Finally, the airy feel is also low, which helps to make the sound feel somewhat opaque, dark and homogeneous.



Soundstage, Separation

The scene is shown with better depth than width. But I still perceive a sense of depth at a double distance. The bass starts from the background to come closer, while the instrumentation and vocals are in a medium range that can get closer depending on the music. It is never overwhelming, nor completely in the foreground, but forms a more or less thick and dense layer, which does not manage to stratify, nor separate too much. In this sense, the sound is cohesive, without too much three-dimensionality. Nor is there a gaseous or volatile scene, but I wouldn't say it's a compact or congested sound. There is a sense of lack of air and projection in the notes. Detail does not flow and separation is limited by the cohesion and thickness of the notes. Similarly, the level of transparency is medium and the background is not very discernible. The level of resolution and accuracy of the whole is below what one would expect for its price and hybrid construction. Honestly, on the technical side I was expecting a more resolute, descriptive and informative set. But the Cinno is designed to be smooth, pleasant and musical, rather than technical or detailed.
The image is adequate, the provenance of the elements is discernible, though the whole is somewhat diffuse and toned down.



Comparisons



Conclusion

The ZiiGaat Cinno is a hybrid IEMS with 1DD+4BA that is very compact, light, ergonomic and very comfortable. It's very sparing on accessories and that could be forgiven if the implementation of all the drivers had been a little more technical, in my humble opinion of course. The Cinno's have been tuned in a warm-decreasing way, where the main emphasis is on the sub-bass. However, my question is whether 5 drivers (1DD+4BA) are necessary to achieve a limited level of resolution like the Cinno's offer. I have always believed that the use of BA drivers improves the technical performance, as well as offering a more specialised tuning, since their frequency range is narrower, the conjugation of several of them can make it easier to find the desired tuning. In this case, it is clear that the manufacturer has sought such a smooth, warm, homogeneous, cohesive and musical tuning. But it has also fallen into the pitfalls of such tuning, resulting in a sound with average resolution, nuanced and unexplicit detail, and a darker, more opaque profile. I miss more light, more separation, more air, more resolution and a little more sparkle. However, despite all this, I can't help but comment that I have enjoyed listening to the Cinno when my listening has not been critical. Maybe that's what they are, IEMS for everyday use, without too many pretensions other than a quiet enjoyment of the music. On the other hand, my collection is too extensive to ignore other contenders in the same price range that I would choose over the Cinno, even with a similar profile. And many of them only use a single dynamic driver.



Sources Used During the Analysis

• Tempotec March III.
• Tempotec V3.
• Burson Audio Playmate 2.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.

Purchase Link

Introduction

Simgot, the brand that stands for "Simple and Elegant" has re-released a flagship model that uses a second-generation dual-cavity magnetic dynamic driver. This is the Simgot EA1000 Fermat. Upgraded directly from the EA2000, the EA1000 utilises cutting-edge technologies such as SDPGD™ technology, the powerful DMDC™ dynamic driver and the 1DD+1PR hybrid architecture that delivers a fuller and more accurate high-quality sound, greatly enhancing the listening experience. The EA1000 incorporates Sputter Deposition Purple-Gold Diaphragm technology (SDPGD™) technology, which is a specialised diaphragm manufacturing process that results in a diaphragm with high rigidity, lightweight properties and a beautiful purple gold colour. It also employs second-generation DMDC™ dual magnetic and dual chamber technology, optimised for increased magnetic flux and improved control, providing a wider frequency range, exceptional dynamic range and accurate high-frequency performance. The EA1000 uses a 10mm dynamic driver (DD) paired with a passive radiator (PR) configuration. This innovative design improves low-frequency texture and ambient dispersion. The interaction between the purple-gold diaphragm and the airflow in the rear cavity generates subtle vibrations and reflections, fine-tuning the bass and adding natural ambience. Finally, the EA1000s also feature three pairs of interchangeable threaded mouthpieces, which use materials such as brass and stainless steel. With these, users can switch between 3 different tuning styles, extending the adaptability of the headphones and catering to different sound preferences. It is clear that Simgot has made a considerable technological effort in creating this new flagship model. Let's see how that effort translates in this review.



Specifications

• Driver Type: 2nd generation DMDC™ dynamic 10mm dual-magnet, dual-cavity, 2nd generation DMDC™ driver. 6mm passive radiator.
• Diaphragm: Sputter deposition purple gold diaphragm.
• Sensitivity: 127dB/Vrms(@ 1kHz).
• Impedance: 16Ω±15%(@ 1kHz).
• Capsule Connection Type: 2 Pin 0.78mm.
• Frequency Response: 10Hz-50kHz.
• Effective Frequency Response: 20Hz-20kHz.
• Cable: High purity silver plated OFC cable in Litz structure.
• Jack Connector: SE 3.5mm.

Packaging

The Simgot EA1000 Fermat comes in a dark purple square box, whose dimensions are 150x150x50mm. On the front side you can read directly "Fermat's Last Theorem 1637-1995 Demonstrate". This refers to the fact that the conjecture called "Fermat's Last Theorem", made in 1637 by Pierre de Fermat, was not proved until 1995 by Andrew Wiles. It was then that the conjecture became a theorem, after 358 years of effort by mathematicians. The theorem can be stated as follows:

If n is an integer greater than or equal to 3, then there are no positive integers x, y, z, such that the equality:



is satisfied.

This theorem is one of the most famous theorems in the history of mathematics and the one that has taken the longest to prove.
Moving away from the mathematics and back to the product, in the top left corner you can read the brand name and its slogan underneath. In the top right corner is the DMDC™ II (Dual Magnet Dual Cavity) technology logo. At the bottom left are the logos of the SDPGD™ (Sputter Deposition Purple-Gold Diaphragm) and DD+PR (Dynamic Driver + Passive Radiator) technologies. All in gold lettering on that purple background. On the back you can see the three frequency response curves of each nozzle. Each nozzle corresponds to a reference curve. At the bottom are the specifications in several languages, including English. After opening the box there is a black cardboard with the logo on the front side. On the top of the cardboard are the names and dates of the mathematicians who have contributed to solving the proof of Fermat's last theorem. This cardboard is like an envelope, containing a description of the history of the theorem, and on the inside is a card with Fermat's face and the statement of the theorem itself. Behind this cover are three sections containing the capsules, the storage box and the accessories. The capsules are embedded in a foam base protected by black cardboard, located at the top. At the bottom left is the box containing the case. At the bottom right is the box containing the accessories. The complete contents are as follows:

• The two Simgot EA1000 capsules.
• Black and gold card with the statement of Fermat's theorem.
• White card with the formula of Fermat's theorem.
• A sheet containing 6 pairs of translucent white silicone tips, sizes SxMxL.
• A bag containing 8 white, 8 black and 8 red rubber washers.
• A metal plate containing four filters (two brass with white washers and two metal with black washers).
• A rectangular box-shaped case with magnetic closure.
• The high purity silver plated OFC cable in Litz structure, with 2Pin 0.78mm interface and 3.5mm SE plug.

The box is slightly different from the other boxes. It is silver-grey and has the brand logo inscribed on the lid, while the slogan is on the back. It comes in a protective plastic bag. The inside of the case has a sewn rubber band with three compartments, like a pencil case, on the lid. The inside of the case is slightly velvety and has a black pouch with stitched netting at the base. Inside the case is the cable. The cable plug has a plastic protector. The filter plate is inside a black foam block.
The presentation is quite good and the accessories are of good quality, especially the cable and the case. The silicone tips are somewhat generic and there seems to be no difference between the two pairs. The inclusion of the spare washers is appreciated. On the other hand, it is surprising that the model has such a Fermat's theorem image - what is the connection to the model beyond the name?
Finally, one misses the fact that there is no choice of a balanced plug in a model of this price.



Construction and Design

Simgot repeats the successful design of the EA500, adding a white outer plate with a triple arrow pattern on the bottom. In the centre of the outer plate is the brand logo in mirror silver. This plate is made of a highly transparent glass panel. Otherwise, the shape, size and design of the inner side is almost identical to that of the EA500. The Simgot EA1000 features a polished and shiny construction with a two-tier design on the inner side. The capsules are made of metal, except for the outer face, and are mirror-plated. Each consists of two visibly separated faces. The outer face has an equilateral triangle design, with very rounded corners. The border reads 'Fermat' engraved in cursive letters. The rigid, translucent plastic part, which contains the gold-plated 2Pin 0.78mm connection, is slightly recessed. The inner side has two levels. On the lowest level there is a recessed oval, which contains a circular opening, at the bottom of which there is a gold-plated metal grille. It looks like the grille that protects the PR driver. This opening is partially covered by a circular plate held in place by two ribs, in the centre of which is the letter of the channel. Away from this opening, near the base of the mouthpiece and the rim, there is a hole. The second level of the inner face is more rounded and contains the mouthpiece. Close to it is another hole, the bottom of which is protected by a white cloth grid. The nozzles are inclined and have a thread at their tip for attaching the metal filters. The filter with the red O-ring has nothing inside, while the black filter has a foam of the same colour. These filters are made of metal. The third filter is made of gold-plated brass, has a white gasket and has nothing inside. The nozzles have a length of 4.5mm, a smaller diameter of 5.1mm and a larger diameter of 6.1mm at the rim.
The cable consists of two thick strands wound together. It is a high purity silver plated OFC conductor in a Litz structure. You can see that the wires are silver plated with a thicker, flatter wire winding them inside each strand. The protector is transparent PVC. The cable has a velcro strip with the brand slogan. The sleeve of the 3.5mm SE gold-plated plug is a perfect metallic cylinder with a mirror finish. You can read the brand name inscribed lengthwise on it. To protect the cable at its exit it has a tailor-made plastic sleeve. The splitter is again a shiny, silver-plated perfect cylinder, shorter in length. The pin is a gold-plated ring whose inner diameter fits the two strands quite well, doing its job correctly and effectively. The sleeves of the 2Pin 0.78mm connectors are both silver cylinders that maintain the mirror finish, but have a circular groove near the cable exit. The two pins are mounted on a piece of hard plastic, the first base of which is circular and the second rectangular. The letter of the channel is engraved on each cylinder. The cable is somewhat stiff, thick and with a luxurious mirror-metal finish addicted to fingerprints.
As mentioned, the shape of the EA500 model is repeated, albeit with the distinctive addition of the outer face and a thicker cable and improved metal sleeves. Construction is excellent, with a fingerprint-trapping mirror finish, but very robust. You can feel the weight and quality of the materials used, something that also comes through with the cable. Too bad there is no choice of balanced plug.



Adjustment and Ergonomics

Although the capsules look a little large, the two-level design of the inner side of the capsules makes them ergonomic and easy to position inside the pinna. The angle of the mouthpieces is also very good. It is true that, on the whole, they are a little short and the insertion does not go beyond the surface. With some tips, a slightly deeper insertion could be achieved.
You also feel that the weight in the hand is evident, but in the ears it is not noticeable, thanks to the remarkable level of fit and integration. The capsules barely rotate and the fit is high, once you find occlusive and well-fitting tips, as is usually the case with my large foam-filled home-made tips. Thanks to them, the level of isolation is remarkable.



Sound

Profile

The EA1000 has three pairs of nozzles to slightly modify the frequency response. The nozzle with the silver tube and the red washer is based on the H-2019 reference curve, but without reaching such a high sub-bass. Actually, I would have liked it to reach this sub-bass end to compensate for the clear and bright character with some more power at the low end. With the second mouthpiece, made of gold-plated copper and white washer, you get the reference curve of the brand itself, called SIMGOT-Golden 2023. The third nozzle, with a silver tube, black washer and black foam inside, produces the SIMGOT-Classic reference curve. You can see that in all of them there is a drop in the sub-bass that does not reach the level specified by each curve.
Actually, according to my measurements, the differences between the three nozzles are not very big. They follow a rounded w-profile, with excited midrange and neutral bass. The Gold filter is the most relaxed in treble and bass, but is the most excited in the 2khz area. It works for female vocals and is more neutral. The black filter that matches the brand's Classic reference is the most excited in the high end and a bit more penetrating for my taste. Finally, the red filter has more bass and is closer to the H-2019. Not that I am partial to that curve, but I do have more affinity for a tuning with a high sub-bass. I will write this review using this filter.
In short, all tunings lean towards a search for clarity, light and sharpness in the sound, so the bass is somewhat more relegated in the mix, but without its execution and response not being good. And that is something that is achieved with the passive driver, which helps to make the bass more impressive, but without overdoing it in energy, volume or presence.



Bass

The passive radiator is very similar to a dynamic driver, but lacks a coil and magnet. It consists of a cone and a diaphragm and moves with the air displaced by the active dynamic driver. Its purpose is to add low-frequency reinforcement by resonating with the bass frequencies emitted by the active dynamic driver itself. In this case, that does not imply a very high, powerful or heavy bass frequency response. This is not the case at all. Even with the red filter, whose FR is close to the reference H-2019, these IEMS cannot be said to be bass-heavy. It is true that the lower area can be felt and there is power. But I think that the passive radiator has been used to compensate the low end against a more extended and balanced high end. In my opinion, the bass presence is slightly above neutral, subtly centred in the middle of the low range, with a slightly droopy sub-bass, which prevents it from sounding deeper, but with a tuning that gives it a natural behaviour. On the other hand, the passive radiator works very effectively and does not produce any delaying or sluggish action in the bass performance. On the contrary, the base hits are succinct, fast, tight and compact.
In the very low frequency pure tone tests this dry, but natural, uncoloured behaviour can be appreciated, although it can also be seen that the lower frequencies do not have too much power or presence, while their performance is a sensory and audible mix at 50%. This behaviour adds that blend of naturalness, darkness and depth, with the former characteristic benefiting the most. Its translation to real music implies a tight, perceptible bass, not too voluminous, with hardly any aftertaste and a quick recovery. It feels agile, dynamic and capable. In addition, I feel that the passive radiator brings extra texture to an area that, given its characteristics, could be smoother and blander. It's not that it's a rough bass, it's rather clean, but with that extra descriptive touch across its surface, which adds a very attractive, yet natural and more complex feel to it. The whole is very well blended and the behaviour in complicated, dirty passages, with unfiltered bass and excessive power, the EA1000s come out completely well, representing these situations with astonishing ease, but without losing an iota in all its execution. It proves to be a very descriptive, very skilful area, capable of following difficult, intricate lines, defining layers and layering them with fluency and exemplarity. For my personal taste, it lacks a little more energy, volume and depth, a more sensory point. But, it proves to be a great low end, really natural and capable all-rounder.



Mids

The midrange is very clean, clear, transparent, highly resolving, but with a hint of abruptness. I feel that the EA1000s have this cooler, very defined and purely descriptive profile, which takes it away from a softer and more melodious musicality. I like this kind of very well defined profiles, but, it is also true that I miss some more body in the first half of the midrange. I think it is possible to be cold and resolute, but keeping more physicality in that initial phase. This slight lack makes the male vocals lack a bit of edge and punch, sounding very clean, but lean and somewhat thin. I can't deny that they have a good width, but the thinness of the notes makes me miss some weight and energy in the lower voices. On the other hand, their articulation is very good and the dynamics are high, achieving very fast transients and generating a very resolute and descriptive response.
As the frequencies rise, the energy of the notes can be higher, reaching a splashy, present and slightly penetrating midrange. Warm or neutral sources are welcome, to compensate for the cooler, more resolute and sharper development of the second half of the midrange. But despite that thinness, its energy does not overflow, without becoming totally piercing. It is a vibrant, sparkling, fine and swift performance, with that cool, sharp definition, but not hurtful or piercing. It can be a bit abrupt, if this word is used to define a very mobile and resolute sound. Perhaps, so much descriptive capacity can generate this sensation of abruptness or informative fatigue. But, to my ears, it is a sound that is explicit and analytical, detached, clean and effective. But, up to a point. All this ability to tease out nuance and detail generates a very obvious and broad exposure of it, even obscuring micro details located in later layers. That foreground macro detail works against them when it comes to revealing micro details that exist at the same time, but in different layers. It is clear that the EA1000 is capable of expressing them, but when they exist together, they tend to lag behind these main details.
As for the female voices, they are the real protagonists of the range, as well as the stringed instruments or guitars. Their timbre moves between neutrality and a brighter point. It has many harmonics and the notes are enriched by a great amount of nuances, as well as the air, separation, distance and definition to be easily observed. All this makes for a truly rich, highly representative and informative central range, very suitable for music monitoring. On the other hand, the lack of a wider physical base unbalances the midrange towards the high end, slightly polarising the sound towards a brighter, colder and more analytical sound.



Treble

The treble picks up on the many virtues of the dynamic driver: speed, precision, thinness and finesse of notes, energy, definition and resolution, to generate a very expressive, eloquent, sparkling and crisp high end. There is no doubt that the EA1000s have a generous and extended treble, full of power and energy. But they stop at just the right point, or perhaps a little beyond it. If you are looking for soft treble, the EA1000s are not the most appropriate. But if, on the other hand, you are looking for a totally explicit, crisp and defined treble, these Simgot have it. It is also true that the Gold mouthpiece is able to subtly mitigate this behaviour, being the softest of the three, but that slight loss of bass also exposes the treble in a different way.
As the high frequencies advance, they relax their energy level, but their decrease is perceived as controlled, generating an extended high end, with naturally bright and realistic treble, though on the bright side, of course, fully expressive and evident. The extension clearly reaches the air zone and its quantity and incidence are appreciable.



Soundstage, Separation

The scene feels volatile and very airy. The separation and distance between notes reveals a spacious and wide scene, which enjoys very good height, even three-dimensional capacity. Without encircling the head, it has a very good sense of envelopment, thanks to its extension. It lacks some depth in favour of width, laterality and stereo feeling. The dynamism, speed and thinness of the notes help to generate this gaseous and escapist sensation. But it is also able to profile instruments and vocals very well, helping to create a precise and very well positioned image. The sound is very resolute, highly descriptive, clean and transparent. The background is clearly discernible and the elements evident and finite. The midrange and macro detail in the foreground shines through. But, as often happens in these cases, this explicit feeling is capable of obscuring the micro detail located in later layers.



Comparisons

BQEYZ Wind

The BQEYZ Wind had a higher price tag when they first came onto the market. Today, they can even be found at a lower price than the Simgot EA1000. Their technical qualities make them a clear competitor to the Simgot EA1000. Swap the passive radiator for a midrange and low-frequency bone driver and you get the BQEYZ Wind, an IEMS that is also very high-performance, with a similar profile and performance. Starting with the accessories, the cable of both is really very similar. The sleeves are practically the same: perfect cylinders with a mirror finish. The cable is made of two coiled strands. Only the slightly darker colour of the wind conductor seems to be different. Meanwhile, the cable cross-section is almost identical and both the splitter and the pin are also identical, except for the gold-coloured pin on the EA1000. The advantage is that BQEYZ does give a choice between the three terminations. For the rest of the accessories, the Wind offers a larger zipped case, a larger number and variety of tips and the classic cleaning brush.
When it comes to ergonomics, the EA1000s fit very well in my ears and fit very snugly. However, the somewhat short mouthpieces prevent a very occlusive seal in the canal. The mouthpieces of the Wind are somewhat longer and the capsules seem to float more in my ears than fit. However, thanks to the design of their mouthpieces I get a more perfect seal using the same large foam-filled tips.
In terms of sensitivity, the Wind requires considerable power to match volume compared to the EA1000, which are much easier to move.
In terms of profile, the Wind have a very similar frequency response to the EA1000 with the Gold filter. But I preferred to compare using the red filter for the Simgot. The differences between the two with this red filter are visibly concentrated at 2kHz and above. While the EA1000s have a more sustained treble in terms of energy, the Wind is subject to slight control drops in the treble in an attempt to smooth out the upper range.
Regarding the low end, here we are talking about a struggle between two technologies used: the passive radiator used by Simgot in the EA1000 and the bone driver for low and midrange frequencies used by BQEYZ. In my humble opinion, the Wind behaves in a darker, deeper and more natural way than the EA1000. The Simgot's have a bit more colour, seem to be drier, slightly more bass-midrange focused. They may be a little faster, so if you are looking for a precise, technical and tight bass response, the EA1000s will be more appropriate. On the other hand, the Wind's bass is executed with a darker timbre, offering a more sensory response, with a little more texture and volume, which creates a sense of a deeper bass with more range and persistence in the room, making it more enjoyable, but a little more intrusive.
In the midrange, starting in the upper-midrange, you can feel how the EA1000 has a bit more vigour, energy and sparkle in its performance. That gives it a point of clarity, light and superior transparency. The Winds are somewhat more neutral comparatively speaking, also softer, subtly warmer and more mellow. While the EA1000s are even more resolute and evident, with finer and more defined notes, the Wind's feel a little more controlled. The combination of bass darkness and those more shaded midranges and highs contribute to the Wind's less analytical presentation. Their transitions don't seem as quick as the EA1000's, while they lose some transparency and sparkle in their notes, falling a little behind in definition and resolution. The EA1000s are more demanding in this department, sounding more explicit and descriptive, also more analytical, precise and crisp. Conversely, they are also a little more abrupt and persistent, while the Wind are a little lighter to handle in this respect. Perhaps there can be a debate as to which of the two has a better timbre, or a more natural timbre. Perhaps the Wind is more neutral, while the EA1000 has a brighter timbre. But better or worse in this respect may be a matter of taste. Perhaps, in my humble opinion, the Wind provides a more natural or closer to reality timbre. Above all, this is reinforced by the presentation of the bass and the first half of the midrange of the Wind, where the notes are somewhat more diffuse, thicker, darker, but also softer and with a little more body and physicality. Finally and because of these characteristics, the Wind are less sibilant than the EA1000.
The EA1000's apotheosis of clarity in the high end is evident on the Wind. The Simgot's are able to maintain an even, extended energy level throughout the entire range, giving even more of an airy feel to those with this element as their model name. On the other hand, the Winds are softer, don't soar as much, don't sound as crisp and sparkling, and even possess a touch of comparative nuance. The high notes are thinner, thinner, more precise and more evident in the EA1000s. But that level of energy can also become more fatiguing because of its level of exposure.
In terms of separation, the EA1000's greater sense of transparency, light, sharpness, resolution and definition give it the edge in this respect. The greater depth and sense of openness, however, is more noticeable in the Wind, offering a slightly larger stage on all three axes.
The level of macro detail is not as overexposed in the Wind, something that allows a homogeneity in its exposure and allows greater visibility of the smallest details, being a little more delicate with them. Meanwhile, the EA1000 is critical and very exposed in this aspect, capable of being very resolute, but offers a more favourable treatment of macro detail, exposing it above the rest. It is not that there is a loss of detail compared to the Wind, it is just that their exposure is more uneven.
All in all, both IEMS are great rivals and no one would go wrong choosing one or the other. Differences in bass, timbre, smoothness of exposure, level of resolution and definition are the differences. The Simgot's are built like a tank, while the Wind's are a little more delicate with those external grilles, but also slightly less heavy. Finally, the possibility of having three slightly different tunings with the EA1000 may be an advantage in terms of being more sonically versatile.



Conclusion

Simgot manages to capture in the EA1000 what it has been exhibiting in the rest of the lower-priced models: a reference sound, clean, very clear, bright and pure. It adds three mouthpieces to reinterpret this degree of refinement, based on three reference curves, two of its own and the H-2019. And it achieves this great sound with the use of efficient and imaginative technology. It seems that behind this sound there are many hours of work and the result is an analytical, very informative, rich, very special IEMS for the monitoring of music and, of course, for the enjoyment of it.
Built on the very solid base of the EA500, but with the addition of a distinctive, superior touch, expressed on the outside and with a much improved cable, the EA1000 is a true flagship model with a great price/performance ratio.



Sources Used During the Analysis

• Hidizs S9 Pro Plus.
• ifi hip dac 3.
• Aune Yuki.
• 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

Introduction

Rose Technics, the portable audio brand established in 2012, is betting on TWS technology. It currently has 4 such products on the market: Earfree-i3, Lightyear Star Ring ANC, Beetle and the Ceramics model, which is the subject of this review. With the most expensive product costing $44 and the Ceramics currently priced at $30, these products are in the budget segment.
The Rose Ceramics have a 10mm dynamic driver with DLC diaphragm, they specify that a 10-minute charge can provide 6 hours of playback, while a full charge (40 minutes) can provide up to 7 hours. They use the latest Bluetooth v5.3 protocol with very low latency, 0.060s thanks to LLR (Lightning Latency Reduction) technology. They use an ergonomic design based on more than 70 iterations and more than 2000 tested ear canals. They have an IP54 waterproof rating. There is also an APP, called Roselink, with which some functions of the TWS can be controlled. Let's take a closer look at what Rose has prepared for this model in the following review.



Specifications

• Audio format: AAC/ mSBC/ SBC.
• Playback time: 35H.
• Charging time: approx. 40Min.
• Noise control: ENC.
• Interface type: USB-C.
• Bluetooth version: 5.3.
• Operating range: 15m
• Controller unit diameter: 10 mm.
• Impedance: 32Ω.
• Frequency response range: 20 - 20000Hz.

Packaging

The Rose Ceramics come in a small white cardboard box, whose dimensions are 102x102x36mm. On the front side there is a real picture of the TWS in its charging box. Underneath is the model name and a description of the product, all in black lettering. In the top left corner is the "Super Charge" logo and in the top right corner is the brand logo. On the back are the specifications, the brand's contact details, the contact details of the representative in Europe, a QR code with the address to download the RoseLink APP. Finally, at the bottom of this side, you can see the characteristics of the battery, as well as the logos of the certifications that the product complies with.
The box is sealed and can be easily opened by means of a die-cut strip at the top. Inside are two small boxes of different sizes, one twice as wide as the other. Both are made of white cardboard and have the brand logo on the front. The larger one has the box that houses the TWS and the other the accessories. In summary, the complete contents are as follows:

• A black box protecting the charging box.
• The charging box with the two TWS.
• The two TWS Ceramics.
• Three pairs of black silicone tips, sizes SxMxL.
• One USB charging cable (Type-C to Type-A).
• One instruction manual.

It is customary for Rose to incorporate a black protective box with the Rose logo inscribed on it. Inside it is custom made and padded to protect the charging box of the TWS. This little box is not as big as the old ones and this is appreciated. It is only slightly larger than the charging box. Although it is true that it can be a bit more cumbersome to carry both, given the small size of the charging box. The charging box is grey and has an LED on the front face. On the lid is the model name and underneath is the LED, the brand logo and the name, in grey letters. As usual, the connectors are protected by plastic sheets.
The contents are just the right amount. But I would like to emphasise once again that the extra protection box is very welcome for the low price of these TWS.



Construction and Design

The Rose Ceramics are high-fidelity wireless stereo headphones with HD microphones. They are Bluetooth 5.3 compliant. They have a gaming latency of 60ms, 35h battery life with Super Charge, and are IP54 rated for water resistance. They feature a 10mm DLC dynamic driver. The dual HD microphones have up to 90% ambient noise cancellation.
The charging box is constructed of glossy plastic. Its dimensions are 62x44x25mm. At the bottom is the USB Type-C socket for charging, as well as a button for resetting the TWS. It is available in three colours, black, grey and pink. The model under review is grey, which is the colour of both the charging box and the TWS. The headphones are also made of hard plastic, but matt. Both have touch panels on the outside. On it you can read the brand name and see the brand logo in its centre. There is a hole on the edge of the crown of the outer face. I think it is the hole for the microphones. Although near the base of the mouthpieces there are two more elongated holes that could be microphones. The capsules have a hybrid shape between a sphere and a cylinder. Their shape is crescent-shaped until the split, while the inner side shrinks rapidly. On the inner side are the charge connectors, which are two, the inscribed channel letter and a further hole. The nozzles are very short and transparent. They are protected by a fine dark mesh. It has two diameters, the lower one is 4.6mm, while the upper crown is almost 6.1mm. Their full length is very short, about 3.5mm.
They are a budget TWS, so there is not much to criticise about their construction. If they are IPS54 certified on top of that, they are not bad. They are very light and look tough.



Adjustment and Ergonomics

Rose specifies that their ergonomic design has been based on more than 70 iterations and that more than 2000 ear canal profiles have been used. Actually, their design is very compact, they are a bit stubby, but they fit me very well. Although the mouthpieces are very short, I could say that the large tips fit me very well, which is unusual, given the unique morphology of my particularly wide ear canal. However, the sound obtained with these tips, as well as the fit, grip and seal, is excellent, something I didn't expect. With a very low weight, their shape fits very well and they are very comfortable to wear for hours on end.



Operation and Connection

The Rose Ceramics use Bluetooth v5.3 and the formats are AAC/ mSBC/ SBC. They are not the best in terms of audio quality, but they are very stable. My flat is small, but I can walk all over it without any loss of connection or drop in audio quality, even if there are walls and doors in the way. So, clearly, the specified 15m operating range is met.
The Rose Ceramics allow pairing with two sources at the same time. The system for doing this is given in the manual. I tested it with my mobile phone and the Fiio BTA30 Pro at the same time and it worked correctly. This allowed me to listen to music connected to my PC via the Fiio BTA30 used as a DAC and to take calls with my smartphone when necessary.
The rest of the functions are as follows:

• Volume +: one touch on the right capsule.
• Volume -: one touch on the left capsule.
• Previous song: two-second press on the left capsule.
• Next song: two-second press on the right capsule.
• Play/pause: two consecutive taps on any capsule.
• Voice assistant: three consecutive taps on the right capsule.
• Reject calls: two two-second presses on any capsule.
• Accept calls: two consecutive taps on any capsule.
• Play mode: four consecutive taps on any capsule.
• Pitch change (HiFi/Pop/Rock): three consecutive taps on the left capsule.
• Power on/off: long press on any capsule.

It should be noted that the Rose Ceramics have touch panels on the outside and when pressed, an acoustic acknowledgement is received. They have a rather medium sensitivity and are not very quick to respond to touches, as you have to wait for an acoustic acknowledgement after each touch. So you have to give the right frequency in order to be able to tap in succession. You also receive verbal notifications in English, about some actions, such as mode changes, when switching on or when entering pairing mode or connecting. The voice is very quiet, as usual.
There is an APP called RoseLink, which weighs 55.54MB in version 2.2.2(2115) at the time of writing. It allows you to see the TWS load, change modes and update firmware. It fails to connect to the TWS fully and changing options does not seem to work. The only option that seems to work is switching to game mode, but not always. It is too heavy an APP in size for it to have such poor and ineffective performance. I hope it improves. But apart from knowing how to load the TWS, as well as updating the firmware, it doesn't offer any other appreciated features.
It seems that its charging is quite fast and with 10 minutes you are assured of a 6h operation. With 40 minutes of charging you reach the maximum of 7h. To gain that extra hour, an additional 30 minutes of charging is required. It seems that the charging base allows 5 recharges, reaching the specified 35h.
It has a game mode where the latency is only 60ms. I have not tested it. It seems that the game mode is just for that. To listen to music it is better to exit this mode.
The LED on the charging box is colour coded to indicate the charging of the charging box as well as the charging of the TWS.
The lower button at the bottom of the charging box allows you to reset the TWS. To do this, it must be pressed for 10 seconds.
As a summary of this section I would like to comment that the number of tactile options makes it difficult to remember them all. It is good that it has different tunings and a low latency game mode. But the connection modes are basic, no HD, although its connection is stable, it does not exceed the basic 44.1kHz sampling.



Sound

Profile

The Rose Ceramics' profile starts from a controlled V-tuning for HiFi mode, in which the high mids are slightly forward, while the highs are soft and shaded. When switching to Pop mode there is a bass emphasis of 5dB, while gaining 3dB from the midrange onwards. Rock mode adds a further 2dB to the bass above Pop mode, but relaxes the midrange, which starts almost even at 2.5kHz and gradually rises to almost 4dB at the 7kHz point. As can be seen, the Pop and Rock modes emphasise the V-profile, becoming quite pronounced. On the other hand, it is worth mentioning the amount of air that the Ceramics have, something that is not usual in budget TWSs.
Another thing I would like to comment on is that the total power of the Rose Ceramics is a little fair.



Bass

The low end of the Ceramics is quite emphasised. If we start from the HiFi mode, you feel that the bass is centred in the midrange, a bit lazy and rounded, a bit diffuse and not too explicit. Moving directly to the pure tone test, in HiFi mode the sub-bass is not very sensory and not very perceptible. As the frequencies rise the tone becomes more coloured and audible, but with little depth and low-medium energy. In Pop mode the lower sub-bass is still barely noticeable, but the range gains in energy, presence and volume, even sounding more realistic. In Rock mode this behaviour is enhanced, gaining in depth and darkness, but you feel how the bass is slower to recover, more rounded, to the point of engulfing the rest of the frequencies, especially the first treble, which feels muffled and nuanced.
The result in HiFi mode is somewhat light, close to neutrality, while in Pop and Rock modes the difference is too great. I would have placed the Rock mode in between HiFi and Pop, to get the benefit of more depth, energy and volume, but without dulling the rest of the frequencies, which is what happens with these Pop and Rock modes by boosting the bass by that amount.
In short, the HiFi mode is neutral, but not very effective, it doesn't sound very natural, it should be faster and more resolving, but it's still diffuse and undefined. In Pop or Rock modes, presence, depth and a little more realism, energy and volume are gained, but it is still a rounded and unpolished bass, which does not gain in resolution and affects the rest of the frequencies.



Mids

I still think that HiFi mode is the most suitable mode for music playback. Pop mode boosts the bass and high midranges, but the higher bass gain obscures the sound rather than enlivens it. This feeling is more pronounced in Rock mode, where the bass floods the music and the detail is very shaded. Vocals are more natural in HiFi mode, especially female vocals. The Pop mode gives a little more body to the male vocals, but I go back to the HiFi mode to recover detail and naturalness, as in Rock mode the male vocals become too cavernous. As I said before, a mode in between HiFi and Pop would have been more beneficial.
The midrange representation is simplistic, without too many embellishments, slightly muted, without too much life or sparkle. There is not much perceived dynamics or depth.
With Pop and Rock modes the profile becomes more V-shaped and this penalises the timbre and realism of certain instruments. The HiFi mode fixes this feeling, being more natural.
Another thing that doesn't quite fit is the choice of mode names. The HiFi mode can be saved, but the Pop or Rock modes do not live up to their name as they do not enhance these genres. The Rock mode could be called Bass mode, it would have been more realistic.



Treble

For treble reproduction I would discard the Rock mode, it feels like the bass darken the sound too much, even though you can see an enhancement in the graphic. But if the bass is played at the same time as the treble, the high notes will be affected. This phenomenon happens to a lesser extent in Pop mode, as the elevation of the midrange and upwards seems to compensate for the negative effect of the bass. It is clear that the bass does not sound very natural in HiFi mode, but the treble does. They also have a bit more extension and sparkle. But really, this is a V-tuned TWS with controlled and smooth treble. There is a point of initial excitement, hence the initial brightness, which has a certain realism (not too much) but you can live with it. Pop mode raises the amount of sparkle and would be most appropriate for representing the upper range. In this sense, Pop mode works for some things, gaining naturalness in the bass and exciting the treble. Actually, such a mode could be used for electronic music.
On the other hand, the representation of the treble is still simplistic, recreating only the most obvious notes. The treble does not have the right edge to discern detail, being rather coarse to represent harmonics.
Finally, there is a certain feeling of air that does not really affect the sound.



Soundstage, Separation

The Ceramics stage is front-facing, the side-to-side and stereo feel is very fair, as is the height. Depth in HiFi mode feels a bit clipped, something is gained in Pop mode. However, the sense of definition and resolution is limited in all modes. Detail works at the macro level, there is not much harmonic richness and no note extension here either. The sounds are simple and sparse, without much life, with an informative level that only passes muster. However, the timbre fails at times. If the bass doesn't sound natural in HiFi mode, this mode is better for the treble. Pop mode gives more depth and realism to the low notes, as well as depth, but leaves the midranges deeper, disadvantaging some instruments. There is no mode that works completely well. Again, I insist that a hybrid between HiFi and Pop mode would have alleviated some aspects. However, the sound remains up front, somewhat congested, simple, without much separation and focused on macro detail. There is no definition or resolution to present fine detail, only midrange detail is discernible. Nor is it adept at recreating or layering or stratifying sound. Thus, the image is only intuitive.



Conclusion

There is a lot that the Rose Ceramics can do. They have a large number of commands and modes, three different tunings (HiFi, Pop and Rock) that involve variations of a light V-profile at their base, to emphasise it in Rock mode. They have a gaming mode that reduces latency to 60ms. They are very ergonomic and lightweight. The front panels work relatively well and have a case to protect the whole thing. They can be connected to two Bluetooth sources and their chip is version 5.3. All in all, the Rose Ceramics can be very versatile for many day-to-day scenarios, as they have two HD microphones that seem to work quite well. However, when it comes to sound, they fall short of the mark. None of the music modes seem to be complete, there are things that some do better than others. But it is a limited set in terms of sound, if you only want to listen to music. It is true that its price is very low, but wanting to do many things at the same time for that money must penalise some other aspects. If you are looking for a main use to make calls, play games, watch series or movies and listen to music without too many pretensions, the Rose Ceramics can be a good ally. If you like bass, the Ceramics may also fit the bill. But on the other hand, in the frequency range, it is a mixed package with ups and downs that can make you look elsewhere.
Finally, it is not fair to compare the sound of these TWS with other wired IEMS of the same price, not even for half the price. It is clear that the budget TWSs have a long way to go in terms of sound quality and power. But if we take into account that these Rose Ceramics can be found for as little as $25, the price/performance ratio can change a lot and that's where this solution can work against the direct competition.



Sources Used During the Analysis

• Xiaomi Redmi Note 8 Pro.
• Fiio BTA30 Pro.

Purchase Link



You can read the full review in Spanish here

Introduction

This is the first time I have reviewed an ifi product. Although I own the ifi ZEN CAN which I bought some time ago, I had not tried a source from this brand. Established in 2012 and with a distribution centre in the USA, ifi has its own way out of the other brands from the east. Very faithful to the Burr-Brown chips, the brand has a classic touch in its sound that is already a trademark of the house. This time I have been able to enjoy on loan for a few weeks this small portable DAC/AMP in its third generation, called if hip dac 3. It is a battery-powered DAC/AMP with a shape reminiscent of a small flask adorned with a Titanium Shadow tone. It has an aluminium casing and virtually all of the brand's signature features: iEMatch technology, metal film capacitors, updated version of ifi's GMT circuitry, along with a new crystal oscillator, Burr-Brown DAC, 16-core XMOS chip, true balanced circuitry, custom iFi OV op-amp, switchable gain selector called PowerMatch, Xbass bass boost selector, MQA support, DSD up to 256 and PCM up to 384 kHz. There are two USB Type-C ports, one for data and one for charging, with LED indicator included, two audio outputs (SE 3.5mm and BAL 4.4mm) and a 2,200 mAh battery that offers up to 12 hours of playback. Let's take a closer look at what this new ifi product has to offer.



Specifications

• Input: USB-C
• Supported formats: DSD256 / PCM384kHz / Full MQA decoder.
• DAC: Burr Brown.
• Headphone outputs: BAL 4.4 mm, SE 3.5 mm.
• Output power (RMS): BAL 400mW @ 32Ω; 6.3V @ 600Ω.
• Output power (RMS): SE 280mW @ 32Ω; 3.2V @ 600Ω.
• SNR BAL: <109dB(A) @ 0dBFS.
• SNR SE: <103dB(A) @ 0dBFS.
• DNR BAL: <109dB(A).
• DNR SE: <103dB(A).
• THD + N BAL: <0.006X% (360mW/2.0V @ 600Ω).
• THD + N SE: <0.01% (100mW/1.27V @ 16Ω).
• Frequency response: 20Hz - 45kHz (-3dB).
• Power consumption: <2W standby, 4W max.
• Battery: 2,200 mAh lithium polymer.
• Battery life: up to 12 hours.
• Power system Charging via USB-C, compatible with BC V1.2 up to 1000mA charging current.
• Dimensions: 102x70x14mm (4.0" x 2.8" x 0.6").
• Net weight: 135g.

Packaging

The ifi hip dac 3 comes in a small white box, whose dimensions are 126x93x38mm. On the front side there is a real picture of the product. At the top is the brand logo, at the bottom is the model name and the description of the model. On the back side there is a description of the motivation of the product, the main features, a description of the content, the specifications and the certifications it complies with. After sliding off the box, the product is shown inside a white protective pouch, inside a cardboard base. Attached to the pouch is a sticker with a smiley headphone smiley thanking you for your choice. Underneath is a double-sided quick manual card and the rest of the accessories. In a nutshell:

• The ifi hip dac 3.
• Quick manual.
• USB-A to USB-C cable.
• USB-C to USB-C cable.
• Instruction manual.
• MQA card.
• 4 white rubber bases.
• Brand logo sticker.

A protective cover is missing, but is sold separately. The cables are short, clearly for portable use. There is a difference between the two cables, while the USB-C to USB-C cable has a textile coating that makes it look better, the USB-A to USB-C cable is more generic, black and plastic-coated.
The packaging is really compact, with just enough and minimal frills. Just adequate, but nice in its size.



Construction and Design

The hip dac 3 is a small, oval flask encased in aluminium alloy and painted in a shade called Titanium Shadow. The body is compact, the casing has a good thickness and the whole thing is relatively light at 135g. The top face has only the brand logo in the centre, in black ink. On the underside are all the informative legends and icons, including one that says something like "designed and built in the UK, made in China". There is also the iEMatch selector. On the front face, from left to right, is the Power Match gain selector, the Xbass bass selector, the potentiometer, the 4.4mm BAL headphone output and the 3.5mm SE output. The selectors have a white LED indicating their activation, while on both sides of the potentiometer there are two curved green LEDs indicating that the device is switched on. On the back, from left to right, is the USB Type-C data port, a sticker with a QR code, a sticker with the Hi-Res Audio logo, the USB Type-C charging port with an LED (red to indicate low battery and white while charging). Little else.
I don't like that the iEMach selector is underneath and its travel is a little short, while its movement is a little rough and unsteady. Otherwise the design is compact, feels quite robust, has LEDs indicating almost all options and the weight is low for its power.



Connectivity

The ifi hip dac 3 can be connected to an Android smartphone via the USB-C to USB-C cable. It can also be connected to an Apple smartphone via a Lightning to USB adapter (not included). It can be connected to any PC, tablet or device with a compatible USB output, but only via the data port. For use with Apple iOS and Android devices, battery powered use is recommended,
otherwise you may receive error messages from your device. For use with PC it is necessary to download drivers. It has ASIO drivers and you can update the firmware from here:

www.ifi-audio.com/download-hub/



Operativity

The ifi hip dac 3 is switched on by moving the potentiometer clockwise and after hearing the click. It is a powerful device and it is recommended to start listening from the lowest volume range. It has a gain selector, ifi calls it PowerMatch. It increases the gain by 10dB. It has a bass boost selector, which ifi calls Xbass. This is an analogue circuit designed to "recover" the lost bass response.
The LEDs on both sides of the potentiometer light up in different colours to give information about the format being played:

• Yellow: PCM 44.1/48kHz
• White: PCM 88,2/96/176,4/192/352,8/384kHz
• Cyan: DSD 64/128
• Red: DSD 256
• Green: MQA
• Blue: MQA Studio
• Magenta: Original Sample Rate* (*MQB)

The iEMatch is a selector that reduces the output level. It allows more sensitive headphones to be used with the high part of the potentiometer, whose results are more linear. It is also used for more precision with the volume. It can be activated for 3.5mm SE output, 4.4mm BAL output or deactivated.
The device has a dedicated USB Type-C port for data and a dedicated USB Type-C port for charging. Charging the battery can take up to 3 hours using a powerful USB charger. It is recommended to use the included USB-A to USB-C cable, a smart charger or a standard charger up to 6.3V.
The battery indicator LED is colour coded as follows:

• White* > 75%
• Green* > 25%
• Red* > 10%
• Red* > 10%
• Red (flashing) ≤ 10%

*The battery LED will flash when the battery is charging.



Measures

Let's see how iEMatch behaves. In my opinion, it is an attenuator. Ifi could use three gain modes and save this circuit. Although, it is possible that it affects something else. The unloaded output at low gain almost reaches 1V RMS per SE, with the iEMatch activated in the 3.5mm position the voltage stays at 0.23V, a very drastic drop. Given that the output impedance per SE that I have measured is 0.32Ω, is it possible that the iEMatch decreases this impedance even more? Measuring that value is difficult for me because the voltage is low and my measuring equipment is not very accurate in that range. But, it seems that lowering the output impedance even further would be possible in an accurate circuit and achieve much lower background noise. In the same way, it is possible to use the potentiometer in the higher range, where the outputs are also more even between channels.
You can activate the iEMatch with high gain, but you can't go to the maximum volume because you see a clear distortion. The system stays at about 0.44V RMS.
Something similar happens at the balanced output. At the low gain output it delivers 1.9V, with iEMatch activated at the 4.4mm position it reaches 0.46V. Activating the high gain is the same as for SE, you can't reach the maximum volume with iEMatch activated, staying at 0.57V RMS without visible distortion.
The output impedance of BAL at low gain is almost negligible, 0.1Ω.







No Load SE

For SE at low gain you don't reach 1V RMS. At high gain you get up to 3.1V RMS.



15 Ω SE

For SE at high gain you get 1.46V RMS, which means 140mW power and over 97mA. Very good.



33 Ω SE

For SE at high gain you get 2.55V RMS, giving you 200mW of power and more than 77mA. The specifications say that 280mW should be reached and for that you should reach 3V RMS, something I have not been able to corroborate, as above 2.6V RMS there is visible distortion in the audible range.



100 Ω SE

For SE at high gain you get 3.1V RMS, with the volume at maximum. 96MW and 31mA.



No Load BAL

Without BAL load at low gain it reaches 1.92V and at high gain 6.25V RMS.





15 Ω BAL

For BAL at high gain you get 1.54V RMS, which is 160mW and 100mA. Surprisingly powerful.



33 Ω BAL

For BAL at high gain you get 3.31V RMS, giving 330mW and 100mA as well. 400mW is specified, for that the voltage should be 3.58V RMS. It's not far off, but it doesn't reach that value over the whole frequency range without visible distortion.



100 Ω BAL

My surprise was that I could not reach the maximum volume with this impedance. It reaches 5.52V RMS and the power is 300mW. A bit disappointing considering that the current is only 55mA.



Frequency Response

The frequency response is flat between 5Hz and 40kHz, as it should be for a Hi-Res product. No difference is observed between channels at medium volume.
Activating the Xbass selector gives an increase in the lower range which is 12dB at 5Hz, 10dB at 20Hz, 8dB at 40Hz, 4dB at 100Hz, 2dB at 200Hz and the curve joins the original without Xbass beyond 1khz.



Sound

Audio brands usually have some kind of house sound. With ifi this is absolutely true. The ifi sound is often associated with a warm, organic, analogue sound. And a lot of that may be due to the technology it uses. Ifi is faithful to Burr Brown dacs, analogue amplification and the use of the best electronic components.
Although I have only tested the ZEN CAN amplifier and this hip dac 3, perhaps I should not generalise this premise to the rest of the devices. However, both the components used and the brand itself are looking for something in that direction. But when I tried the hip dac 3 I was surprised that this feeling was not so pronounced. I think this device has those certain nuances, but it also has a sound that tends towards a realistic, mature, descriptive and wide neutrality. I was surprised to find a wide and voluminous soundstage, superior to many dongles or similar devices I own, with more flesh, weight, body and size. At that point, I set about comparing the hip dac 3 with those small devices, looking for that juicy, physical, extended sound. In fact, I didn't find it and that's why I have admitted the first superior value of this music flask.
Starting with a more concrete description of the sound, in the low end, the hip dac 3 offers a very deep range, with a slight rubberiness associated with a sense of darkness that gives it that realistic, analogue feel. It has a bit more flesh and physicality compared to cooler dacs, which can sound more dry or sterile. The hip dac 3 is juicier in this respect, offering a rounder, fuller bottom end. I get the impression that the bass hit has more travel, offering a more discernible, rougher texture. Although it is also less compact, compared to Sabre dacs like the EarMen TR-Amp. In this way, I feel the bass is longer, subtly slower in its recovery, but also with that extra physical part, extension and texture, which makes it more exciting and fun, without losing its good technical capacity.
In the midrange I continue to get that sense of physicality and body, which enhances the sound and adds a sense of volume and space, without having to fiddle with the potentiometer to make up for it. In this way, male vocals feel full and very full, enriched by the warm character of the hip dac 3. On the other hand, the profile's orientation towards neutrality is demonstrated in the clarity of the midrange. Without feeling forced or exalted, the midranges are clean, transparent and separated, reproduced with ease, but in a very complete and descriptive way. This is how the instruments are described in a quite vivid, even lush analogue way, winning the emotional game against other more bland, cold and sterile dacs. My feeling is that the hip dac 3 offers a juicier, more organic and natural sound that makes it more enjoyable, at the same time more palpable, surrounding, even voluptuous and full of attractive musicality. Despite the above, the hip dac 3 doesn't lose detail, it just exposes itself on a slightly different plane. My sense is that the body and physicality of the bass remains at a closer point, while the micro detail remains explicit, albeit on a plane not quite as close as the TR-Amp represents it. Its visibility is about the same, but there is a subtly greater density surrounding it.
I find the ifi sound represented in the treble. The analogue aspect of the high notes means that they are represented in a softer way at their end point. While the TR-Amp is more vivid, sparkling and fine in the last flash, the hip dac 3 ends the treble in a subtly rounder way, which gives it that point of musical softness, which is appreciated after hours of intense listening. The result is an equally explicit, extended, transparent, clean and separated high end, but less sharp and penetrating. It's not that there is a drop in the energy level, it's not a nuanced treble, but that the energy is more controlled, more distributed and emitted with a little less drive and edge.
But if there is something that I liked and surprised me about this portable device, as I mentioned at the beginning of this section, it was the sensation of spaciousness and scene. Without being a monster in this aspect, the sensation of volume, occupied space and depth, made me compare it with several similar products, searching in those, the size of that scene to find out if it was superior. The truth is that it has not been easy to find a device at that price level. That is why I must conclude that the hip dac 3 is excellent in this respect. Thanks to the physical, powerful, energetic feel of the bass, coupled with its level of depth, rounder body and extension, the soundstage feels wide, voluminous and more three-dimensional. It doesn't quite have that enveloping, gaseous, head-over-heels sensation, as I think the analogue nature of the sound gives it a realistic spatial attachment, without becoming detached or volatile. However, this does not detract from the fact that it possesses a remarkable sense of height, openness, distance between notes and separation. In that more technical aspect, this ifi is able to discern the micro detail as other dacs more analytical, but without getting to expose it in a more preferential plane, but more realistic or perhaps, a little behind the voluptuousness of the bass or first midranges.



Conclusion

The ifi hip dac 3 is a very portable device that is powerful, musical, very versatile and highly equipped. Ifi didn't want to leave anything behind and has equipped this device with almost all the improvements of its big brothers: iEMatch, PowerMatch, Xbass, dual audio output BAL 4.4mm and SE 3.5mm, integrated 2,200 mAh lithium battery, analogue potentiometer, separate USB Type-C connections for data and charging, the best electronic components, Burr Brown dac, MQA, DSD 256 and PCM up to 384khz. All this in a small, slim flask with a Titanium Shadow aluminium body. Not to mention a very competitive price, the ifi hip dac 3 can be a very effective entry-level device for multiple scenarios, which will make it unnecessary to carry other more expensive, even more bulky dongles or desktop systems, given its power, sound quality, size, connectivity and all those features I've already mentioned. Does the rest of the competition have all that at this price? Answer for yourself.



Earphones and Sources Used During Analysis

• Hidizs MP145 Golden Titanium
• BQEYZ Wind.
• Letshuoer S15.
• Letshuoer Cadenza 4.
• NiceHCK Himalaya.
• Rose Martini.
• Simgot EA1000 Fermat.
• TinHiFi T5s.
• Rose Star City 5 Pro.
• Shozy P20.
• Hidizs AP80 PRO-X Red Copper LE
• Xiaomi Redmi Note 8 Pro

Purchase Link



You can read the full review in Spanish here

Introduction

The popular AliExpress shop specialising in portable audio products has re-released a new low-budget IEMS model. It is a hybrid model with a dynamic driver and a BA driver. The dynamic driver has a 10mm titanium-plated graphene diaphragm. The BA driver is integrated into the mouthpiece channel, to reduce any loss of high frequencies. A PCB board with an electronic frequency divider is included. A similar process to the top model NX7 MK4 has been used for its manufacture. The front panel is made of drop-moulded resin, with an aluminium alloy bezel and a PC (polycarbonate) capsule. It comes in a choice of three finishes (blue, purple and black) and is wired with or without a microphone. Let's see what this new model, priced at less than $20, has to offer.



Specifications

• Driver Type: 1DD 10mm with titanium plated graphene diaphragm + 1BA.
• Frequency Response: 20-20kHz.
• Sensitivity: 107dB/mW.
• Impedance: 16Ω
• Capsule material: PC+aluminium alloy.
• Jack Connector: SE 3.5mm
• Capsule Connection Type: 2Pin 0.78mm
• Cable Material: High purity OFC.

Packaging

The NiceHCK DB2 comes in a white box decorated with an anime girl, something that is becoming a classic in many brands. Its size is medium and its dimensions are 177x121x39mm. On the main side, on the top left is the logo of the brand and on the right the model. On the back side, this information is repeated, as well as the model specifications. There is a short description of the product, as well as the date of manufacture of the product (2023-11-24). There are also the brand's branding and the icons of the specifications it meets, all in Chinese and English. After opening the box, you can see a card with the anime girl at the bottom. On top, inside a white foam mould, are the capsules. Underneath is a black leatherette purse, which contains the rest of the accessories. In summary, the complete contents are as follows:

• The two DB2 capsules.
• A card with the anime girl.
• An instruction manual.
• A certificate of quality.
• A card with the social networks.
• One high purity OFC cable with 3.5mm SE jack and 2Pin 0.78mm connection.
• A set of silicone tips model "NiceHCK 07" sizes S, M-(black), M (blue), M (White), L.
• A set of grey silicone tips, sizes SxMxL.
• A purse type bag in black imitation leather.

Actually, the amount of accessories is not bad for the price and includes a complete set of silicone tips model 07, whose separate price is more than 5$. It also includes a cable which is not bad for its low stiffness. It is clear that the sleeves are made of plastic, but it consists of 4 rolled strands which are not bad. On the other hand, the leather-like pouch has the brand's logo engraved on it and has a closure with two flexible metal sheets, like a coin purse.
The packaging is not as compact as I would have liked, but that's almost the least of it for the price of the set.



Construction and Design

As the brand itself says, the DB2s have the same design as the NX7 MK4. Perhaps the outer plate is the difference, not as refined as the top model. The front panel is made of drop-moulded resin, with an aluminium alloy bezel and a PC (polycarbonate) capsule. The shape of the face is classic African continental, but with rounded edges. The inside is also very rounded, transparent, not very thick. There is a hole in the centre of the DD, on the inner side. The whole is light and midrange in size. On this occasion, the gilt rim has no engraving. There is a rectangular, shallow plate, which contains the 2PIN 0.78mm female connection. The cable is fitted to match this plate. The nozzles are made of gold-plated brass and have two diameters, the inner and smallest is 4.8mm. The outer crown is 6mm.
The wire is made of four soft coiled strands. The material is high purity OFC copper. It is lightweight, mouldable and copper coloured. The sleeves of the 2Pin 0.78mm connectors are clear angled pieces with the channel letters inscribed on the outside. The plug sleeve is angled and made of white plastic. The plug is 3.5mm SE. The splitter is made of transparent plastic and is in the shape of an elongated trapezoid. It does not have a pin, but does have fairly tight, but low-rigidity, over-ear guides.
This is a design used by the brand itself in superior models, which combines a certain beauty, simplicity, fairly good ergonomics and low weight, as well as high durability.
There is a choice of three colours, blue, purple and black. The cable can be chosen with or without microphone.




Adjustment and Ergonomics

It is clear that sometimes NiceHCK experiments with its designs and ergonomics can suffer, as with its F1 planar model. This time it has played it safe and used a fairly universal shape from its low-budget models, but raised the construction bar by using the construction of its top model NX7 MK4. Its rounded, depressed inner shape barely touches the outer parts of the ear. The weight is very light and I had no problem using my large, foam-filled silicone tips. The fit is precise and immediate, no additional fitting is required, it fits right out of the box. The seal is quite occlusive. There is no movement, no rotation, the shape of the outer face contributes positively to this. The size is medium-small and gives a floating feeling, although the anchorage works very well. The mouthpiece has a good slope and, although it is not very long, the insertion could be shallow to medium.
Although there doesn't seem to be any innovation, the design performs excellently in this area.



Sound

Profile

The NiceHCK DB2s have a V-shaped profile, tending towards W. The sub-bass starts off excited to reach a sunken midrange (around 600-800Hz), which then quickly emancipates from 2-4kHz. The treble starts with the classic control zone, not too pronounced, but just enough to smooth out the high end. Even so, a little more extension is gained thanks to later lifts in the treble-midrange and air zone.
On the other hand, the DB2s are easy to move and have very good sensitivity to be driven by low power sources.



Bass

The low end is focused on the sub-bass, but extends slightly into the low-midrange. The descent into the midrange is gentle and that encourages the lower range to feel rounded. The speed of execution is quite good for sub-$20 IEMS, but it has enough elasticity to offer a rubbery feel that gives it a fun, fuller character. This is not a bass cannon, firstly because there is good control and secondly because the loudness extends into the audible low end. And in this respect, the DB2s are quite natural. It is true that there is some roughness and somewhat forced texture on their surface, something that also gives them a more playful and entertaining appearance. But that does not detract from the fact that the hits have a corresponding forcefulness, dryness, good recovery and, above all, natural depth. This behaviour is endorsed in the very low-frequency pure tone test. The low end performs quite sensorially, a realistic behaviour that shows darkness and auditory perception in equal measure. This says a lot about the DB2s, it even performs better than other more expensive IEMS I have tested recently. There is hardly any colouring and pure tones are executed almost canonically, as a good dynamic driver knows how to do. Its translation to real music means effective and accurate reproduction of bass lines, complex bass and unfiltered bass. In this sense, the behaviour is positive and logical, without any aberration or overtones. On top of that, it has some ability to control the complexity of the bass, improving the simple performance, maintaining control (except in extreme cases), only generating a more noticeable reverberation. Even so, the bass is deep, with good sensitivity, occupies a good volume and offers a remarkable sense of fullness without losing realism and naturalness.



Mids

The midrange begins with a certain warmth that gives it a slightly rounded lower range. However, the male vocals are not as full, but are relatively lean and are observable in the half-distance. In this respect, the first half of the midrange is not very dense and the instrumentation in this area remains in that no-man's land. The timbre is good and leans towards the soft, somewhat romantic and musical side. But this distanced ambience makes the music of this opening section, somewhat relegated in its base and ornamental perception. The male voices are soft, without veering towards brilliance or detail. In that respect they are pleasant but not starring. If the recording places the male voices on a closer plane, the DB2s improve and a good interpretation of them can be appreciated, as well as of the instruments. But it is the female voices that get the favour of these IEMS. The projection between 2 and 4khz raises their prominence, as well as that of guitars and other elements in this range. This elevation enhances the sense of transparency and clarity, but without offering an overly sibilant appearance, nor to put the ornamentation above the base. In this respect, the DB2s are safe, they do not fall into the obvious of chasing light at all costs, and they capture more of the goodness of this tuning than its possible negative effects. In any case, it is a classic midrange in a controlled V, which does not abandon the initial phase and, despite its exaltation in the second half, is not as split as on other occasions.



Treble

And I think that the treble and the control zone at the beginning of it are very much to blame for this. I should also comment on the fact that this is a hybrid model. In this respect, it seems that the BA drivers, even in this budget range, have improved. It is difficult to see its metallic character and in no case does it have hard edges. And I again think that favour is gained from the controlled treble presentation. True, there is a certain amount of splashy character, but it is controlled and not overly energetic. The treble notes are fine but not piercing, trimmed to a sweet spot that is felt and enjoyed, but without crowding, or cutting. Their incidence in the music is not predominant, but they do have a suitably explicit character. It is not a nuanced range, nor omitted, the treble is always there, but tuned in a quiet, but exposed way, after all. It's true that it's not the fullest range, but the energy is distributed in a classic way, albeit enhanced by the good work of its BA driver and effective crossover filtering. There is even a good amount of air that volatilises the higher notes and the final harmonics.



Soundstage, Separation

The NiceHCKs offer a fairly frontal scene, with good laterality and stereo feel. They have a remarkable depth representation, even some height. No congestion is felt and separation is good. Although in many cases the half-distance is predominant, the details remain in that area, being somewhat more complex to perceive in their entirety. Even so, the sound has good transparency, it is sufficiently separated and clear, to observe medium detail, without reaching the micro detail, although sometimes you can sense it when you know the songs perfectly. In that sense, the definition feels remarkable for the price range, without overwhelming and without leaving a realistic musical smoothness, although slightly accentuated by the more critical aspect of its BA driver.
The imaging and positioning of the elements is moderately accurate, given the commented performance of both drivers and their resolution capability. This means a modest, but ultimately natural, flawless recreation.



Comparisons

Simgot EW100P

The Simgot EW100P is a $20 IEMS in the same price range as the NiceHCK DB2. They come in an eye-catching silver box, but with an inferior set of accessories to the DB2: they only come with a set of generic tips and no storage bag. The DB2 comes with a good set of tips with 5 different sizes and another set of 3 more generic tips. In addition, a small leatherette pouch is included. The cable of the EW100P is not bad, two quite soft and manageable flat strands, which do not present low stiffness. The DB2 cable is more classic, with 4 coiled strands, but also has a low stiffness and softness. Here the aesthetics of each can decide the balance, because the connector sleeves are very similar in plastic, both angled. As it happens, both do not have a locking pin.
In terms of ergonomics, both are very good and fit my morphology very well. But even the EW100P are smaller and fit deeper and more firmly in my ears. In addition, they are smaller in size and slightly lighter in weight. That's why the EW100P are a step ahead.
Los DB2 son más fáciles de mover que los EW100P.
The DB2's profile is more V-shaped than the EW100P. The Simgot is darker and smoother on top, but also has a more restrained, dry and smooth bass. The DB2s have a rougher bass, with more texture, body, physicality and volume, as well as more power and presence in the overall sound. The EW100Ps perform well in the very low-frequency pure tone test, but their sub-bass is barely audible or sensitive. Both models do frankly well in this test, but the DB2s perform more fully across that extreme range, but their greater impact on the sound, as well as power, can be more susceptible to the feeling of losing control when the song has an unwieldy amount of bass.
In the midrange one feels the more V-shaped profile of the DB2s, offering a more distant, slightly leaner and less full first range. The EW100Ps offer that first half with a little more body and balance. But they are also darker and less projected. Male vocals are perhaps more grounded, but their presence remains in the middle distance. The greater vivacity of the DB2s brings those voices closer, even if they don't have that rounded body.
The second half of the midrange is livelier on the DB2s, something that gives it extra light and clarity. It also has better definition, as opposed to the warmer smoothness of the EW100Ps. The DB2s are more sparkling and splashy than the EW100Ps. Thus, female vocals and guitars are more prominent on the DB2s, while on the Simgot they are still more controlled and have less energy than on the DB2s. At times, this can be an advantage, in terms of hiss and sibilance. But at other times, the greater closeness and flare invigorates the DB2 sound, leaving the EW100P's sound more nondescript.
The treble of the EW100P has a decreasing energy that makes it more even. The DB2s are more uneven and give and take energy at different points in the early treble. The initial sparkle of the DB2s is more nuanced and less natural sounding. It limits that energy at that midrange to treble changeover point and loses that bit of realistic sparkle that the EW100P's do have. There is a second, more explicit point, but I find the EW100P's treble sonority more coherent. Although the DB2s are more precise, finer and with more resolution. This is where the DB2s outperform the EW100Ps. The DB2s have better definition, more separation, more space, with a larger, airier and more extended scene. Details are clearer and more evident. The EW100P are darker and more shaded. They don't have bad resolution or detail for their price. But the DB2s are more technical. Perhaps, the DB2's flaw is its V-profile which gives it some unevenness or hollowness in sound. Whereas the EW100P are more rounded. Although the DB2s are thinner than the EW100Ps, they are also deeper and wider, despite the aforementioned unevenness. Also, being more accurate, the image is more reliable in the DB2s.



Conclusion

The NiceHCK DB2 is a very well-built V IEMS, with a design inherited from more expensive big brothers, but with a very affordable price. They also offer a comparatively good accessory package, including a bag. In terms of sound performance, they have a remarkable, well-executed low end, which only suffers at very critical moments. Otherwise, their reproduction is more than remarkable, reaching the low end very fluently and realistically, generating natural and sensory notes in equal measure. The midranges have that typical IEMS V-notch unevenness. But the female vocals and guitars stand out, as well as the light, clarity, definition and resolution it possesses. In the upper part, the beginning is restrained and nuanced, a soft approach to the treble, which tries to compensate in the second half. The result can contrast with the naturalness of the low end. But the BA driver does a good job of shaping the notes to give them an attractive finesse and dryness, despite the control of their energy. The nuance of the top end is noticeable, but avoids that metallic feel that such drivers might offer. In that sense, NiceHCK has done a good job in this aspect, combining the sound coherence of the whole, rather than harmonising a more continuous and homogeneous profile. Finally, it is remarkable the technical level for its price, offering remarkable resolution, definition, separation, depth, width in its scene, even height and a good sensation of musical volatility.



Sources Used During the Analysis

• Hidizs SD2.
• Hidizs S9 Pro Plus.
• ifi hip dac 3.
• Aune Yuki.
• 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

Introduction

EPZ is a new brand to me, established in 2019. It's not a new brand to the public though, as it has a good catalogue of IEMS, cables, TWS, even dongles to its credit. And that's not a one day thing. Although it is true that it is now becoming better known to the general public. Manufactured by Shenzhen Jiuzhou Electronics, EPZ has its own shop on AliExpress and it is there where you can corroborate what I have said and see the number of models they already have. It is true that there is not much more information about it and that is why I will focus on the model to review in this article. This is the EPZ Q5, an IEM that uses a dual-cavity dual magnetic circuit and a self-developed carbon nanocomposite ceramic diaphragm. Its ergonomic design is reminiscent of another famous model. It is made of skin-friendly resin and uses MMCX interface. It is priced at around $80, although it is currently available at a slightly lower price. Let's take a closer look at this promising new model called EPZ Q5.



Specifications

• Dynamic driver: Dual-cavity nano piezoelectric carbon ceramic diaphragm and dual 10MM magnetic circuit.
• Frequency range: 20-20kHz.
• Capsule: 3D printed resin cavity.
• Sensitivity: 109db(±1db).
• Impedance: 26Ω.
• Jack: 3.5mm SE.
• Connection interface: MMCX.
• Cable: 4-core silver-plated monocrystalline copper.
• Cable length: 1.2m.

Packaging

The EPZ Q5 comes in a relatively large, matt black box with dimensions 192x132x60mm. All lettering and inscriptions are done in gold ink. On the main side there is a circle with strands forming a kind of spiral. In the centre is the name of the model and surrounding it is a phrase that refers to the fact that the brand started in 2019. At the top left is the brand logo and at the bottom is the brand slogan. On the rear face, at the top are the characteristics of the model. In the centre is the frequency response. It is quite similar to my measurement, but without the peak at 5kHz. At the bottom is the brand name and to the right a sticker indicating the model, i.e. black, MMCX interface and 3.5mm SE plug. It is also available in white, but I don't think a balanced connection is available. The box has no protective outer cardboard and opens like a sealed box. The inside is separated into two parts: the left part is a black foam mould containing the IEMS with the cable in place. On the right side is a small black cardboard box with gold concentric circles, which contains the accessories. The complete contents are as follows:

• The IEMS EPZ Q5.
• One cable with silver-plated 4-core monocrystalline copper conductor.
• Three pairs of black silicon tips.
• Three pairs of white silicon tips with black core.
• One zippered carrying case.
• One black cleaning cloth.
• One instruction manual in several languages, including English.
• One certificate of guarantee.

The box is relatively large for the contents. The case is classic but with a very nice dark grey faux-leather surface finish. There are two sets of silicone tips, one black, flatter and cylindrical. The other is more conventional and larger. The cable has a quite acceptable quality and I find that the accessories are in accordance with the price of the product.



Construction and Design

The EPZ Q5 is made of skin-friendly resin and uses MMCX interface. I have to say that I am not a big fan of the MMCX connection and clearly prefer the 2Pin connectors. But I have to say that I have no complaints about the MMCX connection during the time I have used them during this review.
The capsule design is oval with a spiral connection interface. It has a concave, gold-plated disc on one side of the outer face. This shape is undoubtedly reminiscent of another famous model. In the centre of the golden disc is a hole with a grille at the bottom. Around it is the same legend as on the lid of the case. The surface of the capsule is smooth and polished. The inner face is inscribed with gold lettering indicating the model name, the channel lettering and the numbering 0307. The base of the mouthpieces is slightly inclined and at the very source there is a small hole in the base. The nozzles themselves are metallic and gold-plated and have two diameters. The lower one is 5mm and the upper-outer one is 5.7mm. Each is protected by a perforated metal plate. Finally, the MMCX interface is gold-plated.
The cable is 1.2m long and consists of a silver-plated 4-core monocrystalline copper conductor. It consists of two strands twisted together, which are shielded with transparent plastic. The connector is gold-plated and is a 3.5mm SE connector. Its sleeve is gold-plated, matching the outer concave disc of the capsules. It is a cylinder with a metal housing depressed in the centre. The splitter is the same, but shorter. The same design is repeated for the sleeves of the MMCX connectors, with the difference that they have a white lettering to indicate the channel. The fitting piece is a ring with two holes joined in the middle, through which the two cables pass. The cable has a Velcro strap with the brand name on it to hold it in place.
As already mentioned, the design of the capsules is not original. The cable is slightly stiff and has a subtle tendency to get a shape. In my opinion, I would have preferred a copper cable for the sound profile of the Q5s. On the other hand, I would have liked to be able to choose a balanced connector. Finally, the model in this review is black, but it is also available with white capsules.



Adjustment and Ergonomics

The capsules are relatively small and their weight is very low. The shape fits very well in my pinna. The inclination of the nozzles is quite appropriate. They have a length that could allow a medium insertion, but their diameter may prevent this. As usual, I have used my large silicone tips filled with foam that I make myself. With them, the insertion is shallow and the insulation is quite good. The diameter of the mouthpieces and their length means that the insertion is deeper and this means that, despite the good ergonomic shape of the capsules, they are not as comfortable for my morphology. On this occasion, I require a less thick foam padding to make the whole thing more comfortable. Even so, I don't get the same comfort as with other IEMS, despite the low weight and the good shape of the capsules. Although, I insist that it may be due to my own ergonomics.



Sound

Profile

The EZP Q5s have a V-profile with a dual tendency towards sub-bass and initial brightness. The peak is between the high-midrange and early treble, with a peak at 5khz that can be abrupt, insistent and persistent, depending on the music being listened to. The midrange feels contrasted, due to the unevenness between the first and second half of this range. The transition between bass and midrange is relatively clean, although the general tendency is towards thinness of sound.



Bass

The lower end feels emancipated although it has some colour. It is not perceived as completely deep or dark, but has more of a sonorous than a sensory behaviour. It loses some realism and naturalness. But it also suffers from a certain physical bulk because it is more compact and faster. On the upside, its execution is precise and concise, the hit is fast and there is hardly any aftertaste. It has a certain roughness, albeit slight on its surface, not too noticeable throughout its curve, but enough to counterbalance the colour by means of that light texture that gives it realism. All this is reinforced by the pure tone test. The lower tone is more audible than perceptible. In this way, the colouring is noticeable from the beginning of the audible tones. Having less physical sensation and more vibrational than sensory behaviour, the end result becomes more obvious. And the translation of this way of proceeding to real music is as I said: more audible, without too much power, volume or punch, yet clean, strict, dry, slightly rough, but with good descriptive capacity.
Overall, I'd say its level of presence is above neutral, but it doesn't quite satisfy my bass-lover's demands, lacking personality, power, punch, volume and depth. Despite this, it is good on the technical aspects, able to follow complex, unfiltered bass lines accurately, quickly and efficiently. It is not very adept at creating layers and stratifying bass, though, because it feels a bit thin and not very voluminous. In fact, the bass it demonstrates doesn't produce much volume, remaining borderline neutral and somewhat bland despite the good technical performance.



Mids

The transition to the midrange is clean, the product of a bass that does not overreach or cross the border. I would even say that sometimes it doesn't even go as far as that. But that's usually good news for the midrange. In this sense, the first half of the midrange feels very limpid, without a hint of haze and far removed from any muddy feel. On the contrary, the appearance of this first phase is rather thin. It suffers from a certain groundedness and there is no perceived warmth, but instead brightness and high nuances are more predominant. The male vocals are lean, though they feel very clear, even evident. I thought they would be presented in a more distant way, but they have a certain vigour that projects them. Or, rather, that projects their edges, nuances and details. In this respect, the timbre veers towards brightness, while the body is wiry and the physicality low.
The transition to the second half is more abrupt, it is the change that unequalises the sound and splits it in two. This generates a sense of hollowness in the first part, as well as a sonic preference that gives more importance to high notes, nuances, details and harmonics. As a result, the sibilances are more evident and the sound takes on a vivid, splashy, persistent, more piercing nuance, which can counteract the musicality of the whole, even though the first half of the sound is relatively good, on the whole.
I still miss body and base even in the female vocals, where hisses are more prominent. But also in the rest of the instrumentation. The Q5s manage to make the mix clear, polished, relatively pure and transparent, at the cost of losing the physical part of the midranges. In this way, it seems that the music is sustained on a thin and thin base, which is not badly developed, but which is projected more than necessary, loaded with an energy that can be tiring due to its predominance and the lack of balance with a more testimonial first half.



Treble

The treble begins excited and sharp, and then immediately relaxes slightly. Even so, the sum is concentrated and energetic. The high notes are perceived as close, present, vigorous, fine, even piercing. Yes, they are crisp and sparkling, but they work quickly. It's not a lingering glare, but it can be lacerating over time, to sensitive ears, due to its predominant character. As I mentioned, despite the moderation in successive frequencies, the energy level enters a plateau phase where the build-up makes the range feel extended, even into the air zone. Moreover, this aspect is distinctly elevated, becoming slightly surprising for a single dynamic driver. In this way, the sensation of air is perceived in every sound.



Soundstage, Separation

With such a clean and transparent sound, the scene feels open, steamy and gauzy. Details are evident and the thin base makes the sound feel more fluid, dynamic and with more movement. The size of the soundstage has good headroom, it is wider than it is deep, and this aspect is perceived more by the distance ratio between the nuances and the base, than by the depth provided by the shallow bass. It is true that the low end has a certain roundness, texture and a punch that goes beyond neutrality. But the result does not counterbalance the presence and energy in the second half of the frequency range.
The remarkable definition of the notes, as well as their level of separation, finesse and thinness, creates a clean, clear, discernible, descriptive and richly nuanced sound. The edge of the sounds is evident and in the foreground. In this way, the macro detail is accentuated, but the micro detail is relegated to a background that can be barely perceptible.
The image is not dispersed, but this sensation of volatility, together with the lack of a base, makes the origin of the weaker elements more perceptible, leaving the musical mass, which should be more corporeal and physical, on a freer plane. Even so, the image is correct despite this light positioning.
On the other hand, it is worth noting that the music never feels congested, unless the treble presence is too abundant. This can be useful as monitor headphones for observing obvious details in the foreground, without the timbre suffering too much.



Comparisons

NS Audio NS3

I like to compare IEMS similar in price, performance and FR. On this occasion I thought that the NS Audio NS3 could be a good rival for the EPZ Q5. By no means are the NS3s new, I reviewed them in September 2019. Do they still make sense? In my opinion they do. They may not be the highest resolution IEMS at the moment, but for $70 I still think they have a special charm, both for their stabilised wood outer panel and for their smooth, warm and musical analogue sound. In terms of construction, the NS3s stand out for the wooden panel placed on their external face. Internally, the capsules have a very ergonomic shape, although the mouthpiece is somewhat short, which may limit the best fit or insertion. In my opinion and despite the good shape and size of the Q5s, the NS3s are more comfortable in the long run. Their size and shape fits better in my ear. In terms of accessories, the NS3s do not come with a zippered case, but with a cloth pouch. Both cables are silver plated, but the NS3 cable has 4 coiled strands, while the Q5 has two and is thicker overall. But the NS3 cable is less stiff and more manageable.
In terms of sensitivity, the Q5s are easier to move around with.
In terms of sound, despite the similarity in the graphs up to 2khz, the big difference is in the peak at 5khz that the Q5s have, while the NS3s have a marked valley right at those frequencies. On the other hand, that higher energy difference at 3.5kHz is not noticeable for clarity. The NS3s have a bit more bass overall, they feel warmer, but also darker and softer. And that bass is also more natural, deeper, realistic and better executed. It is free of colouration and in the very low frequency pure tone test its behaviour is more natural and sensory. The Q5s have that more vibratory colour and behaviour that elevates the reproduced frequency result. The punch is somewhat superior in the NS3s, with a rounder bass, more volume, better texture and a more pleasant and realistic behaviour. It is not as dry, clean and fast with the Q5s, but more enjoyable, even lush in its development. In the overall sound of both, the bass and midrange are more predominant in the NS3s, while the mid-highs and highs are the protagonists in the EPZs.
In the midrange the Q5s have more clarity and transparency, their notes are lighter, thinner, but also more defined and separated. Notes have more weight and thickness in the lower midranges of the NS3s. This gives the base of the instruments and voices a fleshier, more physical and voluminous body. That gives it that point of lushness and fullness, which pushes the midrange to a closer, more present and elevated stage than the Q5s. Above all, the male voices take on a much more elaborate and emphatic presential physicality, as well as possessing a richer and more descriptive texture. The thinness of the male voices contrasts with the greater presence of the high-pitched nuances, as well as their hiss. But there is no trace of the flesh, of the body of the base, something that limits its enjoyment and its resemblance to reality. On the other hand, the smoothness and that distinctly darker spot does not detract from the NS3 midranges. They clearly don't have that transparency. But listening to vocal music with the NS3s is a much more evocative experience than with the Q5s.
Female vocals are not as clear and evident on the NS3s, they are also thicker. Perhaps here one could argue the naturalness of the timbre in favour of the EPZs. But I still think the greater energy of detail and hiss works against them.
Instrumentation is distinctly thicker and smoother on the NS3s, while on the Q5s it is leaner, even piercing in more cases.
The big difference is in the treble. Whereas the NS3s almost start out omitted or nuanced, the Q5s have much more energy, extension and air. It's clear that all this gives more explicit macro detail, more light, transparency, clarity, but also more separation, thanks to the better resolution and finer notes. The scene is more open and volatile in the EPZs. Whereas the NS3 has more depth, but also more closeness and proximity, a somewhat more intimate scene, which allows the details to feel close. Not as high resolution as the Q5s, macro detail is not as evident. At the micro level, though, neither is too explicit. It seems that the Q5 allows more of it to be glimpsed, although, at times, the macro detail covers up the micro detail, obscuring it.



Conclusion

The EPZ Q5 has an excited V-profile that veers towards brightness, placing the emphasis on the nuances rather than on its base, although it is quite resolute and correct in the first half of the frequency range. In this initial phase it is technical, efficient, relatively neutral, descriptive, even moderate. But, from this point on, the energy level rises more than necessary, generating a lot of clarity and transparency, although with side effects that can be unpleasant for delicate ears. Despite this, it has remarkable presence and extension in the upper area, as well as a high level of separation and distance between elements, creating an open, gaseous and volatile scene, where macro details are evident.
The Q5 is based on a design inspired by an existing model and takes up its ergonomic quality, although it is necessary to emphasise the search for the most suitable tips to make the most of these aspects.
The accessories package is quite adequate, including a customised zipped case and a silver-plated cable with gold-plated sleeves that match the capsules.
Although, for the initial price the Q5s are in a price range with too much competition to rival other established models, the current offerings allow their price/performance ratio to improve thanks to their technical abilities and accessories.



Sources Used During the Analysis

• ifi hip dac 3.
• Aune Yuki.
• Burson Audio Playmate II.
• Tempotec V3.
• MUSE HiFi M3 II.
• Hidizs SD2.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.

Purchase Link



You can read the full review in Spanish here

Introduction

Hidizs has brought a new small dongle to the market. It is true that they have several, and some small ones like the S3. But it seems that they are still looking for a more appropriate design for use in conjunction with the smartphone. I'm the first to think that having an extra cable hanging from my phone can be a nuisance. But how about creating a much more integrable design? I think that could have been a starting point for Hidizs' new product. The SD2 is a small, irregular pentagon-shaped dongle with a USB Type-C male connection and a 3.5mm SE headphone output. It uses the ES9270 DAC that supports up to 32-bit/384 kHz PCM and DSD128. It also supports in-line control and HD microphone. It has a sample rate indicator light and, of course, high-resolution audio transmission thanks to its Hi-Res Audio certification. The scope of its use is very versatile and it is useful on smartphones, laptops, PCs, tablets and game consoles. It has a power of 70mW for 32Ω. And it is compatible with Windows, Android, iOS and Harmony OS. Let's see what this new little device is capable of in the following review.



Specifications

• DAC: ES9270.
• Frequency response: 20Hz-40kHz.
• DSD: Native DSD64/128.
• PCM: Supports up to 384 kHz/32-bit.
• Output option: SE 3.5mm.
• 32Ω output power: Up to 70 mW+70 mW SE 3.5 mm.
• Sample rate indicator:
  • Red colour: PCM 44.1-48 kHz.
  • Blue colour: PCM 88.2-384 kHz and DSD.
• External material: Aluminium alloy + resin.
• Transmission interface: C-type interface.
• Supported system: Android, Windows, Mac OS, iPad OS.
• Distortion: PO (3.5): 0.0015%.
• Signal-to-noise ratio: PO (3.5): 118dB.
• Separation: PO (3.5): 64dB.
• Dimensions: 34.5×20×10mm.
• Net weight: 6g.

Packaging

The Hidizs SD2 comes in a small black box whose dimensions are 83x83x27mm. There is a realistic photo in the centre of the top face. The brand logo is on the bottom right. On the bottom left are the logos of Sabre, DSD and Hi-Res Audio. At the top right is the model name and a product description. On the back side are the specifications in several languages, as well as the branding. The Hidizs logo appears on the sides of the box. After lifting the lid, the SD2 is encased in a thick black foam base. There is a cloth strap to remove the product, as well as the protective layer. Underneath are the rest of the accessories. In summary, the contents are as follows:

• The Hidizs SD2.
• A Type-C to USB-A adapter.
• One Lightning to Type-C cable.
• One user manual.
• One warranty card.

The presentation is very compact, matching the price of the product, almost $40. The lightning adapter cable and the quality of the small USB to type-A converter are appreciated.



Construction and Design

The SD2 has been constructed from aluminium alloy and resin, with a Mecha-style appearance. Its dimensions are 34.5×20×10mm and its weight is only 6g. It is an irregular pentagonal tablet, with rounded corners. On the long side is the USB Type-C male connector and on the opposite side is the 3.5mm SE headphone output. The headphone output is diagonally aligned with one side of the SD2 and is covered with gold-plated metal. It is available in three colours, black, grey and white. On my black unit the brand lettering is red. There is a small LED indicator and some red dots. The faces are not smooth and have almost concentric shapes in threes, reminiscent of the shape of the dongle itself. The edges are smooth. The USB Type-C male connection is long and projects over the surface of the edge. The design is very compact and despite its irregular shape, it fits very well into portable devices. The fact that it is a cordless tablet elevates it above its competition, in ergonomic valuation.
Inside is an ES9270 DAC that delivers up to 70mW for 32Ω. This chip features a patented 32-bit HyperStream®II QUAD DACTM architecture. With PCM support up to 384kHz/DSD128 and an integrated SABRE headphone amplifier, it has a distortion of 0.0015%, a signal-to-noise ratio of 118dB and a separation of 64dB.
It is certainly a differential design that is small and very useful.



Connectivity

The SD2 is compatible with Windows, iOS, Android, HarmonyOS and other systems. It can connect to PC's, laptops, smartphones, tablets, iPhone 15 and game consoles. Supports in-line control and HD microphones.
It can convert microphone audio streams to 24-bit, 48 kHz.



Operativity

The SD2 has a sample rate indicator LED. Red indicates PCM 44.1-48 kHz. Blue indicates PCM 88.2-384 kHz and DSD.
When connected to Windows 10 or higher, it is automatically recognised both as a sound card and as a microphone. Thus it is an all-in-one device for the office, which can be used for meetings and video conferences. The SD2 supports integrated equalisers in conventional music applications.
It has a Lightning to Type-C adapter cable and a small Type-A adapter.
It doesn't go much further than any dongle, but the double addition of allowing in-line control and HD microphone makes it much more suitable for use in many more everyday settings than more music-specific ones. Certainly, for its size, performance, design and functionality, it can become a highly effective little travel companion.
When you start using it and the sound starts to flow, there is a small Fade-In.
Finally, the SD2 gets a little warm when power is demanded.



Measures

According to the specifications the SD2 is capable of delivering 70mW at 32Ω. That implies that the voltage to give that value must be 1.5V RMS. And so it is, the little SD2 has a maximum voltage on its 3.5mm SE output of 1.5V.
On the other hand, the output impedance is very low and less than 1Ω.



No load

As you can see, with no load it delivers just over 1.5V RMS. I find this to be a pretty good value for a dongle of this size.



15 Ω

The round figure of 1V is almost reached. The voltage of 0.986V implies a power of 65mW and 65mA. Enough for IEMS of this impedance.



33 Ω

The SD2 gives it all for this impedance, almost 1.5V, 68mW and 45mA for 33Ω. As specified.



100 Ohms

Nothing is saved for 100Ω either, which means a power of 23mW and 15mA.



Frequency Response

The SD2 is a Hi-Res device whose frequency response reaches 40kHz quite comfortably. From 20Hz to 20kHz the response is flat.
As for the frequency response produced by an IEMS, compared to my reference Burson Audio Playmate I, the SD2 is subtly more moderate from the treble onwards. The difference is minimal, though.



Sound

The Hidizs SD2 boasts the Sabre ES9270 DAC. It is a small SOC, i.e. a USB audio D/A converter, with a 32-bit, 2-channel headphone amplifier. It uses the patented 32-bit HyperStream®II QUAD DAC™ architecture. And as usual with Sabre, its sound is quite precise, with a certain analytical tendency for the cutting of the notes, which are subtly abrupt, giving an account of that somewhat cooler, more marked, energetic and vibrant excited sound that characterises many chips of this brand. Actually, I've always commented that I like this kind of slightly punchy profile. The SD2 has a neutral presentation that is more explicit than soft. This makes the musicality more eloquent and intense, which is fine for day-to-day use, as well as for use as a companion when watching series, movies or playing games.
Starting with the pure tone test its behaviour is exemplary. Compared to the S9 Plus Martha, it is barely distinguishable. It is deep, well defined, with good power and volume. The bass is very dark, with a good roughness, something that gives it the ability to generate texture. It is concise and adept in complex situations. It follows unfiltered bass lines smoothly and shreds them neatly. It is true that it is not as smooth and musical as Martha, but it has a model behaviour in the lower range.
In the midrange the idiosyncrasies of the SD2 chip become more apparent. There is a certain level of energy that projects vocals and makes them more prominent, while presenting them as more isolated. Its edges are subtly more abrupt, something that makes certain nuances feel more vivid, but also subtly rougher, when compared to the S9 Plus. However, the SD2 maintains a more energetic and vibrant musicality, accentuating the sparkle and bringing a brightness to the edges that makes it more fun and subtly punchier. In this way, the outline of the notes is more discernible, slightly emancipated. The sounds are perceived as more concrete and well differentiated. The instruments are shown well separated and distanced from each other, producing a good sense of individual and closer representation. This proximity also favours a sense of accentuated dynamics.
All of the above is slightly expanded in the upper zone, generating well articulated, sharp, clear, very well defined and evident trebles. There is energy and a close presence. Although I have commented that the SD2 is somewhat cold and concise, this is not to say that it is a dongle that is totally abrupt and square in its definition. It has just enough definition to round out the notes, but with a sharper character than the S9 Plus. In this sense Sabre is still Sabre, but more polite. The SD2 comes across as very resolving at the top end and brings a subtle sharper touch, to compensate for its very slight drop-off compared to much more expensive DACs.
The very good sense of separation and distance generates a fairly wide scene. There is no sense of congestion and I could say that, in this respect, the SD2 is remarkable. The level of transparency and clarity is high, the scene is airy and the background looks dark. This is also due to an outstanding level of resolution and detail. The SD2 is capable of depicting minute details and presenting them somewhat in advance. Surprisingly, it is able to render micro detail quite well. It doesn't quite wrap air around it and clear it like much higher priced dongles. But the amount of space and the ability to isolate them without overlapping is very good for its price range. In this way, the image is effective, the positioning is effective and discernible. The elements are clearly distinguishable, the voices subtly forward, as are the solo instruments, which get a little bit of sparkle that pushes them forward. Overall, the scene is wide, quite spherical, thanks to its depth and height. It doesn't become enveloping, vaporous or gauzy, but the energy level and close presence anchors the elements in the image in a more concrete way.



Conclusion

The Hidizs SD2 defies all other dongles with a compact, wick-inspired design. Its shape fits perfectly into any device with a USB Type-C connection, forming a tightly knit and seated piece. Forget about cables and dangling dongles. With the SD2, integration is seamless. Of course, the sound lives up to this design, thanks to the Sabre ES9270 DAC. Powerful enough for the vast majority of IEMS and beyond, the SD2 is capable of delivering 1.5V RMS for 32Ω. In addition, its output impedance is very low and its frequency response fairly flat. Outstanding are the level of imaging, detail, separation, clarity and transparency, as well as the low end response. Without a doubt, the Hidizs SD2 is a very versatile device, with line control, HD microphone compatibility, a very affordable price, a small design and very effective.



Earphones and Sources Used During Analysis

• Hidizs MP145 Golden Titanium.
• Hidizs MS3.
• Hidizs MS5.
• Hidizs AP80 PRO-X Red Copper LE.
• BQEYZ Wind.
• Letshuoer S15.
• Tanchjim Kara.
• Rose Martini.
• Rose QT9 MK2s.
• NiceHCK F1 Pro.
• Simgot EA1000 Fermat.
• Xiaomi Redmi Note 8 Pro.

Purchase Link



You can read the full review in Spanish here

Introduction

There's always a first time and today it's a double first time. From AliExpress shop Angeldac Audio Store, today I have the pleasure to review a Muse HiFi dongle. Shenzhen Yunke Acoustic Technology Co., Ltd. is an innovative technology company that integrates research and development, production and sales of HiFi audio equipment. The company's purpose is to pursue the ultimate in the ultimate and to discover simplicity in the simple. To their credit they have different IEMS and other dongles. In this case I am going to review the second version of their M3 dongle, the M3 II. It is a dongle based on the classic Dual DAC CS43131 that contains two SIP amplifier modules to guarantee a powerful output with a clear and noise-free background. It has very low harmonic distortion as well as low power consumption, thanks to the TOREX management engine. As is normal for this type of device, the Muse II has two 3.5mm SE and 4.4mm BAL headphone outputs. In addition, it integrates particular operating modes: the Muse Space mode for great musical representation, the virtual surround mode suitable for movies, music and games and the exclusive DSD mode. It has a dual knob for independent volume control and gain change (low or high). Muse has added several low-noise LDOs and high-precision femtosecond crystal oscillators that promise class-leading SNR and DNR performance. Let's see how all these features translate into practice in this review.



Specifications

• DAC: Dual CS43131.
• Input interface: USB Type C.
• Headphone outputs: 3.5mm SE and 4.4mm BAL.
• Buttons: Vol +/ Vol -/Pause/Gain mode switch.
• Maximum decoding: 32bit/384KHZ DSD256
• THD+N: -103dB(4.4mm)/-100dB(3.5mm).
• SNR: 130dB(4.4mm)/125dB(3.5mm).
• Suitable impedance: 16Ω-600Ω.
• Weight: approx. 50g.
• Size: 59.5x29.5x29.5x15.5mm.

Packaging

The Muse M3 II comes in a medium-sized, elongated case with dimensions 159x80x49mm. The colour is predominantly black and the main face is glossy. It has a three-dimensional, glazed X above the brand name in purple lettering. Above it is the product name, as if handwritten in silver ink and capital letters. At the top left are several logos: the brand logo, the Muse Space logo, the Cirrus Logic logo and the Angeldac logo. At the top right, the Muse Space logo is repeated and at the bottom of this side there is a product presentation. On the back, the logos are repeated, this time located at the top right. The rest is filled with the specifications, the brand name, the web address and the logos of the certifications it holds. The box opens sideways thanks to a black fabric loop, which allows the inner boot to slide to the left. Inside is a black presentation cardboard and the instruction manual. Underneath, the M3 II is housed in a dense black foam mould. Underneath is another layer with the rest of the accessories. In summary, the complete contents are as follows:

• The Muse HiFi M3 II.
• A black presentation card.
• One instruction manual.
• One short USB Type-C to Type-C cable.
• One USB 3.0 Type-C female to Type-A male adapter.
• One short USB Type-C to Lighting cable.

The packaging is large for a dongle. The product is very well protected and the extensive instruction manual is appreciated.



Construction and Design

The M3 II is on the heavy and relatively large side among the dongles I own. Normally, almost all of them have a narrower, lighter rectangular shape. The M3 II is more oval, with the USB side narrower than the headphone output side. It has a double rocker button on one side, next to an RGB LED. On the other side is a legend with the product name and a product description. On the upper side there is a wave that divides the face into two levels. On the high side, on the side of the USB connection is the brand logo. The low side extends to the sides, creating a smooth, almost ergonomic irregularity for the buttons. The entire casing is a smooth, matte metal part, while the USB and headphone output ends are both slightly rougher, shiny, mirror-effect oval metal faces. The 4.4m BAL output is gold-plated, while the 3.5mm SE is black. There's not much special about the USB Type-C connection.
The USB adapter cable is made of mixed hybrid wire of high-purity monocrystalline copper and silver-plated copper.
It is clear that the design of the M3 II is distinctive, but it is the same as the previous version only in a different colour.
The high weight of the unit and the solid metal of the outer casing are surprisingly heavy.



Connectivity

The M3 II comes with USB Type-C 3.0 connection and is compatible with Android, iOS and Windows. It can be used with PC's, mobiles, tablets, etc. It comes standard with USB Type-C cables and converters to Type-A and Lighting.
For Windows it is not necessary to use drivers, but I have found that it is compatible with some drivers that I have installed on my PC. It recognises it as if it were the Hidizs XO and the compatible ASIO driver is BRAVO-HD.
On the other hand, I have not found native drivers from the brand itself.



Operativity

IMPORTANT: The Muse M3 II does not turn on after USB connection, you will need to connect headphones to any of the headphone outputs to turn it on. It will also turn on if any 3.5mm or 4.4mm SE connector/adapter is connected. So it's not an impedance identifier, just a switch that is activated by the physical connection.
And I say this is important because when I connected the M3 II to my PC after opening the package and seeing that the light didn't come on I thought it was broken. Then I remembered that there are some dongles where the headphone port connection is required to turn it on and it did.
I must confess that I don't like this feature, but I understand that it can be useful in order to save power on battery-powered devices. Maybe that's because of that TOREX power management circuitry, among other abilities I don't know about.
As I said, the M3 II is on the heavy side of the dongles. Its surface is smooth and ergonomic, but you can feel the density and weight of the product. This can limit its portable use, as can its slightly larger size than the competition.
It has two rocker mode buttons and an RGB LED. A single press on each end is for volume up/down. A 2-second long press on the + end is used to pause/start playback. A 2-second long press on the - end is used to toggle the gain mode.
The advertising keeps talking about the M3 II having a unique automatic DSD mode recognition. As far as I understand it, in low gain mode the system enters an adaptive mode that identifies music mode or game mode, entering an immersive, three-dimensional mode. In high gain mode it enters a lossless analytical mode that makes the sound more transparent.
In normal mode the LED is white. In DSD-only mode the LED is green. In high gain mode the LED lights red.
In Windows, the volume steps are 50. But the M3 II has a defect: sometimes, when the volume control + is pressed several times, the system enters an unwanted mode which raises the volume to the maximum without being able to stop it. This blocking, if it happens in case of high gain, could destroy the connected IEMS. So in order to increase the volume, you have to press the + button little by little, so that it does not lock unduly. Actually, this behaviour is very dangerous and undesirable. Moreover, it occurs quite easily even if you are careful with the volume + button.
On the other hand, I could not identify the Muse Space mode for games as I have not used it in this context. I have, however, used it for listening to series and films.



Measures

The M3 II is the classic 2V SE / 4V BAL dongle with the possibility of using low gain and limiting its output to just half.
I have been able to check the output impedance in SE and BAL, being less than 1Ω in both cases.
In the last volume range, the output does not change even if the steps are increased and when it goes up, it does so with a relatively large voltage jump. It is clear that the volume control is no longer suitable for a device in this price range.

No load SE

2V RMS over the entire frequency range.



15 Ω SE

The voltage at 1kHz is 1,235V, which means a power of 100mV and just over 82mA, close to the psychological barrier of 90mA.



33 Ω SE

The voltage at 1kHz is 1.571, a power of 75mW and 48mA. I expected more, given the current reserve the device seems to have.



100 Ω SE

Another small disappointment, with 100 Ω connected at maximum volume the frequency response shows a slight distortion. Still, the voltage is close to 2V which is 40mW and 20mA.



No Load BAL

4V RMS over the entire frequency range.



15 Ω BAL

The voltage at 1kHz is 1.245V, which means a power of 100mV and 83mA. Same values as for SE.



33 Ω BAL

It seems that the balanced output of the M3 II offers a significantly higher voltage than the SE. The voltage at 1kHz is 2.512V, a power of 190mW and 76mA. These are more than adequate values for such a device. A little more would have been nice, though.



100 Ω BAL

The M3 II doesn't reach 4V at 100 Ω and stays at 3,573, offering 130mW and 36mA. Again, I expected more.



Frequency Response

The M3 II has a flat frequency response that reaches up to 40kHz without decay. It offers a very slight dip at the low end, but below 20Hz.



Sound

The M3 II has a gain switch, plus an adaptive mode that adjusts depending on the situation, called Muse Space. It identifies the music mode by adapting to a lossless mode and the game mode generates a more three-dimensional and immersive space. To tell you the truth, I have not been able to enter this game mode because I don't have any games, although I have used it with series and movies. But I haven't noticed any change in this respect.
There is some difference between the low and high gain modes, where the bass is rougher at low gain, while at high gain the sound is more reliable and refined. The following opinion has been written using high gain. However, graphically there is no difference in output response between high and low gain, even compared to my reference player, the Burson Audio Playmate I, which can be seen in the graph below.



The CS43131 is a D/A converter with integrated headphone amplifier. It is clear that the output offered by this SOC is not very high and requires additional amplifiers to reach the standard values. In reality, it is a widely used DAC, often in dual mode, as is the case with the M3 II. There are many dongles with this arrangement and the differences in sound must be in this additional stage.
It is common for the sound of a dual CS43131 to be neutral but with a hint of warmth. The M3 II does not escape this profile.
In the lower range there is very good control and cleanness when it comes to generating bass lines. The bass hits are compact, relatively smooth, tight and with a good level of darkness. It is reliable in reproducing pure, very low frequency tones and behaves naturally in such tests. It is deep and slick, capable of reproducing heavy lines and unfiltered bass, being able to handle these situations without problems, offering the most capable headphones a great performance.
In the midrange you feel that subtle warmth and the male vocals have that broader, juicier base that gives it an extra lushness and richness. The instrumentation is neat, clean, crisp, with a certain tendency towards a soft, but pleasant, subtly analogue darkness. The attacks are fast, as are the transients. In this way, details are easily appreciated and only depend on the connected headphones to show them off. Although, this is not an analytical dongle, it is rich enough to offer a good catalogue of detail.
Female vocals retain equal parts sweetness and fullness, as well as feeling softened and honeyed thanks to the warmth of the system.
The upper range is expressive, broad and expansive. Its fullness is demonstrated by the smoothness of the frequency range. But, admittedly, its colour is not overly bright and the neutral, subtly warm tone is welcome, bringing a great deal of naturalness as well as descriptive richness to the high notes reproduced with the M3 II.
The soundstage is remarkably wide and the Muse Space may bring an extra point in this respect. I'm not sure it works in high gain mode, though. But it does have good density, depth, separation and spaciousness as standard.



Comparisons

TempoTec Sonata BHD Pro

The most logical thing to do would have been to compare the M3 II with the xDuoo Link 2 Bal because of their similar price range. However, both share the same ASIO driver making a quick comparison very difficult. So I have opted for a more recent dongle I have, which uses the same Dual DAC CS43131. It is the Tempotec BHD Pro. It is almost half the price. It is smaller, lighter and more manageable, has volume control, but no gain control. It has SE and BAL outputs and the same voltage. For SE the power values are almost identical. However, the BAL output for impedances of 15 and 33 Ω is below what the M3 II delivers, while for 100 Ω it is completely equal.
The low end of both dongles is very similar and their behaviour is very similar. Although I find that the bass is a bit more compact, darker and heavier in the M3 II. It seems a bit rounder and also extended, with a bit more volume. In addition, the M3 II's bass seems to be more complex, something that gives it more richness in bass line detail and better resolution when recreating layers.
In the midrange, the M3 II offers a bit more density, something that gives it a bit more grounding on male vocals. In addition, there is a certain level of superior drive that gives it a slight descriptive superiority. That slightly denser sound offers more of a sense of openness and spatiality. It seems that the high gain mode offers a little more drive to the notes, an extra punch that asserts presence.
The treble of the M3 II is slightly more defined, more vivid and expressive, generating a point of superior bite, but without losing refinement.
The volume of the M3 II is slightly higher, there is a little more projection and separation. The M3 II generates more space, but the level of refinement is not much greater and both dongles are very capable at describing detail. Perhaps that extra distance gives the M3 II the edge in this respect. However, the price difference is high. Under Windows it seems that the volume control of the M3 II is tighter, which is also superior, thanks to the gain control. This makes it more precise in certain situations. However, when connected to another DAP device or smartphone, this advantage seems to disappear, except for the gain control.
The BHD Pro achieves a very high percentage of the sound of the M3 II, with a very similar look and feel. It has the ability to alter its sound via firmware, is smaller and more manageable. In terms of power it is only inferior at low impedances per BAL, although I think this could be fixed in future firmwares. The M3 II has a better construction, although it is heavier and larger. It has that extra density and spatiality, with a bit more separation, amplitude, bite and weight. But that difference is more than paid for.



Conclusion

The Muse M3 II comes as a Dual DAC CS43131 dongle that features a host of unique benefits such as Muse Space Ship, a unique DSD auto-recognition mode, plus a Virtual Surround mode. This is joined by a gain control and a powerful power control called Torex. It's built like a tank, a little heavy and a little bigger than the competition, with a curved, ergonomic design, which distances it from the classic rectangular pickups of the other brands.
It's true that the Muse Space mode, Virtual Surround and adaptive gaming mode are somewhat mysterious to me, as they can't be activated manually. Thus, it is difficult to see the differences. However, it seems that the high gain mode does offer a point of refinement, a somewhat more discernible sense of openness, distance and separation. On the other hand, the sound does not stray from the baseline offered by the Dual CS43131, nor does it go beyond it in power. But it is true that the extra weight is noticeable, as well as a little more volume and a larger footprint.
I would have preferred it if these extra abilities of the Muse M3 II could be activated manually, in order to see the differences to the competition. But this is not the case. So these supposed differences do not seem to clearly generate an added value compared to the competition that would justify the price. A newer DAC, more controls and a lighter weight might be more attractive in the current state of the art.



Earphones and Sources Used During Analysis

• Hidizs MP145 Golden Titanium
• BQEYZ Wind.
• Letshuoer S15.
• Tanchjim Kara.
• Rose Martini.
• Rose QT9 MK2s.
• NiceHCK F1 Pro
• Simgot EA1000 Fermat.
• Hidizs AP80 PRO-X Red Copper LE
• Xiaomi Redmi Note 8 Pro

Purchase Link



You can read the full review in Spanish here

Introduction

Tempotec started in the DAP world with the V1-A, a small player that had a transport-only version with dual micro-SD slots and a DAP version. It was just a small sample of what Tempotec could do in this field. But it was a long time before it released the V6, its first Android-based DAP. A little over a year later Tempotec is back on the attack with a new model: the V3. It is a sub-$200 DAP capable of rivalling all the DAPS on the market in this range. This time, Tempotec uses HiBy OS as operating system, although its sound hardware is almost the same as the one used with the V6: it uses a dual DAC AK4493SEQ achieving an SNR of 124dB and a THD+N distortion of 0.0005%. It has the same Crosstalk as the V6, even the same power, it is able to play the same formats and the same sources. How is this possible? I don't really know, but it is. The dimensions are somewhat smaller, it uses a 3.2 inch touch screen and a 3500mAh battery. It supports bidirectional Bluetooth 5.1 with LDAC, AAC, APTXHD, APTX, SBC, Wi-Fi 2.4GHz, DLNA, AirPlay codecs and is also capable of using Stream applications such as TIDAL and Qobuz. Finally, it has an aluminium alloy body and control buttons on the main face as well as on the right side. Of course, there are 3.5mm SE and 4.4mm BAL outputs. Let's take a closer look at this new Tempotec V3 DAP.
For the following review we have used firmware version v1.0 and a 256GB card.



Specifications

• DAC: Dual AK4493SEQ.
• Dimensions: 100x65x17mm
• Material: Aluminium
• Bluetooth: Two-way v5.1
• 3.2 inch touch screen.
• 3500mAh lithium battery.
• Compatible with e-book reading.
• FM signal included: No.
• Battery life: 10-20 hours.
• Audio formats supported: MP3, WAV, WMA, OGG, ASF, APE, FLAC, MP1, MP2, APE, ALAC, DSD, Aiff, AAC. DSD512, MQA 16X, DXD, PCM 32bit/768khz.
• Wi-Fi: 2.4GHz.
• Bluetooth 5.1: LDAC, AAC, APTXHD, APTX, SBC .
• Stream Media APP: TIDAL,Qobuz.
• Support for AirPlay.
• USB DAC support.
• HIBY OS: Custom HIFI audio system.
• SNR: 124dB.
• THD+N: 0.0005%.
• Crosstalk: 84dB/32Ω/3.5, 116dB/32Ω/4.4.
• Output power: 330mW/32Ω/3.5, 610mW/32Ω/4.4.
• Output level: 2VRMS/3.5, 4VRMS/4.4.

Packaging

The Tempotec V3 comes in a raw black cardboard box, as usual in their latest packaging. Its dimensions are 163x107x32mm. On the main side you can read the brand name and model in white letters in the upper left corner. Meanwhile, on the right side you can see a drawing of the DAP showing its profile in white lines. At the bottom left is the brand logo. On the back side there are the brand's signs and some warning messages for use. On the side there is a sticker with the model name. To open the box, a tear-off strip in the cardboard has to be pulled. The box opens like a chest and the first thing you see is a sheet with the brand logo in the centre. Underneath is a layer of black foam. After removing it, the DAP is revealed inside a thick foam base, together with a USB cable. Underneath the DAP is a small black cardboard box with other accessories. In short, the complete contents are as follows:

• The DAP Tempotec V3.
• One USB Type-C to USB Type-A long cable.
• One screen protector.
• One back face protector.
• Instruction manual.
• Quality certificate.
• Warranty card.

It is worth noting that the DAP comes with a screen and back protector in place, with its protective coating.
Tempotec repeats very similar packaging to its previous March III, using raw cardboard, simple shapes and a minimum of accessories. Really, not much more is needed.
There is a leatherette case that can be purchased separately.



Construction and Design

The DAP is a piece of aluminium measuring 100x65x17mm. The shape is not very complex. It is a tablet whose edges on the left side are equally bevelled. On the right side, the bevel is much more accentuated, while the bevel on the same side, but on the back side, is much lighter. In some ways, this shape is reminiscent of the V6. The touchscreen is 3.2" in size. At the bottom, on the left side, there is a small part that is flush with the screen, which is inscribed with the V3 model. On a lower, adjacent part, still below the screen, there are 3 control buttons: back, play/pause and forward. On the right side, at the top, is the on/off button. Underneath is an RGB LED indicating status and format. Underneath are two more buttons for volume control. On the bottom side are the connections, on the left the 4.4mm BAL output, in the middle the USB Type-C socket and on the right the 3.5mm SE output. The back side has the typical glazed material with the brand name, some logos and the certifications it supports. On the left side, at the top, is the slot to insert the micro-SD. It should be noted that this slot is quite sunken and it is not easy to insert or remove the memory for this reason.
The screen is OK, with decent visibility, although not very bright. Icons and lettering look acceptable, with a good size. There is a choice of font size. The look of the icons is rather basic and squat, which gives a rather unrefined feel. The same goes for the design. The V3 looks much more functional than stylish or attractive. But, I must confess, I like those playback control buttons on the front face a lot. I'm also a fan of volume control buttons as opposed to potentiometers, as long as they work in one step at a time, which is not always the case with the V3.
Internally, the V3 uses a dual DAC AK4493SEQ, two OPA1652s and four OPA1688s. Also a professional FPGA digital circuit with a dual crystal oscillator.



Connectivity

The Tempotec V3 has HiBy Link connectivity, uses two-way Bluetooth v5.1, Wi-Fi 2.4GHz, AirPlay and DLNA. It supports TIDAL and Qobuz. It can also be used as a USB DAC.
Of course, it seems to support micro-SD flash memory card up to 512GB. I have tested it with a 256GB micro-SD card with no problems.



Operativity

The Tempotec V3 has a 3.2" touch screen and 6 buttons, 3 of them on the front face, at the bottom (back, play/pause and forward). The other 3 buttons are on the right side, above the on/off button, volume + and volume -. In the middle is an RGB LED indicating the status.
The menus of the V3 are the classic HiBy OS menus. On the first screen you can choose between 6 menus: Music, Stream Media, Wireless, Books, System and About. If you go to Music you can browse through folders, albums, artists, genres and album artist. There is also a favourites star, a search magnifying glass and the settings icon that allows you to enter the options for audio, MSEB, EQ, update DB, gapless, max volume, gain, crossfade, balance, digital filter and other navigation options.
On the Stream Media screen, the Tidal and Qobuz applications can be accessed. To access Tidal, a QR is used to link from the account itself. The use of Tidal is spartan, you have to search via a keyboard that shares letters 3 by 3, like the old key-operated mobile phones, which makes it quite tedious. Still, the streaming sound has surprised me. Although I still think that the memory card playback gives it a plus of strength.
The playback screen is the classic HiBy screen, but with somewhat stubby icons that make it look a little more basic, less stylish. Of course, you can choose the playback mode, access the playlist, add to favourites, timeline, on-screen playback control, as well as using the buttons. At the top is the volume, audio output used, time and battery percentage. By dragging the top menu you can access the wireless connection options, line output and gain selection (low, medium and high). This menu can contain up to 8 options, which can be chosen in a special menu for this purpose, from 12 quick functions. There is also the option to rotate the display.
For tuning enthusiasts, the V3 has a 10-band equaliser, the famous HiBy MSEB and 6 digital filters.
Of course, the V3 has gapless playback, crossfade, ReplayGain as well as other classic options of this type.
Back in the main menu, the Wireless option gives access to Bluetooth, Wi-Fi, HyBy Link, Import Music via Wi-Fi, DLNA and AirPlay. Three buttons remain for Books, System Settings and About. You can update the firmware from the card, downloading the firmware from the WEB or via OTA.
Again, I was surprised by the use and the sound via TIDAL, while the navigation is not as slow as I thought. It's true that it takes a few seconds to access the songs, but it's quite good.
Using the SD card is no problem, as I am very familiar with the HiBy OS. Just to repeat that I find the appearance of the icons very basic and that the scrolling through the list of songs is not as fast as in a HiBy's own DAP.
As negative points: the volume control by means of the buttons is not very precise, instead of going step by step, sometimes it moves 3 or 4 steps at once, and it has even been blocked until it reaches the maximum. The picture of the album covers is not very big and the screen doesn't seem very bright or with a very good resolution. With headphones plugged in when the device is switched on, there are unpleasant clicking noises.
I find the battery life quite good, much better than other DAPS I own. But the charging time is slow, even when using fast chargers. On the other hand, this is a common occurrence with dark DAPS.
In terms of ergonomics and size, the V3 is larger than the HiBy R3 Pro, which is perhaps the most appropriate size for a portable DAP in this segment. The Hidizs AP80 PRO-X is very small, but the V3 exceeds the portability of this range. It's a bevelled-edge tablet where the most striking feature is the physical buttons on its main face. It is also certainly heavy. While the most beneficial of the whole design and construction is the battery life and the size of the screen, which allows the use of larger fonts, very appropriate for those of us who no longer see well up close, like me.
It's worth noting that to turn the device off you have to hold down the off button until the countdown from 3 to 0 comes to an end, something that prevents unwanted shutdowns.
All in all, the firmware still needs to be improved in some behavioural aspects. I wonder if it could be improved further in sound.



Measures

With firmware version v1.0 Tempotec has added 3 gain modes (L, M, H). I didn't measure with the previous firmware which only had L and H gains. According to what the brand itself says, the maximum output voltages should be 2V RMS for SE and 4V RMS for BAL. But, in reality, this is not the case, it is more powerful.
On the other hand, the output impedance is also very low, 0.26Ω for SE and 0.46Ω for BAL.
All the values used below are RMS.
It should be noted that the values obtained, both for power and output impedance, are impeccable. It turns out that the V3 is a very powerful device, with a very low output impedance and a very clean behaviour in the whole frequency range. A great job by the brand in this aspect.



No SE load

With no load, at low gain per SE, the maximum output voltage is 1.22V.



No load, at mid gain per SE, maximum output voltage is 2.44V.



No load, at high gain per SE, the maximum output voltage is 3.47V.



No load, at high gain per SE, the maximum undistorted output voltage over the entire frequency range is 3.28V.
These are undoubtedly quite high values for a simple DAP of less than $200.



15 Ω SE High Gain

With a 15Ω load, at high gain per SE, the maximum undistorted output voltage over the entire frequency range is 1.134V. This does not seem like a very high value.



However, it is possible to turn up the volume further to 2.2V between 1kHz and 20kHz without visible distortion. On the other hand, this voltage is not possible at frequencies of 20Hz and 100Hz, as the visible distortion is very evident. However, the V3 demonstrates that it can deliver high power at low impedances, although not over the entire frequency range.
Be that as it may, the undistorted power over the entire frequency range for 15Ω is 86mW and a current of 75.6mA.
The maximum power measured for 15Ω at 1kHz is 340mW and a current of 150mA. Beastly.



33 Ω SE High Gain

With a 33Ω load, at high gain per SE, the maximum undistorted output voltage over the entire frequency range is 2.424V.



Here, too, the volume can be turned up further to 2.9V between 1kHz and 20kHz without visible distortion. On the other hand, this voltage is not possible at frequencies of 20Hz and 100Hz, as the visible distortion is very evident.
The distortion-free power over the entire frequency range for 33Ω is 180mW and a current of 73.4mA.
The maximum power measured for 33Ω at 1kHz is 250mW and a current of 88mA. These are really excellent values. However, it is true that the specifications say that the maximum power for SE at 32Ω should be 330mW. For that you would have to reach 3.25V and I have not achieved that value for the standard 1kHz frequency without visible distortion.



100 Ω SE High Gain

With a 100Ω load, at high gain per SE, the maximum undistorted output voltage over the entire frequency range is 3V. In this case the maximum volume of 100 steps is not reached and higher power cannot be obtained, as turning up the volume any higher can result in distortion across the entire frequency range.
The distortion-free power over the entire frequency range for 100Ω is 94mW and a current of 30.7mA.



No load BAL

No load, at low gain per BAL, the maximum output voltage is 2.45V.



No load, at mid gain per BAL, the maximum output voltage is 4.92V.



Without load, at high gain per BAL, the maximum output voltage is 6.94V.



No load, at high gain per BAL, the maximum undistorted output voltage over the entire frequency range is also 6.944V. Again, values that leave the competition in the range blushing.



15 Ω BAL High Gain

With a 15Ω load, at high gain per BAL, the maximum undistorted output voltage over the entire frequency range is 1.25V.



Here, too, the volume can be turned up further to 2.4V between 1kHz and 20kHz without visible distortion. On the other hand, this voltage is not possible at frequencies of 20Hz and 100Hz, as the visible distortion is very evident.
The distortion-free power over the entire frequency range for 15Ω is 100mW and a current of 83.3mA.
The maximum power measured for 15Ω at 1kHz is 380mW and a current of 160mA. Large values.



33 Ω BAL High Gain

With a 33Ω load, at high gain per BAL, the maximum undistorted output voltage over the entire frequency range is 2.71V.



Here, too, the volume can be turned up further to 4.08V between 1kHz and 20kHz without visible distortion. On the other hand, this voltage is not possible at frequencies of 20Hz and 100Hz, as the visible distortion is very evident.
The distortion-free power over the entire frequency range for 33Ω is 220mW and a current of 82.1mA.
The maximum power measured for 33Ω at 1kHz is 500mW and a current of 120mA. Immense values, we are talking about 0.5W at 33Ω for a device of less than 200$. On the other hand, let's not forget the clean output curves, even better than other more expensive devices.
The specs say that the maximum output power for 32Ω per BAL should be 610mW, something that should be achieved with a voltage of 4.42V. As I checked, in my measurements I did not reach that value for the standard 1kHz frequency without visible distortion.



100 Ω BAL High Gain

With a 100Ω load, at high gain per SE, the maximum undistorted output voltage over the entire frequency range is 5.82V. In this case the maximum volume of 100 steps is not reached and higher power cannot be obtained, as turning up the volume any higher can see distortion over the entire frequency range.
The distortion-free power over the entire frequency range for 100Ω is 340mW and a current of 58.2mA.



Sound

The Tempotec V3 is a current DAP that can not only be used as a source by playing music from SD. Although I still think that should be the sole purpose, the market "forces" this to be a device that can be used with Wi-Fi, Bluetooth, DAC, DLNA and AirPlay. I've used the V3 with Tidal over Wi-Fi and the sound quality has surprised me for the better. Normally, I don't use Tidal much because I have the impression that its sound quality is inferior to the same FLAC used from an SD or from the hard drive, with any music APP, preferably HiBy Music or Foobar2000. However, on this occasion, the V3's Tidal app sounded very good. Although it is true that I noticed some micro-cuts, something that indicates to me that the Wi-Fi connection may not be the best. I tried Bluetooth, although I've never been a fan of this technology, so the tests were just to check the connection and little else. Finally, I have also used the V3 as a DAC and the experience has been very good. It also works with Tempotec's ASIO driver, which is much appreciated.
When I opened the V3, the default firmware was v0.3. But a few days before writing this review, Tempotec's WEB site showed the v1.0 version. I have used this version to analyse the sound.
According to the brand itself, the analogue amplifier pyramid is the same as for the V6. So, this may lead to some misleading advertising: Does Tempotec want to take buyers away from the V6 in favour of this new V3? Well, I think this could be a job for the reviewers. In my opinion, the V3 is a mini V6, but it doesn't reach the refined extreme of its big brother. In principle, the V3 is more powerful. Testing both with the same songs, in parallel, with my comparator, at the same gain level, I had to set the V3 a few volume steps lower, to match the volume. However, musically speaking, the V6 must have other hidden "charms" to make the music sound more spacious, refined, smooth, open, transparent, even more musical and detailed. The sound with the V3 is a bit harsher, a bit more congested, not as transparent and with a bit less resolution. Nevertheless, it is quite good for its price range.
In the V3, the bass is a little rougher, less rounded and a little longer than in the V6. The bigger brother has more control, is a little more elastic and you notice that extra refinement, offering a tighter, smoother, softer, more concentrated, but also smoother performance. There is a bit of visceral dirtiness that gives the V3's bass a point of rage, which gives it its charm when it comes to playing electronic genres.
When it comes to expressing complex, dirty and unfiltered bass passages, the V3 goes for a slightly more simplified and less lush representation than the V6. Even so, the control in such passages is still very good.
In the very low frequency pure tone reproduction test it's noticeable that they have the same parent: the performance is really similar, maybe a bit darker and a bit rougher in the V3, but the behaviour is very good and realistic in both DAPS.
In the midrange the V3 feels a little warmer and less lush than the V6, it's also a little punchier. Although the level of clarity is quite good, it doesn't seem to have as dark and clean a background as the V6.
It is in the high end that the differences between hardness and softness are most apparent between the V3 and V6. While the V3 seems to have more sparkle, it is more penetrating and executes the treble with a thicker and wider note, so that the high notes sound more overlapping. The V6 presents the high range in a more refined, cleaner, thinner and more separated way, also with more smoothness and a more subtle sparkle.
The clearest differences are, as I said at the beginning, in the technical areas. The V6 has a wider, more separated and more volatile scene. Being more refined, it also has more transparency, clarity and resolution. The V3 is more compact and tighter. However, it has a great level of detail, except that it is more closely linked to the rest of the musical composition. The V6 manages to separate it in a more accentuated way, but without elevating it to a representative level. In that respect, it remains at the level of the V3. It does not seem more explicit, but it is easier to distinguish the detail in the V6, as it is more concise, precise, resolute, clean and separate.
Currently, the V6 costs approximately $100 more than the V3. I'm sure the V3 will get better deals.
But what if it's compared to an old acquaintance like the HiBy R3 Pro. In principle, the HiBy's screen looks better, brighter and the faceplate fills the entire screen. In addition, it seems to run smoother and has some details that have not yet arrived on the V3, such as the album art in the track list. The on-screen controls also have more streamlined icons than on the V3. My of the R3 Pro is not the Saber version, but uses the classic CS43131 dual-mode DAC.
The R3 Pro is again less powerful and more volume is needed, at low gain, to match the output.
In this case, the sound of both is more equal, qualitatively speaking. There is a slightly denser, punchier and slightly more energetic representation in the V3. Meanwhile, the R3 Pro seems a bit more relaxed. This makes the V3 present details more clearly, while the R3 Pro is a bit more relaxed and softer in this respect. In this way the HiBy seems to project such details to a more distant, but perceptible, plane.
In the pure tone test the V3 has a clear advantage in its fidelity at the low end. The R3 Pro simply struggles, while the V3 reproduces it in a realistic, uncoloured and quite natural way. This aspect translated to music means that the resolution and behaviour in the lower range is superior on the V3, generating better, more discernible layers and managing to follow bass lines more accurately.
In the midrange, the V3 seems slightly warmer and a little darker than the R3 Pro. However, it also seems more energetic and slightly punchier. The R3 Pro is a little softer, a little more relaxed and offers a little more concave and deep feel, something that also helps to offer that softer feel. The V3 offers more definition, while the more relaxed sound of the R3 Pro doesn't make it fuzzy, but gives it some distance. The V3 sounds more in the foreground.
The high end of the R3 Pro seems thinner and sharper than the V3, which sounds more extended and less pointed. There seems to be a bit more lift in the HiBy, while the V3 sounds wider.
A priori, I thought there would be more difference between the two models, given the time distance between them. But, musically speaking, the details between them put them on a very similar level and it is only the differences in profile, presentation and detail that make the difference between the two. While the V3 is distinctly more powerful than the R3 Pro, the R3 Pro is more refined in its display and HiBy OS implementation. However, the V3 must surely have a newer OS because it has a slightly different menu layout, more mobile-like at times. Battery life is good on both devices. I like the button layout of the V3 better, but the size and screen is better on the HiBy.



Conclusion

I have always applauded Tempotec's determination to get the best performance out of the devices they bring to market. On the other hand, we all know that they have a particular point of view on design. In this respect, I think the brand is more concerned with functionality than with refined and attractive design. The V3 is an example of this: they have introduced 3 playback control buttons at the bottom of the main face. The screen is large, as is the DAP, larger than the direct competition. Its lines are straight, although it has good ergonomics. But both the size and the weight should be taken into account if you are looking for a very portable device.
On the performance side, the V3 uses HiBy OS, with all that that entails. It may not be the most fluid, nor does it have the most eye-catching icons. But it is highly functional, explicit, with numerous options and functionalities.
On the connectivity front, the V3 comes with everything, including streaming APPS like TIDAL, which sound pretty good. Although it seems that the Wi-Fi connection during streaming is not the most stable, something that could be solved with future firmware versions. On the other hand, the DAC mode is also remarkable: the sound quality in this mode is as good as in SD.
The power output of the new V3 deserves a special mention. It simply beats all its rivals in the range, reaching 3V on SE and more than 6V on BAL, when the norm is 2V and 4V, respectively.
In terms of sound, and after looking at the brand's own specifications, I expected the V3 to be a mini V6, given that it shares the same analogue amplifier pyramid, as well as the Dual DAC. However, the V3 doesn't quite reach the level of refinement, clarity, resolution and spaciousness of its big brother. And that's not a bad thing. It is normal. However, there is also no clear difference between the DAPS in the range available to me. It is a different colour and a different taste, with a different form factor. I think it still has a lot of potential, considering its good battery life and, above all, the great power it packs. It is definitely a DAP to consider in the sub-$200 price range.



Earphones and Sources Used During Analysis

• Hidizs MP145 Golden Titanium
• BQEYZ Wind.
• Letshuoer S15.
• Tanchjim Kara.
• Rose Martini.
• Rose QT9 MK2s.
• NiceHCK F1.
• Simgot EA1000 Fermat.

Purchase Link 1
Purchase Link 2



You can read the full review in Spanish here

Introduction

Founded in 2015, Rose Technics is an emerging audio brand that has spent years in the pursuit of unparalleled original sound reproduction through intelligent technology and meticulous craftsmanship.
I can't hide my fondness for this brand and have been lucky enough to review some of their great models, such as the Mini2 MKII 2.0, the QT9 MK2 and QT9 MK2s, as well as the Martini earbuds. And I have to admit that each of them is on my list of favourites in their respective categories. So it's no wonder that every Rose Technics model that comes on the market gets my attention. That's why I'm in luck again today, to be able to review their QuietSea model. At first glance, I thought it was a clone of the Ikko OH2 as the capsules are completely identical. However, the brand acknowledges that the QuietSea has been designed in collaboration with IKKO after studying over 7000 ear samples to design a universal shape that is comfortable for the masses. On the other hand, it has also been tuned by professional acoustic engineers with years of experience in this field. It is a joint work of Mr. Xie (acoustic engineer of Rose Technics) and Mr. GaoQiao (ex-Tokio Audio). Together they have fine-tuned the tuning of the pair to create an effortless sound with dynamic resolution and rich tonality. The pair has been tuned to deliver a quality sound for multiple musical genres.
Internally, the QuietSea is a new model that uses a unique CNC-machined zinc alloy dual-chamber dynamic driver. It uses a special gold-plated brass dual-chambered dynamic driver with a topological diaphragm that produces a clear sound with ultra-low distortion. The pair is supplied with a high-purity four-strand monocrystalline copper wire. It also uses a powerful magnetic design: the transducer parameters are constantly adjusted and optimised so that the pair has a controlled airflow and produces a more accurate and lively sound. The pair achieves a magnetic flux of more than 1.5T, which also aids in easy handling.
RoseTechnics Quiet Sea IEMs come with a premium quality cable as standard. This is a high-purity four-strand monocrystalline copper cable made from premium OCC 5N wire cores. This cable has a standard 3.5mm connector option and is also available in a 4.4mm balanced version.
After this comprehensive introduction from the brand, let's take a look at what the Rose QuietSea really looks like, in my view of course.



Specifications

• Driver Type: Dual chamber dynamic with 10mm topological diaphragm.
• Frequency Response: 20Hz - 20kHz.
• Sensitivity: 99dB.
• Impedance: 32Ω.
• Harmonic Distortion Ratio: less than 0.1%.
• Jack Connector: Choice of SE 3.5mm or BAL 4.4mm.
• Capsule Connection Type: MMCX
• Cable Length: 120cm.
• Weight: 20g.

Packaging

The Rose QuietSea comes in a medium-sized black box, whose dimensions are 195x145x52mm. On the front side you can barely see anything: Chinese lettering inscribed in the centre and wavy lines moving across the diagonal of the box. On the back, at the top are the product specifications. Underneath are the brand's contact details, in the centre the name of the model and below that the logos of the certifications it complies with. There is also a sticker with the colour and cable connection. In my case it is the Silver version with 4.4mm cable. After removing the outer cardboard, a matte black box with the same Chinese lettering in the middle appears. The box opens like a chest and the first thing you see is a sheet of onion paper with the capsule exploded view. Underneath is a large foam mould that protects the two capsules and the grey zippered case. Underneath is a user's manual and inside the case are the rest of the items. In summary, the complete contents are as follows:

• The two Rose QuietSea capsules.
• A four-strand coiled textile-coated cable with 4.4mm connector.
• One zippered case.
• Three pairs of white silicone tips.
• One tool for removing the MMCX connectors.
• One user manual.

It is clear that this is a very high quality set of capsules, cable and case. It is very difficult to find a cable as good as the one that comes standard with these Rose QuietSea. I insist that I don't like the MMCX connection and I must confess that this connection fails me in the previous QT9 MK2 and QT9 MK2s models and that prevents me from enjoying them with total freedom. On the other hand, it is also worth mentioning that the zippered case is excellent for the price, both in finish and size, as it is able to hold the whole set with ease and has a zip that slides smoothly.



Construction and Design

It is clear that this is a capsule design that has already been seen in the Ikko OH2. The capsule of the QuietSea is divided into three parts: the inner side is grey (in this case) and is metallic, although it doesn't look like it. Then there is a central part made of transparent, dark polycarbonate, which covers part of the outer face. Finally, the outer face is closed with another metallic portion. On it is the model name and logo, as well as a small slot. The transparent side allows you to see some of the cables inside. On its edge is also the gold-plated MMCX connection. Next to it is a letter indicating the channel. The whole external face has a shape very similar to an equilateral triangle with very rounded corners. The final size is small/medium. The outer face has no strange shape, it is quite smooth except for a protrusion resulting from the MMCX connection. The inner face is smooth and rounded and the mouthpiece does not have a very elongated projection. Almost the entire inner face is at the same level and when the mouthpiece is reached, it stretches abruptly along its entire length. These nozzles are oval and have a perforated metal grid. Finally, there is a hole in the very centre of the inner face.
As for the cable, it is possibly the best cable that can be found as standard in this price range. It is a 4-strand coiled cable protected by a grey textile layer. It uses a high purity monocrystalline copper conductor made from premium OCC 5N wire cores. This cable has a standard 3.5mm jack option and can also be chosen in a balanced 4.4mm version. The jack connector sleeve is a smooth metal cylinder. The 4.4mm BAL connector is gold plated. The cable outlet is protected by a transparent plastic sleeve. The splitter has a hexagonal metal sleeve with the brand logo inscribed in the centre as well as the brand name. Inside is a black plastic piece that imprisons the cables. The back is an oval metal piece that has the same surface as the rest of the pieces. Inside there is another black plastic piece in the shape of an 8 that holds the cable tightly. The cable has semi-rigid transparent plastic ear guides. The sleeves of the MMCX connectors are two smooth metal cylinders, with the same shape and surface as the other parts of the cable. The MMCX connectors are gold plated.
A design shared with Ikko, with a very suitable shape that has oval nozzles. The cable is of very high quality. But it has MMCX connections, something that may ruin my experience with this model over time, as it has happened with the previous QT9 MK2 and QT9 MK2s. A pity.



Adjustment and Ergonomics

Although it may not look like it, the opaque parts of the capsule are metallic. The size of the capsule is medium to small. The mouthpieces are short and oval in shape. They have a particular angle. The result is ergonomic but clearly aimed at a superficial insertion. In this case there are no oval tips as in the Ikko model. However, they were not suitable for my morphology. Neither are the standard tips and I had to resort to my home-made large foam-filled tips. As they have a large inner core, they fit easily into the oval mouthpieces.
As I said at the time, I think the great design of the Ikko/Rose feels penalised by the boldness of their oval mouthpiece design. I maintain the impression that its fit is critical, not straightforward and will not be appropriate for many users. Fortunately, it is not difficult to find other suitable tips, either foam or silicone, with a more traditional shape, on the aftermarket.
All in all, the ergonomics might seem exceptional due to the small size of the capsules and their relatively flat design. But when it comes down to it, the shallow fit and the oval mouthpieces mean that over time I feel that the shape is not the most suitable for my ear canal, causing me some discomfort and fatigue. And that's a pity because the fit and integration of the capsules in my ear is very good.



Sound

Profile

There is a certain similarity in the frequency response of the QuietSea to the Harman 2019 target. It is possible that it has a softer bass and that the double peak in the midrange and early treble is more pronounced. There is arguably a more pronounced W trend in those high end peaks. But there is also a clear extension in the treble area. In this way, the profile is slightly oriented towards brightness and light, something that is obviously noticeable in that W that exists in the 2khz, 5khz and between 8 and 10kHz. Honestly, I would have liked those peaks to be smoother and the lower sub-bass end to be higher. But this is not my tuning, but a collaboration between Mr. Xie (Rose Technics acoustic engineer) and Mr. GaoQiao (ex-Tokio Audio).
Actually, it is not a completely unique tuning, as you can see several models moving very close to their frequency response.



Bass

The low end is relatively neutral, for a bass lover like me. It is clear that I would have raised the sub-bass end, leaving the rest of the lower range in the same way. However, I have to admit that the bass has quite a bit of personality and is more than noticeable. First, because of their sonority. The QuietSea have a dual, dark behaviour in this area, something that differentiates them from the rest of the IEMS and gives them a greater sense of depth and realism. This dark component is apparent in the very low frequency pure tone test. The 20Hz tone reproduction emits a coloured sound vibration accompanied by this dark and relatively sensory sound. This dual perception is not quite normal and I must confess that, despite being slightly unreal, it has a certain attractive and peculiar sonority that makes the QuietSea's bass quite unique. From 30hz onwards the sense of darkness is mixed with a sound wave of distinctly sensitive power that gives it a sense of superior body, volume and presence. It is possibly this characteristic that gives the bass sound so much personality and a presence above neutrality, as well as its very attractive, yet dark and coloured behaviour. It is not a sensory bass, nor is it the deepest or darkest, but it does have a blend that makes it more expansive, fuller and more voluminous. There are many IEMS that stay in the sub-bass, generating a deep, physical sensation, but they remain relatively low in punch, as does their extension. The QuietSea stretches the sub-bass boundary and joins it with the low-midrange, keeping it fairly horizontal towards the midrange. In this way, the lower range becomes large, noticeable and voluminous. If it lacked control and speed, the result could be disastrous, but the QuietSea shines in both respects. Technically speaking, the bass hits are compact, rounded, fast, with just enough spring to give them realism, but without overdoing it to maintain a compact, concise and tight body. It doesn't feel dry, but rather juicy, full-bodied and with a sonority that mixes a subtly coloured vibration with a dark and rich aftertaste. It is this behaviour that moves the low end away from neutrality. Although it is not an IEM for bass heads, its behaviour is clearly oriented towards bass lovers due to its particular qualitative characteristics. It is undeniable that there is power, even more than I would interpret by looking at the graph. And that is the result of a lower range that is quite linear, that is not only focused on the bass-midrange, but is able to be present in the whole range.
In the unfiltered, dirty bass reproduction test, the QuietSea's are able to follow bass lines quite easily, without mixing them up, keeping the bass in check and delimiting them masterfully. They are able to locate them in their zone and do not let them take up more space than necessary and realistic. In this way, the intrusion in the midrange is very low and allows the vocals and other elements to maintain their prominence. It is true that a certain colouring persists in the lower notes, something that can be off-putting for purists. But it is also true that this sense of dual and dark sonority allows to maintain that fragile magnetic and powerful balance that grabs my attention. To all this, and as a result, we must add a texture that is the fruit of this dual reproduction: the vibration and the darkness give rise to a rough mantle that is the culmination of a sound and behaviour that is as particular as it is attractive.



Mids

The first part of the midrange carries the existing body and volume of the lower range, but a lower prominence. In this way, the male voices possess physicality, a marked base, with a certain power and volume, although it is placed at a certain distance that prevents them from being more of a protagonist. They lack a point in their extension to be more complete and presential, something that keeps them from having a more exuberant and richer representation. There are times when they feel closer, but they still lack a more constant thrust throughout, as well as a higher power. It's as if there is a certain hollowness in some phases. The base is very good, with a strong physical, visible and sensory foundation. But, as the voice fills out, a certain bump is perceived, while the higher elements become more prominent. This is how the hissing and wheezing flirt with the permissible limit. It is not a markedly sibilant IEM, but those peaks at 2Khz and 5khz make them more visible than usual in these aspects. Ultimately, the first half of the midrange ends up with that sunkier aspect that prevents a more balanced and fuller range. And that's coupled with a rapid ascent into the midrange-highs. But somehow the QuietSea manages to maintain some control and retain a more homogeneous sonority than the chart represents in this area. I don't find the midranges to be deliberately bright, shouty or excited, but rather keep a warm base, supported by that dark air of the bass, which helps it to remain in that natural, somewhat analogue and romantic zone, despite the final brightness of the harmonics. It is true that many elements end with that final sparkle, brilliance and shine, leaving, at times, a space in the middle that does not feel occupied. But it is also true that the weight of the notes is high and their representation is relatively thick. This characteristic moves the QuietSea away from a sharp or analytical sound and places it in that gentler, more homogeneous environment, despite those bright nuances in the higher harmonics. As a result, the female vocals are more prominent, as are the guitars, while the cymbals become more persistent. This is not a brilliant timbre, but its balance is sustained by that mix of darkness, note weight and sparkling nuance.
The QuietSea have quite good clarity and transparency, which contrasts with the darkness and warmth of the low end. In the sum, brightness and light may win out, but the thickness of the notes and the smoothness of their travel also support the result being a more pleasant and musical sound, rather than thin or sharp. And that's something the sibilance is grateful for, as it would otherwise be more piercing, given that the QuietSea flirts with that hot zone on many occasions.
The end result is an ambivalent, but corrected, zone that can be very pleasant and relatively splashy. It retains a good timbre, a solid base, a somewhat discreet and distant centre point, which contrasts with an excited second half, clear, crisp and present, but rounded in its development, to maintain smoothness and a certain musical homogeneity.



Treble

The treble starts from the peak of the midrange-high, energetically speaking. Quickly, the tuning places a control zone to counteract the negative effects of such a rise. That slight drop prevents the first highs from being too sharp or hot. However, Rose has managed to stretch the high end beyond what is usual for a dynamic driver in this price range. This way, the energy level persists and this is felt in our eardrums. The advantage is that the treble is not completely thin, sharp or piercing, but has a subtly rounded edge, which makes it easier to tolerate.
It is clear that the energy level in the midrange and the first two phases of the treble outweigh the power struggle that exists with the low end. Despite this, both the weight of the notes and their thickness and rounded peak, the sound remains below my tolerable limit, maintaining very musical sound characteristics, without losing brightness and sparkle in the higher harmonics. All this gives it an extra richness in the nuances and end points of the elements. As well as a certainly natural, albeit excited, sonority, within the sound channels of a dynamic driver. But there is also a bright undertone, which can be more or less persistent depending on the song or genre of music. This aspect is another factor that can lead to fatigue for the listener who is used to a softer, lighter environment in the high end, not as explicit and exposed as the QuietSea's treble.
Finally, there is a certain amount of noticeable and pleasant air.



Soundstage, Separation

In my opinion, the QuietSea has a good balance on all three axes, with none being too superior to the other. They are not too wide and have a good level of depth, as well as a moderately good height. This gives them a rather semi-spherical, but frontal representation. The good height perception adds a certain subtly ethereal, three-dimensional effect, but without going over the head. The remarkable lateral impression offers a stereo presence that falls just short of crossing 180 degrees. However, the whole remains attached to the head, at a specific distance. It is not an intimate scene, because it goes beyond and that is something that the depth it generates overcomes this barrier. But it remains in that spherical representation I have already mentioned.
The amount of air, clarity and transparency helps to generate a certain vapour in the scene and to distance the already well-separated elements, thanks to the good technical characteristics of the QuietSea. Even this unforced distancing of the elements is enough to feel an incipient dark background.
Everything seems well placed in this semi-sphere of controlled distances. In this way, the image is discernible and the provenance of the elements is simple and easily located.
I have already mentioned that this is not an analytical sound. But there is a remarkable level of technique that allows a great deal of detail to be visible. It is true that the more excited tuning in the high end makes the high details more perceptible and has a tendency to overshadow small elements in the midrange. But even so, I was surprised by the ability to discern these micro details in a seemingly small area. The layers are not very far apart because of the limited distance, but there is enough air, distance and technical skill to represent those elements. It's a pity that the weight is heaviest in the treble. But within such a controlled space, the QuietSea are able to reveal a lot of detail without sounding analytical or unnatural. And this is something I didn't expect in this price range.



Comparisons

Simgot EA500 Black Filter

The simgot EA500 are IEMS that play in a similar price range. While it is true that the Rose cost $90 on their own website, it is easy to find them for $50 in some specialised shops. At this price, it's a bargain set, almost unbeatable. The Simgot's cost around $71 at the time of this review and can certainly be a great touchstone for the QuietSea. Starting with the packaging, the EA500 has a large zippered case, as does the Rose, 2 pairs of tuning mouthpieces, which gives it an advantage over the Rose. In terms of accessories it's very similar, but I'll take the Rose's cable, with the 4.4mm BAL connector and that textile cover available to very few as a standard accessory. On the other hand, the EA500's cable is not bad, silver-plated with two transparent strands with PVC coating and a 3.5mm SE connector with a rather simple plastic sleeve. In terms of capsule construction, the EA500s feature a polished, shiny, mirror-finished design. Its shape is an equilateral triangle with very rounded corners, a stubby body and a two-tiered inner face. In addition, as mentioned, it has two pairs of interchangeable nozzles. These provide a slight change in the midrange and treble. The Black filter excites the tips of the peaks in the second half of the frequency response. This filter has been used for comparison with the QuietSea because of its closer sonic resemblance.
In terms of ergonomics, despite the larger size of the EA500s, they fit very well in my ear canal. At first, the QuietSea seem better in this respect, with the smaller capsule that seems to hide in my ears and fit more flatly. But, as time goes by, they end up producing a discomfort that did not appear at the beginning. This has meant that from a very promising start, I have lost the ergonomic battle against the EA500, even though they are heavier and bigger.
In terms of sound performance and sensitivity, the EA500s are slightly more sensitive, although the difference is subtle.
As you can see from the comparison of the two frequency responses, the QuietSea should be brighter. However, in my opinion the EA500s have a brighter sound, whereas I find the QuietSea warmer. It may be the thickness of the notes. The EA500s are lighter, thinner and more analytical. From the low end, the Simgot are drier, compact, tight, technically good and precise. They have a slicker texture and a great behaviour. The QuietSea's are slightly more elastic, with a bit more bite, more darkness, a rougher and more pronounced texture, giving a warmer, rounder and deeper feel. I prefer the QuietSea's slightly dirtier, thicker, darker, deeper and rougher bass. The EA500s are more academic and refined in that respect. And it's worth noting that the frequency response curve is practically the same, the difference is in that colour, in that more textured surface of the QuietSea and in the technical skill and control of the EA500.
In the midrange, the difference in note weight and finesse persists. The EA500s are thinner, finer, leaner and more defined. There is a slight warmth to the QuietSea's, which gives vocals a denser, fuller base and a smoother, rounder and subtly closer colour. However, the EA500s seem technically superior, offering cleaner, clearer, more separated and defined midranges. It's clear that this is a battle between the more relaxed, darker, smoother and rounder sound of the QuietSea, versus the more refined, cleaner, neater, clearer, crisper, cleaner, thinner, leaner, more separated and analytical sound of the EA500. Within such a similar profile, this differential timbre and behaviour can form a great combo to enjoy on a variety of occasions.
The high end of the EA500s is more piercing, crisp and penetrating, due to their thinner, cooler notes. There may be more lift and energy in the QuietSea, but their rounder timbre and note weight make them less sibilant and more restrained in those peaks. There is plenty of extension in both models, and the difference is still in the way the treble is represented in the two models, as well as the subtle differences in energy. Both have great extension for dynamic drivers in this price range, though.
In terms of detail, the EA500s are more explicit and may appear to be much more expressive and informative in this department. But, as is often the case, the macro-detail so present tends to obscure small nuances by overexposure. However, the QuietSea's maintain a good relationship between macro and micro detail that favours the observation of those fine details, even reaching higher levels than the EA500, depending on where they are located. The Rose's have more depth and that helps them to generate layers and decipher them better. On the other hand, the sound is more refined, thinner and separated in the EA500s, while their background seems darker and more discernible, as it also treasures a greater sense of resolution and precision.
In terms of scene, the EA500s are airy, separated, with very good width, even height. But the QuietSea's are a little deeper. Perhaps there's more of a three-dimensional, open feel to the Simgot, because of that more splashy, dynamic sound, which seems to have more movement, a crisper, more oval exposure. The QuietSea persist in a rounder, more recessed representation at the extremes.



Conclusion

Rose Technics does not disappoint despite using a shared design with Ikko and a frequency response with a couple of somewhat repellent peaks. The Rose QuietSea are excellent IEMS that should be listened to with open ears. The clear example that a graphic does not completely dictate the sound of an IEMS. They come with a spectacular cable, which could be half the price of the set, with the possibility to choose a 4.4mm balanced connection and a case that would have been a dream for higher-priced models. With a price on the brand's website of $90, but which can be found in specialised shops for $50, they represent an aural kick to the rest of the competition. And not just in terms of design and accessories, but more importantly in terms of sound. With a very distinctive bass that blends darkness and roughness with an engaging and captivating sonority, the QuietSea's are deep and pleasing in the first half of the frequency range. The early midranges are well grounded, relatively full sounding and possess a warm timbre peppered with energetic treble, but softened at the peaks to control musicality, but without losing sparkle and extension. Very capable at revealing detail, with a great balance in the presentation of micro and macro elements, they also have a good ability to recreate layers of sound and separate them in depth, generating a realistic, semi-spherical and relatively wide scene. Undoubtedly, a very musical model, more balanced and enjoyable than I might have thought at first. If it wasn't Rose it could be a surprise for me. But, in this case, it's all about maintaining a very high standard, something that may prove difficult for the competition and also for the brand's future models. But it only makes me want to test their new models all the more.



Sources Used During the Analysis

• MUSE HiFi M3 II.
• Tempotec V3.
• Hidizs S9 Pro Plus.
• Burson Audio Playmate II.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.

Purchase Link



You can read the full review in Spanish here

Introduction

Tiantian Dongting TinHiFi was launched in 2017. TinHiFi gets its name from the homophone of "Listen" and "Hi-Fi". On the other hand, the brand advertises that one of its best assets is that it tries to listen to the world and, with that, to the users who buy its products. They claim that, although the T2 model has already been iterated several times, it still has room for improvement. This time, thanks to users, they have opted for clearer and more transparent high frequencies, as well as cleaner, more controlled, more precise and tighter low frequencies. The profile is now more neutral. The MMCX interface has also been reintroduced and the design has changed slightly, using a spiral shape. Internally, a dual coaxial transducer design with composite diaphragm has been used. The 10mm driver executes the low frequencies and the 6mm driver handles the midrange and high frequencies. Finally, the capsules are made of lightweight aluminium for high strength and durability. Let's see what more surprises this new TinHiFi model called, of course, T2 MKII has in store.



Specifications

• Driver Type: 2 dynamic drivers, 10mm woofer + 6mm midrange & tweeter.
• Frequency Response: 20Hz-20kHz.
• Sensitivity: 103±3dB @ 1kHz 0.126V
• Maximum distortion: 3% Max at 1kHz, 1mW.
• Power rating: 3mW.
• Maximum power: 5mW.
• Cable: 8-core 5N silver plated cable.
• Capsule Connection Type: MMCX.
• Jack Connector: SE 3.5mm.
• Material: Plastic Aluminium.

Packaging

The packaging of the T2 MKII follows in the tradition of the T2 and features an elongated landscape box. On this occasion, the chosen colour is grey. Its size is 143x76x43mm. The presentation remains sober: there is only T2 MKII written in the centre in white letters and the brand logo in the lower left corner. On the back there are a few QR codes and the logos of the certifications the product complies with. Removing the cardboard reveals a box that looks like a landscape book, with a lightly padded, leather-textured surface. In the centre is the brand logo in gold ink. The inside is white, a box containing a thick foam mould, which holds the capsules with the particular spiral shape. Once the first layer is removed, there are the rest of the accessories, in transparent plastic bags. The complete contents are as follows:

• The two T2 MKII capsules.
• 6 pairs of silicone tips, sizes SxMxL. One medium pair comes with the capsules.
• Two blue foam tips, large size.
• One silver-plated 8-core 5N cable with 3.5mm SE plug and MMCX connections.

The packaging is reminiscent of previous models and does not come with a case or bag. It has two sets of tips which are now different. The lighter ones have a wider core and the darker ones a narrower one. It is a detail the inclusion of foam tips, but again I would like to point out that it does not include anything to store or protect the IEMS.
It is available in two colours: Silver and Gun.



Construction and Design

On this occasion, the cylindrical design is coupled with a spiral shape on its outer face. From the outside, it has a certain snail-like appearance, although the circular face in the centre is not lost. It is a double concentric circle. While the outer ring is flat and thin, the inner face is conical until it reaches the central circle, which rises subtly up the hillside. There are three holes in this dividing ring. The spirally rising area embraces the cylinder and contains the MMCX connection interface. Each channel can be distinguished by the plastic ring around the MMCX interface: red for the right, blue for the left. The inner face follows the familiar ballistic pattern: a slight step giving way to a much more pronounced one. A new light rim and the mouthpiece with two diameters, the central one of 5.4mm and the crown of 6mm. The length of the mouthpiece is approximately 3mm. Its orifice is protected by a perforated metal grid. There is a hole in the slope leading to the nozzle.
The cable hardly changes, it is traditional in its connections and sleeving. The plug is 3.5mm SE, gold-plated. The sleeve is a classic cylinder with texture for better grip, in two parts, one larger and one narrower. The splitter piece is a cylinder with two rings near the edges. The pin is a metal ring through which the cables pass. The sleeve of the 2Pin connectors are also cylindrical, with a small bevel near the cable and two rings. The same design of plastic discs is repeated, except that one is red, the other transparent. The wire is made of 8 cores of 5N silver-plated strands.
The capsule is slightly different, with that spiral addition. The surface is more textured and the design of the outer face is different, instead of being flat, it is conical in shape and has 3 holes. The cylinder itself is still the classic one. The construction is simply good, although there are some burrs between the assembly of the spiral piece and the cylinder.



Adjustment and Ergonomics

The T2 MKII combines ballistic ergonomics with an elongated body. The 90 degree spiral cross piece adds to the possibility of having a cable that is far from the centre and rigid in the vertical position. The diameter is adequate and if it had been larger, the ergonomics would have suffered. Due to the inclination of the ear canal, the insertion cannot be perpendicular and this causes the cable connectors to be close to the pinna. Depending on the inclination of the ear canal and the insertion depth, this can be more problematic. In my case, with a shallow insertion, there is no such danger. On this occasion, I had to resort to narrow-core, spherical-shaped tips without padding. The set is relatively comfortable. The passage of the cable over the ear is not the most correct. On this occasion, I feel that these guides are not at all pleasant and after a while it starts to bother me. The isolation depends on the insertion and the tips. In this case, with the tips used, the isolation is medium. It is possible to rotate the capsule inside the canal, so it is not a unique fit, but it is durable. In addition to the discomfort of the wire over the ear, there is another rather negative point: there seems to be something in the material of the capsule that irritates the skin on my ears. Soon after I put them on, it itches. It's not going to be a very pleasant review because of this aspect.



Sound

Profile

The profile is slightly closer to the Rtings from 1khz to 8khz. But the T2 MKIIs have less sub-bass, more mid-bass and a distinctly more emphasised second half of the treble. What you get is a bright midcentric profile with a rather limited and bland low end. It's certainly quite a drastic change from the DLC 2022 model. I liked that model very much and its profile was slightly reworked in several of TinHiFi's own models of that generation. It's true that it was a bit of a roundabout way around that target until it was squeezed out. But the change the brand has made in this T2 MKI model has been somewhat radical. They say that they have listened to the voices of the users and have turned the profile around, looking for bass below neutrality, with a coloured and less realistic sonority, as well as focusing the energy on the high notes, achieving a more polarising effect.



Bass

If my experience after more than 200 reviews, the vast majority from IEMS, shows me anything, it is that a bass tuning with reduced low end sounds unnatural. The frequency response of the T2 MKIIs below 200Hz is quite anaemic, with that being their highest point. The result is very little noticeable sub-bass, something that is clearly distinguishable in the very low frequency pure tone test. When reproducing a 20Hz tone, the result is a sound that is more audible than sensory, a coloured hum that lacks power, awareness, depth and realism. Behaviour does not improve until after 40 or 50Hz. However, at that point, the sound is still not completely natural and you still perceive that coloured, or in other words, a sonority that belongs to a higher and more audible frequency range. Thus, the bass drums sound sharper, with little volume, density or sense of depth. I wouldn't call it a neutral bass, because for that it has to sound at least natural. There are many IEMS whose bass presence is not noticeable, but whose behaviour is. In this case, neither the sonority nor the behaviour is the most appropriate. This can be demonstrated by equalising the bass, if the sub-bass is raised, the sonority still does not improve below 40Hz. In fact, the rough, vibrant and sonorous behaviour is maintained, with a low sensory and physical capacity, which makes it more audible than natural. The result, transferred to the music, is negatively obvious. Again, going back to the drums, they sound like simple drum hits, with very little range and depth. On the other hand, the result is more elastic than it should be. How can it be that the bass lacks power and on top of that is not completely compact or contained? The result is an unrealistic rubbery feeling, which doesn't provide an adequate or natural texture either. Having a low power I expected a drier, more contained and tighter bass. But these characteristics don't reach the remarkable, they stay in an acceptable range.
On the other hand, in my other test of dirty, unfiltered, multi-layered, low-definition bass reproduction, the result was better than expected. The T2 MKII was able to follow the bass lines without getting lost, although it reproduces them in its own way. It still tries to separate them with some grace and maintain an order in their representation. It is true that the sonority is not adequate and it will be better or worse depending on the quality of the source (I have used my reference source for this case, the one that achieves the most compact, fast, natural and realistic bass: it is the combo formed by the Aune X8 XVIII Magic DAC and the EarMen ST-Amp amplifier). But, at least, it has kept its type quite gracefully, and this gives it a technical performance that does reach a remarkable mark, being precise, skilful and resolute. It's a pity that the sound behaviour doesn't match it. And what strikes me most is that TinHiFi has dedicated a single 10mm driver for the lower range. We know it can do better.



Mids

Looking at the graph I thought the T2 MKIIs would be eminently mic-centric. The result is brighter than midrange-centric. And that's because the first half lacks enough body to have a fuller presence. In that respect, the male vocals feel somewhat disconnected, with a light base and a midrange and less close presence than expected. To be honest, I thought the vocals would be much more prominent than I found them to be. I also expected them to be warmer, but in that respect I must have misinterpreted the chart. As I say, the sonority of the voices is not bad. On this occasion, I find their execution more natural. I feel them somewhat disconnected and sunken, in a less protagonist plane that makes me raise the potentiometer to make them more present, achieving a more negative than appropriate effect. In this sense, all the instrumentation is above the male voices. The female vocals improve in presence and move closer to the foreground, but they still blend in with the instrumentation. And also with the details and nuances. There are elements that should be in the background that are placed on the same level as the vocals or the main instruments. The result generates a certain disorder inside my head, as I feel that the elements should not have such an equal distribution and their distribution in the different sound planes should be in a different order. Fortunately, the dynamic driver is not very explicit or thin and there is a certain softness in drawing the edges, something that allows the sounds to be more pleasant, less sharp and relatively rounded. Such a tuning from an overly thin BA driver would have been much less tolerable, in my view. However, there is another positive point about this aspect and that is that the elements are sufficiently separated and distant so as not to saturate the mix. Even though the midrange and treble are in the foreground, the T2 MKII's horizontal distribution of the midrange and treble is remarkably well resolved, resulting in a very open sound in this frequency range, full of clarity and transparency. I have noticed that the tips contribute a lot in this aspect, in this case I recommend tips with a wide core to maximise these aspects related to light, transparency and scene magnification. Still, I miss some flesh and physicality in the female voices, but they are certainly more prominent in the central range. They feel delicate, very well outlined, loaded with detail, but maintaining a certain softness at their edges that allows them to deal with sibilance and without losing the battle against overexposure of detail and nuance.
It is obvious that the second half of the midrange is more explicit. But, at this point, I am once again grateful that it is a dynamic driver that takes care of it. The 6mm driver dedicated to the midrange and treble is suitably light, but without going over the sharp edge. It's thin enough to be precise, concise and decisive, but not so thin as to be penetrating or hurtful. And yet the treble energy level is quite high. The result is a sound that is explicit, exposed, relatively splashy, transparent, clear, detached, technically adept, but quite natural in terms of sonic behaviour. Who would have thought I would say this about the midrange-highs coming from a bass like the ones described above.



Treble

The high end is quite explicit. Although it starts with a slight control zone that tries to soften and naturalise the result, the second half of the treble is quite exposed. There is some control around 7kHz which is able to limit the sibilance or at least make it not completely evident or penetrating. But, it is true that the second half of the treble splashes the sound with a relatively energetic and shimmering radiance. In this sense, its prominence and foreground presence is capable of obscuring details of other lower frequencies and more distant planes. The treble body is larger than desired. This generates a more opaque, dense, energetic, full and extended brilliance. The result is a shimmering brilliance, which is difficult to dilute and whose dissipation is noticeable over time. At least this behaviour and the development of the treble is certainly realistic and I still prefer it to come from a dynamic driver. Despite its high energy level, there are certain parameters whose behaviour I perceive as natural, even if the mix in the music is disproportionate and oriented towards the high notes.
The result is an extensive range, containing a high power and presence, capable of eclipsing other sonic elements. However, despite the long, sparkling flash of their brilliance, they still retain a certain sweetness that allows them to retain a subtle, dazzling realism... if you can stand it, that is.



Soundstage, Separation

The T2 MKIIs have a relatively shallow depth. Despite this, the sound does not feel flat or compact. There is a noticeable sense of air, separation, vaporousness, even a certain three-dimensional ambience that helps a lot. The sound is broad, horizontally speaking. It benefits from a great level of openness, separation, clarity and transparency. As I say, especially on the horizontal axis, even vertically. But it suffers from distance on the frontal axis. It is also not very skilful at creating many layers. It tends to distribute the sound in a very open and separate way, but when the elements are superimposed, it tends to be more explicit in the high notes, reaching a higher prominence and relegating the rest of the nuances to a less perceptible background. This is how the energy of the treble gives it an opaque body that hides important details in the mix. In this way, a certain level of resolution is lost and a level of detail is reached that is only visible in the foreground, engulfing the micro detail of the midranges and secondary planes.
On the other hand, the level of separation is high and the distance between elements generates a rather dark background for its price level, something that amplifies that sense of neatness in its sound. In this way, a more elevated, ethereal, even gaseous ambience surrounds the head slightly, subtly piercing the frontal sensation of the scene.
The technical skill of the T2 MKII is sufficient to distribute the image quite well. It has good precision for this, but it still fails in the depth positioning of the elements. Instead, on many occasions, it is able to position them in a closer plane, managing to place them in a horizontal part of the wide space it generates. In this way, the sound never feels clumpy, congested or compact. True, there's not a lot of layering or depth, but there's no denying that the T2 MKIIs are capable of filling the scene in a truly expansive way. That doesn't detract from the fact that elements, details and nuances are lost along the way.
Finally, I would like to make a small comment about the way in which the T2 MKIIs gain clarity, transparency and separation. Normally, raising the energy in the midrange and treble creates a certain, relatively false sense of forced clarity. I can't help but think that, in this model, these characteristics have been obviously forced. However, the clarity and spaciousness of sound that is achieved is obvious, well resolved, relatively realistic and natural. There is a clear excess of energy in the treble. But the sound, with the right tips and source, is really clear and spacious. And that's the best thing about the sound.



Comparisons

Ikko OH2

One model with a particular tuning, even similar to these new TinHiFi T2 MKII are the Ikko OH2. With a higher price tag of $79 compared to the T2 MKII's $59, the Ikko OH2 has a more luxurious and complete presentation, with 6 pairs of specially designed silicone tips of different sizes, plus 3 pairs of Ikko i-Planet foam tips. It also comes with a light brown leather pouch. As you can see, there is a bit more variety in the Ikko tips, while the T2 MKII does not come with a pouch to store the IEMS.
The design of the OH2 is quite particular, it is a very flat capsule with three different parts, one of which is transparent, the other two are white and metallic (in my case). The mouthpiece has an abrupt growth and is not very long and what stands out the most is that it is oval. On the T2 MKII the construction is all-aluminium and mixes a ballistic-cylindrical design with a spiral-shaped part. It's true that it's a good design, but the ergonomics are a bit worse. The OH2s are very flat and if you are lucky enough to find the right tips, the integration into the pavilion is almost excellent. Moreover, they barely protrude from the ears and are one of the most discreet shapes I have ever tested. As for the cable, both models use the MMCX interface, something I don't like. While I like the cable better in the T2 MKII because the strands are thinner, more manageable and less prone to get shaped. The Ikko cable consists of two strands coated with a PVC that tends to stiffen.
One could say that the T2 MKIIs are the high-pitched version of the OH2s, they are also lighter in bass. The distance in the upper range is the biggest difference. While the OH2s are smooth, the T2 MKIIs have a noticeable amount of energy in the treble area. In terms of performance, the OH2s are easier to move.
Turning to the lower range, I am not a fan of neutral or lower bass at this level. The T2 MKIIs are in that weak and light range, offering a subdued, low energy, smooth textured and coloured sound. The OH2s are better in that respect and their colour is somewhat darker, deeper, more natural, with a little more power and roughness, less coloured in appearance and technically superior. The lower end is more noticeable in the Ikko's and their performance is more realistic and sensory, although they are not a prodigy in the bass range either, but they clearly win the battle against the T2 MKII.
In the midrange the OH2s are grateful for a fuller lower range. In this way, the first half of the midrange is richer, with more body and physicality. The base of the male voices is denser, their timbre warmer, something that gives them a more natural, realistic, even more exciting sound. On the T2 MKIIs, the first half of the midrange is thinner, with less base and a little further away. That makes it feel comparatively hollow in this phase, something that also affects the instrumentation. OH2 are more balanced in the transition to the midrange and present a more homogeneous sound. In this second half, the female vocals are also more grounded and their representation is stellar, closer, very realistic and fuller. In the T2 MKIIs there is still a brighter, leaner, leaner approach, which brings out the details and nuances, rather than the fundamental element. Thus, the richness of the midranges and their level of lushness is more expansive in the OH2s, as opposed to the greater dryness and base sterility of the T2 MKIIs.
The treble sounds distinctly different in the two models. While the OH2s are more analogue, dry, soft, but with a certain projection, the T2 MKIIs have a higher level of energy and brightness. They also have more extension, no control zone, but are more excited, more penetrating and crisp. In my opinion, I would go for a half-way point between the two. But the bright tuning of the T2 MKIIs doesn't do the rest of the frequencies any favours either and that's something that makes my preference clearly towards the OH2s.
The sound is deeper in the Ikko, although it is also more up front. There is a noticeable sense of detail in the midrange, which is an improvement on the T2 MKIIs. The TinHiFi's are much more lavish in the higher details and these overlap with those in the midrange. They are not very good at layering, but they are good at distancing and separating the sound. In this way, they are wider, higher, have a sense of greater separation, a more transparent, open, ethereal and vaporous sound. OH2s have good clarity and transparency, but it is a more physical, realistic, more natural sound, with a more tangible and somewhat more intimate feel. However, it is worth mentioning that they have a very good level of definition and precision in their sound, something that, together with their more balanced, homogeneous and smooth tuning, gives them a higher euphonic, musical and enjoyable level than the T2 MKII, always, speaking from my personal point of view.



Conclusion

The TinHiFi T2 MKII are the flip side of the T2 DLC 2022. While the former were based on a fuller profile, with more powerful bass, smoother treble and more homogeneous transitions, the MKIIs have clearly changed the balance by smoothing the bass and reducing it below neutrality, but stretching the treble, both in energetic projection and in extension. The difference is a preponderance of sound in the second half of the sound spectrum, giving much more importance to the midrange and treble, generating a sterile, coloured bass, a thin, lean and relatively distant first half of the midrange. By contrast, the sound is very clear, transparent, luminous, sparkling, crisp, detached, open, gaseous, ethereal and broad. But it is also flat, with a predominance of high detail that obscures the micro detail of the lower ranges. It is a specialised sound, dedicated to treble lovers, moving away from the musical warmth of its predecessor to differentiate itself in an obvious way and embrace a new audience, perhaps not as large as that of its predecessor. But TinHiFi seems to take the risk and that is something worth praising, that it tries to find another sound and to please fans with different tastes.



Sources Used During the Analysis

• MUSE HiFi M3 II
• Tempotec V3
• Hidizs S9 Pro Plus.
• Burson Audio Playmate II.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.

Purchase Link



You can read the full review in Spanish here

Introduction

Simgot, the Shenzhen-based company founded in 2015, once again lives up to the meaning of its name, "Simple and Elegant", with the EM6L model. This is a 5-driver-per-capsule hybrid IEMS (1DD+4BA) tuned to the H-2019 target curve. This reference has been universally acclaimed for its three-frequency balance, accurate soundstage reproduction and precise imaging.
The EM6L combines a dual-cavity dynamic driver with a custom-designed 8mm polymer diaphragm. In addition, two sets of balanced armature transducers handle the high-midrange and high frequencies. The three frequency crossover have been meticulously tuned to achieve a coherent and harmonious frequency response. The SIMGOT EM6Ls reproduce sound perfectly with precise positioning and imaging and excel in both gaming and music playback.
The housing is made of finely textured resin, while the outer plate is CNC-processed. The whole has a mirror finish that conveys a delicate refinement.
Finally, a silver-plated OFC cable is included to ensure greater signal conductivity.
This is what the brand's presentation says. Let's see how this classic Simgot model performs.



Specifications

• Driver Type: 1DD Dual-Cavity with custom-designed 8mm polymer diaphragm + 4BA.
• Frequency Response: 8Hz-40kHz.
• Effective Frequency Response: 20Hz-20kHz.
• Sensitivity: 119dB/Vrms.
• Impedance: 26Ω±15% (@1kHz).
• Jack Connector: SE 3.5mm gold-plated.
• Capsule Connection Type: 2Pin 0.78mm QDC.
• Capsule Technology: High precision 3D printed resin capsule.
• Cable: High purity silver plated OFC copper cable.

Packaging

The Simgot EM6L comes in an eminently black box, whose dimensions are 144x121x63mm.
In the top left corner is the brand name and underneath is a small slogan. At the top right is the Hi-Res Audio logo. In the centre is a logo with a flaming phoenix inside a diamond with the corners cut off. At the foot, is the model name in gold lettering. On the back is the frequency response curve compared to the H-2019 Target. In the centre is an internal exploded view of the capsule. At the bottom are the model specifications in four different languages. After removing the outer packaging, the box opens like a book, with a dark cardboard cover with a phoenix icon on the cover, including the name in vertical and gold lettering. Opening the cover reveals the capsules encased in a dense, black foam mould. The back of the lid is protected with foam to protect the outside of the capsules. The outside of each capsule is protected by a transparent plastic sheet. On the underside is a black box containing the accessories. Behind the foam mould there is another box containing the silicone tips. The complete contents are as follows:

• The two EM6L capsules.
• A two-stranded cable with SE 3.5mm plug and 2Pin 0.78mm QDC interface.
• One black zippered case.
• Three pairs of translucent white silicone tips with black core, sizes SxMxL.
• One instruction manual.

The price of the EM6L is $110. The best part of the set of accessories is the zippered case, it is oval, wide and very well designed to hold the IEMS without any problem. It only comes with a set of silicone tips, the bare minimum. The cable itself is not bad, but there is only a 3.5mm SE option. In my opinion, the set of accessories is a little bit too small for a set that exceeds 100$.



Construction and Design

The capsules of the Simgot EM6L are made of black resin and printed using a high-precision 3D printer. The outer face of the capsules is CNC processed. The finish is fine and shiny, the classic fingerprint magnet. The shape of the capsules is almost triangular, namely a right triangle in which each side has been rounded off with a sharp apex that ends in a smooth point. The right capsule has the phoenix symbol on its outer face and the right capsule the brand logo, all in white ink. Near the apex is a hole that is protected by a metal grille. The rim is relatively thick, the difference between the outer and inner side is noticeable, separated by a visible line. The 2Pin 0.78mm QDC connection interface is in between this gap. The inner face of the capsules is relatively flat, although rounded at the edges and as you approach the mouthpieces. On them is the model name and the surname "Phoenix", plus a large lettering indicating the channel, all in gold ink. The mouthpieces are made of metal, completely cylindrical, with a diameter of 6mm and a length of approximately 5mm. Their orifice is protected by a perforated metal grid.
The cable has two coiled strands, is transparent coated and shows a gold and a black conductor inside. The plug is a 3.5mm gold-plated SE plug. It has a removable plastic protective sleeve. The sleeve is a simple black microtextured cylinder, with the brand name written lengthwise in grey ink. The splitter piece is the same but half the length, there is no writing on it and it has a plastic protection at the cable entry. On the other side there is a gold-coloured ring which serves as an adjustment pin. Its inner hole is just enough to do a good job in this respect. The cable has semi-rigid over-ear guides and the 0.78mm 2Pin connections have the classic QDC transparent sleeve at an angle.
The capsules have a completely smooth and shiny texture, are soft and weigh very little. The mouthpieces are generous and metallic. The design is very elegant, they don't need to be made of metal to look durable and well-built. The size is adequate, the weight is very low and the fit and ergonomics benefit from this.
The cable is fine, its design is adequate and simple. Although I expected it to be a little thicker, a little more complex, given the scarcity of accessories such as a single set of tips. I miss the balanced cable option which should be a must in this price range.



Adjustment and Ergonomics

The outer face is flat, the rim is not too thick, the size is medium, the inner face is relatively flat with rounded edges. The weight is very low. The mouthpiece is straight, metallic, of good diameter and length. Its angle is almost perpendicular to the inner side, but it is inclined enough to reach into the ear canal. They have a good projection to ensure good insertion. But their diameter is somewhat thick, something that may prevent a deeper insertion, which could be medium or shallow, depending on the size of the tips used. As usual, I have used my foam-filled silicone tips and the fit obtained is shallow, with a high level of isolation. The capsules fit my ears very well and sit perfectly in the pinna. There is hardly any rotation and the weight is negligible. The fit is immediate, firm, durable, suitable for everyday use, even for long sessions or sports. Due to the medium thickness the capsules do not protrude too much and their black colour and smooth, glossy finish is elegant.



Sound

Profile

The Simgot EM6Ls are tuned according to the H-2019 reference curve. It is a V-profile with relatively hot high-mids and highs that get softer as the frequencies increase. The result is not as exaggeratedly clear or sibilant as it might seem from that peak between 3kHz and 4kHz. And that is because of the clear drop in control that exists in the early treble. In my opinion, this characteristic also plays a role in subtracting energy in that transient hotspot between midrange and treble. On the other hand, there is also a good ability to eliminate the metallic sheen of the BA drivers. That way, it doesn't feel like a harsh or poorly tuned hybrid in this respect. But it does feel distinctly splashy.



Bass

What I find most appealing when analysing hybrid IEMS is the very low-frequency pure tone test. Especially if a "wise" configuration of the crossover filters is specified. In this case, I have to admit that Simgot has done it perfectly. What sounds when these tones are reproduced is clearly the dynamic driver, without any contamination from the BA drivers. The lower tone is slightly sensory, but not very audible. At 30Hz you already feel that mix of more realistic sonority and physical character, achieving a deeper, quite natural and powerful performance. At 40Hz, a canonical, well-represented low end with remarkable sonic characteristics is already apparent. As soon as the music plays, the EM6Ls manage to reproduce the fundamentals in a quite compact, dense and solid way. The bass doesn't feel as heavy in the mix, although it has a good representation in its energy ratio. But I don't think it's completely predominant. In this aspect, you feel that V-profile where the midrange competes in presence with the lower range, even surpasses it. There is a certain rubbery and elastic aspect, but short, the bass is well tied and does not project, nor is it prolonged more than necessary, it just has that more flexible point that gives it a more rounded, pleasant and natural aspect, which prevents it from being sterile, inert or too hard. Without reaching Bass-Heads level, the bass has a more than decent volume, it is skilful and leaves little aftertaste, as it recovers quite well, acquiring a clean behaviour and without overdoing it. Undoubtedly, this is not a neutral low end, but obviously entertaining and with a certain presence, something that can be noticed in the energy level of the bass-midrange.
Technically speaking, the lower range is quite skilful, it is quite capable of withstanding a lot of sound pressure without distortion and without losing control. In the dirty, unfiltered bass test, the EM6Ls follow complex bass lines flawlessly, executing the kick drums with precision and without intrusion of the lower range into the vocals or midrange. The result is a very accurate, realistic, very well controlled reproduction, with a remarkable sense of precision and resolution, without any loss of punch or depth. It is even able to add a certain level of texture and appreciable roughness, which still adds a superior appeal to the range, while sweetening its sonority. I like it.



Mids

Being a V-profile, the first half of the midrange feels thin and lean, lacking base, physicality and body. This feeling is further accentuated by the steep slope towards the upper midrange. The result is an initial range that is relatively distant, with little warmth, but with quite accentuated and explicit overtones. In this sense, balance and homogeneity are lost, but without becoming a clarity-seeking IEMS at all costs. It is true that the sparkle and details are more present or closer. But, as I said, it doesn't feel distinctly harsh, hard or cold. Simgot seems to have tamped down this aspect that could be much more negative, even in an area that is executed by a pair of BA drivers, which could be very susceptible to generate those adverse aspects. As I say, this has not been the case and it is right to point this out and note it in the list of advantages. Another feature that follows from this virtue is analytical trend control. The EM6Ls manage to be on the edge of musicality without losing it and of the most obvious expressiveness without falling into it abruptly and noticeably. Although, admittedly, the midrange is relatively hot and energetic for my taste. The result is that the bright details come to the foreground and are very abundant, giving a clear splashy aspect to the sound. On the negative side, the evidence of this aspect prevents the visibility of background details, not because of resolving power, but because of overlapping and close proximity of the more obvious ones. In this respect, the BA drivers are not as capable of generating layers and lose some ability to represent deeper elements of the second half of the midrange. This is the loss of homogeneity that exists between the two halves of the range.
Turning to the positive/conflicting side, the EM6Ls do not cross the red line of sibilance, as the treble control limits their energy. But it does feel that the thinness of the voices is not only present in the male voices, but the female ones also suffer from a certain body and physicality, appearing light and subtle. At times this sensation can lend the females an air of delicacy and finesse, though at others they feel sharper than they should.
In my opinion, the instrumentation lacks a certain weight that would give it a more abundant, exuberant or analogue presence. However, the zone is described as well exposed, clear, transparent, resolute and spaced. But I cannot finish without concluding that I would have liked a little less energy in the upper half, for a fuller, denser and more homogeneous sound in the central range. Also, less fatiguing.



Treble

The treble is full, fine, explicit, clear, crisp and evident. They are not hidden in their initial phase and are controlled as the frequencies grow. But that does not detract from the fact that they are sharp and penetrating in the first instance. The softness comes later, but this first phase is insistent if the song or musical genre is present in this band. This is not an IEMS to recommend for those who like their treble soft, but for those who are looking for more bite and sparkle in the upper range. In this aspect, the treble feels very well represented, with a certain BA character at its sharpest edges and losing a certain natural aspect in its execution.
Again, in my opinion, I feel that the range is beyond neutral and its energy level is a step above my tolerance for medium to long listens. Although I recognise that it can be very suitable for short, intense monitoring.
Finally, at the top end, the amount of air is just right.



Soundstage, Separation

The scene is eminently frontal, with good laterality, but without much height. I miss a more pronounced sense of depth, and this perception may be more evident depending on the song or genre of music. Details feel explicit and foregrounded, while the sound lacks a certain physical grounding that would offer more grounding to the vocals and instrumentation. In this sense, the music certainly feels congested in length, offering a relatively flat scene, without too many layers. This characteristic means that elements overlap and background detail is sometimes drowned out, even if the IEMS has sufficient resolution to represent it.
On the other hand, as the sound is technically skilful and has a good analytical degree, the notes are represented in a fine and delicate way, achieving a good level of clarity, transparency and separation. But it can become a bit tiring if the volume is high.
The image has good precision in positioning, but the frontal representation and the lack of depth only allows an eminently horizontal placement of the elements.



Comparisons

TinHiFi T4 Plus

As you know, I like to compare models of a similar price and similar frequency response. In this case, I find that the TiHiFi T4 Plus can be a good contender. With a slightly higher price (119 USD), a single DD and a classic and recurrent shape in TinHifi: the cylindrical or ballistic design with over-ear crossover. The design of the two is quite different. I prefer the semi-custom capsule shape of the EM6L and its more secure ergonomics. Although the construction of the T4 Plus is quite good. TinHiFi opted for a 2Pin 0.78mm connection interface on this model, although they have now gone back to using MMCX on their latest models, which I dislike. And the cable of this model is not bad, it is thicker than the EM6L model. It also comes with a good set of accessories, with a leather-like hard case and a good set of tips (3 sets in total), including some Symbio Mandarine tips. On the other hand, the EM6L only comes with one set of tips, although it is accompanied by a remarkable zippered case.
Both models flirt with the H-2019 reference curve. However, the EM6Ls have a more V-shaped profile, while the T4 Plus are more restrained, both in bass, midrange and treble, creating a more homogeneous and balanced profile.
The T4 Plus are slightly more sensitive than the EM6L.
The first difference I feel is the lack of flesh in the first half of the EM6L midrange. It lacks body and physicality in this part, something that is noticeable in the male vocals, which sound lean, thin and more distant. A quick switch to the T4 Plus allows the gap in this area of the EM6L to be somewhat filled. The second clear difference is the midrange and the more penetrating, incisive, technical, sparkling and analytical character of the EM6Ls. Meanwhile, the T4 Plus are softer and calmer in all these respects.
In the pure tone test, the T4 Plus comes in lower and leaves a more sensory and physical presence at the lower audible end. The performance of the T4 Plus on those very low pure notes has more energy yet is more oscillating, this gives it a greater roughness as well as a more pronounced texture. The EM6Ls are smoother, technically very good, more continuous sounding, a complex skill to find. The result is that the EM6L bass is technically more skilful, faster, drier, with less aftertaste and a quicker recovery. They are also very capable in fast, dirty, complex and layered lines. The T4 Plus is softer, with an average texture, the bass shape is more rounded and simplistic. But it is more punchy and energetic than in the EM6Ls, if only slightly. They are also respectful of the midrange, as well as warmer.
In the midrange the imbalance is more evident in the EM6Ls, with that thinner, more sunken first half contrasting with a more excited, vibrant, incisive and energetic second half. TinHiFi exploited the curve of the T4 Plus in other models, raising the sub-bass or modifying the midrange, but without reaching the EM6L's level of excitement, playing on the edge of balance. The EM6Ls add this emphasis on the transition zone towards the treble, with the use of 4 more analytical, bright and splashy BA drivers, capable of generating faster, finer notes, with more precision and resolution. But they can also lead to more sibilance and fatigue. It is clear that the EM6Ls are more technically adept, their treble is crisp and extended, but they forget the base.
The image is more accurate on the EM6L, it has more separation. But its soundstage is flatter, more frontal, with less depth. The T4 Plus is more homogeneous and dense, which gives it more balance and a fuller sound.



Conclusion

Simgot has moved slightly away from its more traditional curve to approach the Harman 2019 target, but in a somewhat "hot" way. The EM6Ls are a hybrid model with an excellent dynamic driver plus 4 quite technical BA drivers. The crossover filter treatment is also outstanding, with the BA drivers being completely disconnected when the dynamic driver operates in its lower region, allowing for a splendid performance on its part. As the frequencies advance, the EM6Ls lose the good balance of the low end to generate a light and somewhat distant first half of midrange, and then rise, with emphasis, towards the treble, generating a sound more focused on the nuances, on clarity, on sparkle, causing a more splashy, cold, technical and analytical character. The EM6Ls play in a daring way, in that barrier that separates sibilance, intensity and fatigue. Many times they exploit this to their advantage, gaining in precision, resolution and detail. At other times, this energy may be too explicit for some.



Sources Used During the Analysis

• MUSE HiFi M3 II
• Tempotec V3
• Hidizs S9 Pro Plus.
• Burson Audio Playmate II.
• Aune M1p.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.

Purchase Link



You can read the full review in Spanish here

Introduction

As usual with the great Hidizs models, they have released a limited edition of their latest IEMS model with planar technology. This is the Hidizs MP145 Limited Golden Titanium Edition. It is available in a limited run of only 199 units. The packaging includes two types of cables, one with a 3.5mm plug and one with a 4.4mm plug, as well as a 10th anniversary badge. Each product has been uniquely numbered in the world. Again, Hidizs uses titanium known for its superior properties that make it ideal for making Hi-end capsules. Of course, it still includes the filter system and a hand-signed card with the limited edition serial number.
It is clear that the MP145 was one of the best planar IEMS of last year, so what can you expect from a limited version like this? It is true that the use of titanium in its gold version means a clear increase in price, from $159 for the standard version, to $339 for the limited version. This is certainly a doubling of the starting price. Of course, the bottom line is that this is a version limited to 199 unique pieces in the world. There is also a substantial change in its construction: titanium. Not only that, but the frequency response has undergone some slight changes. Let's take a look at the differences in this review.



Specifications

• Driver Type: Hidizs 14.5mm Ultra-Large Planar Magnetic Driver
• Frequency Response: 20Hz-40kHz.
• Sensitivity: 104dB.
• Impedance: 30Ω.
• Capsule Construction: Titanium.
• Jack Connector: Includes two cables, one with a 3.5mm SE plug and one with a 4.4mm BAL plug.
• Capsule Connection Type: 2Pin 0.78mm gold plated and pure copper plated housing.
• Cable: 4 strands of 6N silver plated monocrystalline copper wire.
• Cable length: 1.2m.
• Weight approx. 19g excluding cable.

Packaging

The Hidizs MP145 Golden Titanium comes in a sober black box with dimensions 193x162x43mm. On the main side you can see the outer face of the capsule in the centre, above is the brand logo and below are different logos (WDC, Planar Technology and Hi-Res Audio), as well as a short product description. All of this is printed in the same colour ink as the capsules. On the back side are the specifications in several languages, including Chinese and English, as well as the brand's branding. All in silver ink. There are also the logos of the different certifications it holds. The first thing that stands out after opening the box is the hand-signed and hand-numbered card from the company's CEO. This is white, and there is also a black card describing the contents. Underneath the cards are 4 compartments protected by black cardboard. At the top left are the capsules, encased in a dense foam mould. To its right is another mould containing the brand's tenth anniversary insignia. It is a metal piece in the shape of the South American continent, with a sort of threaded golden button. I didn't really know what it was at first until I read the description card. On the other hand, it is curious. I thought it was some kind of key ring, because of the hole in the top corner. In the lower half there are two identical boxes containing the black leather pouches with each cable, as well as the filters. Below this first layer, on the left, is the mould containing the three types of silicone tips. The complete contents are as follows:

• The two Hidizs MP145 capsules.
• 3 pairs of tuning filters.
• Two storage bags.
• 1 cable with SE 3.5mm plug.
• 1 cable with 4.4mm BAL plug.
• 3 pairs of SxMxL size tips for vocal tuning.
• 3 pairs of tips size SxMxL for balanced tuning.
• 3 pairs of tip sizes SxMxL for bass tuning.
• 1 card hand signed and numbered by Hidizs CEO.
• 1 limited edition product description card.
• 1 user manual.
• 1 warranty card.
• 1 social media card.

I miss a zippered case again. And instead of two cables, I would have preferred a cable with a thicker conductor and interchangeable connectors, as is the current trend.



Construction and Design

The design of the product is the same, "only" the material it is made of changes: Titanium. However, to distinguish it from the standard colours, it is a gold-plated version. The capsules are burnished and you can see the fine lines of the polishing, especially on the outer side. The outer face has a raised Y-shaped part. This is actually the tail fin of a whale. The adjoining parts on each side of the fin form a staggered pattern, a twelve-layer milling pattern, also inspired by the pectoral fins of whales. On both sides of the whale tail there are two ventilation slots. The shape of the capsule is slightly elongated and has 7 sides, 4 on the bottom and 3 on the top, if you take the top where the cable connection is. The part near the nozzles ends in a slightly tapered arrow shape. The 2Pin 0.78mm connection is completely shallow and the plastic part containing the contacts is integrated inside the capsule. Of course, the connectors are gold-plated.
The inner face grows with a regular slope from the connector area towards the nozzles. The surface is curved on both sides of the sloping line. Above it and near the connector, one can read "HIDIZS X WDC" and towards the inside, there is a mole with the channel lettering. The ink used is dark grey. Near the nozzle, but offset from the slanted line, there is a hole. The nozzle is cylindrical and ends with a thread to secure the filters. There are 3 filters, the standard filter is the balanced gold filter (Balanced / Rose Gold). The filter for high frequencies is grey (Quiet Silver) and the red filter (Charm Red) enhances the low frequencies. The diameter is 6.9mm. The total length of the mouthpieces with the filters is slightly more than 5mm.
As I say, in this special version, there are two cables, each with a different termination SE 3.5mm and BAL 4.4mm. The sleeve of the plug is cylindrical, regular, very smooth, has a golden ring near the cable exit and on it you can read the brand name. The cable consists of 4 strands of 6N silver-plated monocrystalline copper wire. The splitter piece is simple, another small, smooth, shiny metallic cylinder. The pin continues this minimalist style and is a simple metal ring in the same pattern. The cables have over-ear guides and the connector sleeves are two cylinders to match the rest of the metal parts of the cable, which have two grooved and painted rings to indicate the channel. The two pins protrude from a transparent plastic disc and are gold-plated. The 4.4mm plug is gold-plated and protected by a translucent plastic sleeve.
The cable has a shiny silver plating, each strand is of good thickness, forming a cable of a midrange thickness, attractive enough and of good quality that I don't have to change it. It is also comfortable, has good flexibility and the balanced 4.4mm termination makes me forget about looking for a replacement cable. However, being a special version, I would have preferred a single cable, with detachable plugs, with a slightly thicker conductor. In short, a more premium cable to match the titanium level of the capsules.
It is clear that the capsules have a considerable size. With the change of material the weight has changed, it is clearly heavier. Even though the specifications still state the same value. This time, the collaboration with WDC is more evident and is engraved on the inside of the capsules.



Adjustment and Ergonomics

Yes, only the material has been changed, the fit and ergonomics are the same. What affects this section is the weight. Being significantly heavier, it can contribute to fatigue on long listens.
As mentioned above, the shape of the Hidizs MP145 is unusual and its size is clearly large. However, the elongated and bulky shape of the capsules does not compromise the ergonomics. The slight arrow shape, where the tip part coincides with the position of the mouthpieces, favours positioning and placement. Fortunately, the inner shape of the capsules is flat, smooth and gently rounded. The other end of the capsules stretches beyond the pinna. In my ears the integration is very good. With the right tips, the capsules float on the pinna and don't rub anywhere except on the bottom, where they sit lightly. The mouthpieces are not very projected but they have a good angle and I don't find any fault in their placement, being the fit firm and durable. It is true that the capsule can rotate, but its optimum fit point is at the end of its travel, as soon as further rotation is no longer possible. The whale tail shape and folds make it easy for fingers to adjust the IEMS in the ears. With a shallow or light insertion, the level of sound insulation can be high, provided that suitable tips are found. As usual, I have used my large foam-filled tips that I make at home, and both the fit and ergonomics have been quite good. But I don't dispute that the size, shape and perhaps also the weight might be controversial for other people.
Finally, the position of the over-ear cable and the fit of the capsules does not feel compromised by their combination. Thus, the cable does not disturb or negatively affect the fit of the capsules or rub uncomfortably on the ears. At least, not in my case.



Sound

Profile

As the specifications state, the profile fits the Harman 2019 curve. The profile could be categorised as U-shaped or soft w-decreasing. The bias towards the sub-bass is linear, without being predominant. But there is a good extension towards the midrange. The sub-bass end is subtly higher than in the standard version. The transition into the midrange is smooth, generating body and density in the initial zone of the midrange. The rise towards the midrange is even smoother than in the standard model. Once there, it stays fairly linear into the treble, which adds an explicit and fairly extended high range. Although, on this occasion, the treble is clearly softer than the standard model, as measured. Those who want a little more spice in this transition zone between midrange and first treble will not be so convinced, choosing the treble filter, as the differences between the two filters are quite slight. Switching to the low-cut filter limits the midrange and first treble even more, although it retains its extension into the air range. However, the difference between the three filters in the bass area is subtle.
The use of the red low-cut filters limits the volume slightly and orients the sound towards a darker, denser profile. Voices lose some sparkle, both female and male. Bass becomes more prominent, but some of the representative grace of the balanced curve, such as the great balance between the three bands, is lost.
The use of the silver filters for treble subtly cleans up the midrange and first treble, gives a little more transparency and a more detailed and analytical character. As mentioned, the difference between the treble filter and the balanced filter is very slight. However, it is very similar to the curve with the balanced filter of the standard model. Even the Titanium model has a little more sub-bass and is still softer in the first half of the treble.
It seems to be clear that the characteristics of the titanium chosen for this limited edition generate net differences compared to the standard version. The result is a minimal sub-bass boost and a clear smoothing of the midrange and first half of the treble.
For this review I have used the Silver filter to achieve the best possible detail.
For clarification I will write GT to refer to the Golden Titanium version.



Bass

As I mentioned, the MP145 GTs with the Silver filter are more like the standard version with the Rose Gold filter, but with more controlled treble and a subtle lift in the sub-bass. What is noticeable in the bass is a certain deeper, more sensory feel. The pure tone test describes the audible end in that way, there is a more physical behaviour in the lower notes, with a low audible sensation. This behaviour interchanges as the hertz increase, reaching a rather powerful presence at the sub-bass limit. However, although the audible presence is not very noticeable in the lower frequencies, both the response and the performance seem quite natural, offering a low sensation of colouration and a quite realistic, slightly dark behaviour. It is certainly not a performance like an excellent dynamic driver, as it has less texture, but its sound is clean, polished and refined. In my opinion, the MP145 GTs pass the pure tone test with flying colours.
Moving on to real music testing, the MP145 GTs have a firm, powerful, concrete, very restrained, dry, tight, very fast recovery hit, which translates into a smooth behaviour, with a little rough texture, but that can vary and improve depending on the source. The decay is fast, as are the transients, the aftertaste is very low, the rubbery or elastic sensation is reduced, just enough to draw an attractive, but not too voluminous bass, which occupies a good space, even so, contained. There is a good physical presence, but it is never violent, but very classy, withstands a lot of sound pressure and still performs in a very full and clean way, which means very low distortion. When it comes to reproducing dirty, unfiltered, saturated and complex bass, the MP145 GTs excel in their performance, being very agile, drawing the lines in a restrained, tight and concise manner. They manage to dominate the most adverse situations without mussing their hair, maintaining a very high level of cleanliness, sounding deep, with very little colour, layering the layers with subtlety and mastery. Most importantly, they never become saturated or overpowering. Without a doubt, the MP145 GTs possess a very high level of refinement, demonstrating that planar bass can be very technical, with just the right amount of power and volume, all without intruding on the rest of the band, sounding very separate, slick and powerful. What do I miss in all this? Well, a little more lift in the sub-bass, I would have liked the curve not to have flattened out at 40Hz. Otherwise the behaviour is simply canonical.



Mids

The tuning gives a certain presence to the lower frequencies, generating a decreasing w-profile, as I have already mentioned. Even with the Silver treble filter I don't find the sound bright, but it's not dark either. They sound like a fine, balanced and restrained S12, lowering the energy of the midrange and treble, but without losing the light, nor sounding so dense or upfront. The low end tucks into the lower registers of the vocals with corpulence, but without burying them. Although the strings, drums and basses are still slightly forward. Meanwhile, the timbre feels very organic, analogue, very restrained, slightly warm, without getting dark. Undoubtedly, this is a dense, almost opulent base, which thins out as the frequencies grow. In this way, the lower male voices feel physical, quite full-bodied, although they are not clearly the protagonists. However, the nuances of those lower registers do possess more power, as well as a more accentuated ornamental richness, much to be enjoyed.
The centre of the range ends in a zone of midrange dip, accentuating that lower-case v-character of the central range. Meanwhile, the rise to the midrange is relatively smooth, generating controlled bell gain, but with a slight imbalance in favour of the female voices and early treble outbreaks, gaining an incipient clarity and a splashy sense of realistic detail, which never becomes abrupt. The sibilances are kept at a low-key, controlled level, with a certain sparkle that gives them a realistic rather than penetrating feel. It's not a matter of nuancing them, but of executing them in a more pleasing way, maintaining a certain brightness, refining the sound at that conflicting peak. In this way, you can tell that the MP145 GTs have a high level of distinction, elegance, exquisiteness, delicacy and finesse, even at the most compromised points.
However, the balance is achieved between the lower registers of the male voices and the higher registers of the female voices, reaching, almost, a presential tie. In this sense, the female voices are also fleshy, despite not being in the foreground.
The MP145 GTs are not analytical, but they do have a remarkable level of resolution and definition. It doesn't go so far as to explicitly tease out micro details, nor does it foreground them, but is able to handle them in their corresponding layer. Admittedly, I would have liked a little more descriptiveness in this respect. But it is true that, possibly, certain virtues that make his sound more natural, musical, harmonious, lush, elegant and euphonic would be lost. The result is still a fully expressive sound, clear without being bright, transparent without losing body or density, remarkably well separated, complex, rich and differentiated. The ideal way to enjoy a midrange at just the right distance.



Treble

The top end of the MP145 GT feels more restrained if anything. It's had a modicum of power taken out of it, and it shows in that it doesn't get splashy, or crisp. The extension is still wide, but the power has been refined in the first stage. In this way, Hidizs once again gives a further twist to the planar treble, redefining the high notes, dressing them with a restrained sparkle, nothing sharp, but retaining a level of extended brightness that makes them appropriate, natural and delightful. The integration of the treble in the MP145 GT's profile demonstrates a balance that seeks a musical and pleasing sound, explicit and descriptive, controlled and comfortable, homogeneous and full, but without giving an overt, obvious and intense presence to those high notes. And all this, without the timbre suffering or the harmonics being lost.



Soundstage, Separation

The MP145 GTs, with their large capsule volume and openings on the outer side, are characterised by a wide, broad and open sound, which disputes the predominantly frontal feel of the other planar models. Without a doubt, this model has one of the most airy and voluminous sounds among the models with this technology that I have tested. In them, the transparency is felt, but does not stand out, although it is perceived as superior to other models with a denser and fuller profile. In this aspect, the sound wall is not impenetrable, but the separation and the light is able to circulate among the music, facilitating the layering, the generation of levels, the distance between them and between the elements. It is even more ethereal, enveloping, managing to volatilise details, although integrating them into the music in a very descriptive way, without being analytical. In this version, the bass is a little heavier, while the treble has less energy. The result is a warmer profile than its standard sibling. But the level of technical refinement has not been lost at all, nor has its good precision in mounting the image and placing the elements in it.



Comparisons

Hidizs MP145 With Rose Gold Filter (Balanced)

The most obvious thing to do is to check whether there are differences between the two siblings. The graphs say there are. The GTs have a bit more sub-bass and a less energetic treble. Even the Silver filter of the GTs is less treble than the balanced filter of the standard version. And that's going to be my comparison now, because, clearly, comparing the rest of the issues is a bit short: the GTs are made of a different material, guess which one? Their packaging is a bit different, with two identical cables, but with different plugs, SE 3.5mm and Bal 4.4mm. And even though the specs say they weigh the same, without having a precision scale to check it, I think the GTs think more.
Do the differences justify the price increase? Of course, it depends on how much money you have and the value you place on it.
In the low end the GTs are a little darker, with a little more texture. You seem to feel that slight touch of emphasis in the sub-bass that gives it a fuller, more rounded bass. It also seems to have a little more energy. There is a little more colour in the standard version. It seems that, despite the close resemblance between the two, using the treble filter produces a slightly cleaner and clearer bass.
In the midrange, the same sensation is perceived: the GTs have a point of greater clarity, cleanliness and transparency, achieving voices with more body and closeness. There also seems to be a point of greater instrumental refinement and definition. The GTs manage to bring out micro detail in a more obvious way without having to resort to the brighter tuning of the standard version. And that is something that is noticeable in all ranges.
In the upper area, the extra brightness of the standard version gives it a slightly rougher and more extended feel. The GTs are more restrained and their flare is not as stretched. This benefits a more peaceful listening, without losing detail and delivering a more controlled, even slightly thinner treble.
In terms of the scene, the GTs appear more open. The cleaner and more transparent feel adds a closer perception of the elements, more dynamics and better definition. The standard version looks flatter and a bit more cloudy.
I can't comment that there is a night and day difference between the standard and GT version. There is a difference between the profiles and that is something that the material can provide. In this sense, being able to use the treble filter by subtracting that energy level in the high end that can be critical, benefits the GT version. As is usual with special versions, there is a point of refinement, clarity and presence closeness in all ranges that makes the GT a more polished, less abrupt and more transparent version. It is clear that every point of improvement costs money. But does the price increase make a difference? Money has the value that everyone wants to attach to it. I, without considering this difference, will stick with the GT.



LetShuoer S15

At a very similar price point and without being a limited edition, the LetShuoer S15 is the brand's third-generation planar IEMS. They are not just any planars, because they incorporate a 6mm passive filter module called R-Sonic.
The first major difference is in the design. The large titanium capsules of the MP145 GT are heavy. Meanwhile, the capsules of the S15 are 3D printed in a bluish-grey resin with a matt look and feel. Their outer face is made of aluminium alloy. They are not really small, but they are distinctly lighter than the MP145 GT. I have to say that both fit me very well, it's surprising how well the Hidizs, being so big, do well. But the lighter weight of the S15s gives them an edge in this respect. On the other hand, the presentation of the LetShuoer is special, while the cable lives up to its price, being, moreover, modular.
In terms of profile, the S15s are slightly more balanced and somewhat darker than the MP145 GTs, whose profile is more V-shaped. The biggest difference is in the midrange and early treble, which is what gives the S15s their more restrained, matte sound.
In the bass, you can feel the increased energy in the MP145 GTs, which have a bit more texture and roughness. Meanwhile, the S15s are drier, darker, tighter and more compact. The LetShuoer's sub-bass is subtly more sensory and physical, there's a little more colour in the MP145 GTs. However, in that darkness of the S15s lies something very nice that makes them very appealing, it's a different touch, perhaps a little forced, but very interesting. The Hidizs are a bit more visceral, but with a more common sound. That darkness of the S15s also works in their favour in the vocals. Their lower energy gives the midranges more prominence, with the vocals being at a more advantageous presential level and a little closer. Granted, they are matte in colour and feel less glossy, but they exude an intoxicating analogue and organic feel. On the other hand, the MP145 GTs are more splashy and perhaps have a more realistic and natural timbre. Instruments have more bite and, in general, the midranges seem to be more harmonically complete. The more sparkling exuberance of the MP145 GTs clashes with the more romantic sound of the S15s. They are certainly two ways of understanding the midrange, the quality of which is very high in both cases, and only personal preference can tip the balance one way or the other. I have a hard time making up my mind.
There is more sparkle, life, light and brightness in the high end of the MP145 GT. Everyone knows that the S15's treble is smooth, nuanced and rounder. Meanwhile, the MP145 GTs retain a more realistic representation that gives the sound more transparency and more emphasis on detail. Meanwhile, the S15s feel more opaque.
The scene of the MP145 GT is larger, more voluminous, expansive and open. The feeling of more light also helps a higher perception of it.
Both, in their own way, are quite detailed. However, the colour of each and the way they express such detail is different. Change the timbre, change the execution. The same detail sounds different on each. The MP145 GTs are more realistic, while the S15s have an ability to reinterpret the music in a somewhat different and peculiar way, which can also be quite lovely. The more concrete sound of the S15s seems to bring a bit more separation. But their stage is more intimate and upfront. In this respect, the MP145 GTs clearly win out.
It is clear that both IEMS offer a different taste musically speaking. There are clear differences between them, but I could not say that one is superior to the other qualitatively speaking. Each has its own special characteristics. The Hidizs MP145 GT are more canonic, more natural, with a more realistic sound. On the other hand, the LetShuoer S15s have a special, euphonic sound that is sure to appeal to many fans thanks to their special touch.



Conclusion

It seems to be the norm for Hidizs to release a special, limited version of their best products. This time it is the turn of the great MP145, possibly one of the best IEMS of the brand, despite being their first IEMS created with planar technology. Something so special could not stay with its collector's version. Hidizs has a passion for the finest materials, such as copper and now gold-plated titanium. Without a doubt, this is a collector's edition, limited to 199 copies, each one of them signed by the CEO of the brand himself on an authenticity card that gives it that special and distinctive character. For this occasion, both 3.5mm and 4.4mm cables are included, but the price has also been increased to double that of the standard version. It is clear that they are made of a very special metal, which also gives them different sound characteristics than the original version. Yes, the graphs don't lie and this version is subtly more emphasised at the low end and has a slightly softer midrange and first treble. It is a slightly different profile, with that extra refinement, class and elegance in sound that only the best materials can give to an already excellent product. A qualitative twist on one of last year's best planars.



Sources Used During the Analysis

• Hidizs DH80S.
• Hidizs S9 Pro Plus.
• Aune Yuki.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.
• Burson Audio Playmate II.
• Aune M1p.
• Tempotec V3.

Purchase Link



You can read the full review in Spanish here

Introduction

The already famous 7Hz brand is once again launching a new collaboration with the famous In-Ear Fidelity founder and YouTuber, Crinacle. Of course, it's the new 7Hz x Crinacle Zero: 2. This new model features a 10mm dual-cavity dynamic driver with a PU+Metal composite diaphragm. The result has been an improvement in bass and midrange, as well as faster diaphragm movement, giving a clearer, more accurate and punchier sound. The standard cable has also been improved by using a high-purity, silver-plated, oxygen-free copper conductor. Arranged in a coaxial structure, each wire is interwoven with 140.06 and 250.06 windings to strengthen the cable and provide better audio transmission. In this new version, the profile has been subtly changed, adding an additional 3dB in the low frequencies to gain presence in the lower range, offering a more attractive sound compared to the first version. With this, it gains in warmth, body and texture, generating more physicality and base in the fundamental frequencies, as well as avoiding bass bleed. Let's see how much of this is true in the following review.



Specifications

• Driver Type: 10mm dual-cavity dynamic, with PU+Metal composite diaphragm.
• Frequency Response: 10Hz-20kHz.
• Sensitivity: 108dB/V@1kHz.
• Impedance: 32Ω.
• THD: <1%/1kHz.
• Jack Connector: SE 3.5mm gold-plated.
• Capsule Connection Type: 2Pin 0.78mm.

Packaging

The 7Hz x Crinacle Zero: 2 comes in a small white box with dimensions 105x75x34mm. On the front side you can see a realistic photo of both capsules without cable. At the top you can read the model name ZERO:2 in large letters. To the right is the Crinacle logo next to the logo of the brand itself. Underneath is a short description of the model and in the lower left corner the Salnotes logo. Many elements are repeated on the back, only the photo of the capsules is smaller and underneath are the product specifications, in Chinese. At the bottom are the brand details. When the cardboard is removed, the capsules are shown in a foam mould with a cardboard decorated in almost the same way as the box. It is protected by a transparent plastic sheet that acts as a lid. Underneath this layer there is a bag containing the cable and a bag containing the silicone tips. In summary, the complete contents are as follows:

• The two 7Hz x Crinacle Zero: 2 capsules.
• One cable with SE 3.5mm plug and 2Pin 0.78mm interface.
• Three pairs of spherical silicone tips, sizes SxMxL.
• Three pairs of narrow silicone tips, sizes SxMxL.
• One instruction manual.

For a price of $25 you can't ask for much more. According to the brand itself, the cable and the driver have been improved. There is no bag or case to store the headphones. However, there are two types of colourful tips, the size differences of which are not very obvious.
The Zero:2 is available in three colours: Silver, Orange and Blue.



Construction and Design

7Hz repeats the shape and construction of its first Zero model. This time, however, there are fewer colours to choose from and the casing is transparent. It still retains the triangular stepped shape reminiscent of a transformer. Also the external metal plate on which the model name is displayed. The Silver version has a metallic plate in the same colour and the capsule is transparent. This is the model I am describing. The Orange version has a dark outer plate of the same colour and a dark body. Finally, the Blue model has the body in that colour. It is clear that this model has a rather peculiar shape, with the thin metal outer plate, with the letters of the model in white and a kind of pin embedded in the top corner. The capsules are made of transparent plastic, with a rather rounded shape on the inside. They allow the entire inside of the headphones to be seen, with the dynamic driver located close to the nozzles. There is a separate hole in the centre of the driver, further away from the nozzles. The entire inner face is formed from a single piece. There is a shallow letter inside a circle to indicate the channel. The nozzles are not very long, although they have an appropriate taper. They have the classic shape of two steps on a base of larger diameter. The narrow diameter is 5.4 mm and the crown is 6 mm. Their bore is protected by a metal spiral grille with a large hole in the centre. Underneath is a white filter that looks like a textile. The 2Pin 0.78mm interface is located at the edge of the capsule, fully integrated with it. The gold-plated connections are located inside a black plastic cylinder. A red dot indicates the polarity of the connection.
The cable consists of two joined strands coated with dark translucent PVC. The plug sleeve is a black, metallic cylinder with a micro roughened surface. Salnotes can be read longitudinally. The splitter is a kind of biscuit with a plastic border to match the cable, the faces of which are two mirror plates. On one is the brand logo and on the other is the model name, although the model name is barely legible. The pin is a custom-made piece in the shape of a ring, the inside of which is just the right size for the two cables joined together. It slides correctly and performs its function well. The cable has over-ear guides, but they are relatively soft and not too stiff. The sleeve of the 2Pin 0.78mm connectors has a slight curvature and its diameter grows subtly towards the connectors to end in a circular black plastic base on which protrude rectangles containing the two gold-plated pins. Each sleeve has its lettering to indicate the channel, embossed on the surface.
As a whole, the capsules are very light, and still look more like a toy than an IEMS. But I can't say that the construction is bad, as the capsules are sturdier than they look.
The cable is somewhat stiff, though it is soft and seems sturdy. The channel lettering on both the capsules and the cable is not very noticeable.
What more could you ask for at this price? In terms of build quality and capsule design, there is a noticeable element of differentiation from other models. It is clear that its appearance is the most controversial point, but both the shape and the weight help a lot in the following section.



Adjustment and Ergonomics

As I said before, the appearance can be a bit of a criticism, it looks like a fragile toy. But its very light weight and shape fits perfectly in my ears. The nozzles are not very long, maybe they are the weak point and the insertion is only superficial. Depending on each morphology, this can be a good thing or, on the contrary, it can be a problem that prevents a correct seal. In my case, with the large foam-filled home-made tips, the fit is very occlusive and the capsules are completely integrated in my ear. Even so, I find that the mouthpieces are a bit short, as the inner side is in contact with the parts of my ears, something that, in the long run, can cause some discomfort due to the pressure exerted. Despite this, the angle of the nozzles is adequate and adapts correctly to my ear canal. The fit is immediate and there is no movement of the capsules. This adjustment allows intensive daily use, it is suitable for sports and if, as the hours go by, the rubbing I mentioned earlier does not prevent it.
With so much contact and thanks to the size of the tips I use, the isolation is quite high.



Sound

Profile

It is curious that the frequency response is much more in line with Bad Guy's target than Crinacle's. It even has more sub-bass than the one proposed by Bad Guy. In my opinion, the Zero 2s have a W-profile with an emphasis on sub-bass, rounded midrange and mid-treble. The midranges are not too sunken, as I say, the pinna gain is rounded and not excessive, while the treble starts with a controlled roll-off, to rise slightly later on. Overall, there is a more powerful low end that is intended to win over those who found the first Zero thin and lean in the lower range. The transition between high-mids and early treble has also been smoothed, perhaps slightly too much so. As a result, the current sound is warmer, with a more physical base, softer treble and a more limited, subtle brightness.



Bass

It's important to put the sound of the 7Hz x Crinacle Zero 2 in perspective, knowing that they cost €27. And it's not just because they sound good, but also because of their behaviour and level of bass performance. Without having been able to enjoy the first version, I like their tuning and I'm glad that the Zero 2s move away from Crinacle's preferred profile. I must comment that, in general, it is not my preferred curve either (I am still shaping it...), but it is true that I prefer them as IEMS in this price range, whose use can be very all-round, daily or battle. In this sense, the sub-bass is the star and the mid-bass feels a bit bloated. Still, it saves power and the whole low end, has a remarkable presence, occupies very good volume and is fun, without reaching Bass-Head territory. It is true that its texture level is low because its development is much smoother. However, it has a good level of elasticity, without being too rubbery because it is quite compact for what it costs. It dissipates quickly, recovers quickly and has a remarkable level of dryness. It is in these aspects that the Zero 2 stands out, this behaviour is very admirable for its price. And this is confirmed in the pure tone test. The 20Hz LFO reproduction is very pleasing and enjoyable, the tone is very realistic, deep, with a good physical and sensory blend. I've seen much worse performances in $100+ IEMS. The Zero 2's execute pure very low frequency tones naturally, there is almost no colouration, giving a punchy, punchy impression, as well as holding quite a bit of power without suffering. In this aspect, the Zero 2 are not intimidated by their small size and are ready to support a good volume of the connected source without complaining or suffering. This excellent behaviour, translated to real music, means remarkable performance. It may not have the level of resolution to discern all the detail, layer all the layers or accurately describe the most complex bass lines. But it can boast great performance for a ridiculously low price. Limitations also exist and these are concentrated in the fact that its technical ability is restricted, I would rather say simplified. In complex passages the Zero 2 doesn't suffer at all, but it doesn't show a fully reliable descriptive ability either, as it suffers from a certain level of resolution that prevents it from following bass lines in detail. It's not fast enough to reach those analytical levels, but its representation is very convincing and, most importantly, flawless. The result is powerful, punchy, powerful, fairly clean, realistic, natural, with plenty of oomph, compact and smooth bass, which you can't ask for anything at this price.



Mids

Once again, the Zero 2 have surprised me in a very pleasant way in the midrange performance. During my first listens I had detected a simplistic execution of the central range, without too much level of resolution. I had perceived a midrange descriptive behaviour, without too much detail. But with more selective, careful and critical listening, I have realised the great level of detail they offer for their price. First of all, the Zero 2 is not opaque at all, it has a remarkable level of separation and is capable of describing micro details in a partial way. While it is true that it is not able to develop them fully, they can be intuited in the midrange. And this is something I didn't expect at all. It is worth noting that it does not have an analytical sound, on the contrary, its representation is smooth, as is clear from its rounded curve of midrange and slightly sunken first treble. With this fairly controlled level of brightness, the notes do not appear too thin and it is easy to detect a certain thickness in the music. However, the sound is far from being homogeneous, congested or continuous. There is more than enough technical ability to demonstrate good clarity, in a profile with a warm tendency, where the bass has a notable prominence. And, in this case, that is not achieved by energising the midrange, nor by saturating the treble. Quite the opposite, as I have already mentioned. In this scenario, achieving this level of clarity, precision and detail is only possible by creating a dynamic driver that is sufficiently resolute to offer all these sensations. And here I come back to the price, which is $25. The Zero 2s have managed to recreate a sufficiently rich sound without falling into the facile trap of advantageous tuning in that regard. And this is something that is normally reserved for much higher priced IEMS.
Returning to a more traditional description of the midrange, the first half is slightly sunken. The male voices are presented at a midrange level, though clean. The physicality of their body is relatively low and they are somewhat lean. They don't show exuberance or too much complexity. But they are still able to deliver a certain level of punch at their base. Again, texture is not its strong suit, nor is the level of nuance, due to its smoothness. Despite this, this first half proves to be quite transparent within an inoffensive and gentle profile. In the second half there is a clear excitement, which is very much controlled by the midrange limiting of the first treble. In this way, the female voices are neither shrill nor completely dominant. In addition, the overall timbre is somewhat dry, relatively analogue, but never brilliant, on the strict and restrained side of its harmonic extension, but quite natural after all. The result is a balance that is more obvious than one might expect looking at the chart. There is a good projection of the details and nuances of this second part, but without being explicit or splashy, keeping a very appropriate level of blending, both with the vocals and the instruments, so that there is no predominance of one or the other. In this way, the aforementioned balance is maintained, as well as a sense of cleanliness, transparency and separation, without there being a clear predominance of any of these characteristics. None stands out clearly over the others and I think that the good synergy between them helps to enhance the visibility of the midrange in a quite realistic way.



Treble

The entry into the high zone is inverted, generating a slight drop that turns into the classic sibilance and brightness control phase. It continues to subtly recover and persist until the air zone. In this sense, for a dynamic driver of this price, the extension is quite good, although the treble presence is subtly nuanced in the initial phase. The result is a controlled initial sparkle but with good extension in the mid-treble. In this way, the harmonic register is enriched and the sound is dynamised so that it is not completely smooth, but with a slightly displaced, but still controlled brightness, so as not to lose balance.



Soundstage, Separation

Perhaps the Achilles heel of the low-budget IEMS is the stage and separation. In this respect, I am very satisfied with both features with these Zero 2s. Again, knowing how to relativise their outstanding price/performance ratio, the soundstage is quite spacious as it doesn't sound congested, concrete or intimate. There is a good level of laterality, although the exposure is clearly frontal, with an average height and a good level of depth. The level of detail is not quite micro, but there is enough subtle capacity to sense an initial development. In this respect, there is also good layering of sound and nuance, which helps to recreate those midrange details. Separation is obvious, achieving a good level of clarity and transparency. It will never show an analytical character, but it has the virtue of sounding smooth, balanced, powerful in its low end and rather more resolving than the price, profile and frequency response might lead one to believe.
The positioning and imaging is more than adequate, without too much more to comment on.



Comparisons

Kiwi Ears Dolce

In the same price range are the Kiwi Ears Dolce. They have a similar level of construction, with a transparent inner housing and an opaque outer plate in both cases. The clear difference is in the trapezoidal look of the Zero 2, with a semi-custom shaped capsule of a very restrained size in the Dolce. The Kiwi's look is more mature and neutral, while the 7Hz's "transformer" design gives them a more toy-like appearance. Ergonomically, the Zero 2 has shorter mouthpieces and a rim geometry that can be uncomfortable due to direct contact with the apexes. The longer nozzles and much more rounded shape give the Dolce a higher level of comfort.
The Dolce's cable is thicker and perhaps less stiff, although both seem to be prone to shape.
Los Kiwi vienen con lo mínimo, mientras que los 7Hz ofrecen un segundo juego de tips de silicona.
In terms of profile, the Dolce offers a more polarised mid-high profile, with a greater imbalance between the upper midrange and the upper end. They also have a slightly more bloated low-midrange and less sub-bass.
Right off the bat, the Zero 2s offer a more balanced and fuller sound across the entire range. Starting with male vocals, the difference in presence is clearly higher in the 7Hz range. The Kiwi's, on the other hand, have a distinctly sunken sound, as well as a certain hollowness in the midrange.
The Zero 2's bass is richer and fuller, with a more pronounced sensory capability, more power and volume, and better texture. The Dolce's bass is leaner and more subtle. Behaviour is more realistic and natural at 7Hz. There is a clear difference in the overall tone of the two low end, with the Kiwi's sounding slightly duller and darker.
While the high-mids are more present in the Dolce, something that enhances the presence of female vocals, as well as providing a more forced clarity and a more splashy sound, the details feel pushed, albeit less natural. There is an imbalance between the profile of the two IEMS, with the Zero 2s benefiting. The 7Hz are more homogeneous, fuller, richer, denser and plusher. The Dolce are more polarised and there is more presential distance between the elements. Meanwhile, the Zero 2 are better harmonised and show no hollowness in the sound, being more musical and natural.
The Dolce's treble is clearly crisper than the 7Hz, which feels more controlled and nuanced. There is a more obvious brightness in the Kiwi's although they also possess a clear control zone, but their greater presence in the midrange and longer extension into the air zone provides greater exposure and predominance of the high notes in the Dolce.
At the scene level, the Zero 2 is closer, but also fuller and wider. With no gaps and more fullness, they present a denser, more filled, but also more extended soundstage. There is good depth in the Kiwi, but the Zero 2s have a little more transparency and separation, a more defined and resolving sound, with no hint of darkness or veil, something that is a little more present in the Dolce.
In my opinion, the 7Hz x Crinacle Zero 2s are a step ahead of the Kiwi Ears Dolce musically, offering a more mature, fuller, balanced and homogeneous sound, with a more all-round profile, achieving better separation, transparency, resolution and detail. It's also worth noting, though, that they are softer and more muted in the treble.



Conclusion

The 7Hz x Crinacle Zero 2 would be the first IEMS I would recommend to those who want to get started in this world, but without spending much money. They are the gateway to something bigger. With a very solid base, quite comfortable, with a very low weight, with very well executed and resolved bass, with a quite full and complex midrange and a moderately extended, but soft treble, the Zero 2 are in my top of very low budget models. To say otherwise would be to say too much.



Sources Used During the Analysis

• Aune Yuki.
• Tempotec MARCH III.
• Hidizs AP80 PRO-X Red Copper LE
• Hidizs S9 Pro Plus.

Purchase Link


You can read the full review in Spanish here

Introduction

The famous AliExpress portable audio store NiceHCK released its evolution of its first F1 planar IEM at the end of 2023. Sure enough, it's called F1 Pro. It is a new model containing the next generation of the 14.2mm planar diaphragm driver. It is 2µm thick, uses N55 neodymium magnets and a double-sided magnetic circuit. The capsule is made of aluminium alloy and the ergonomics have been improved compared to the previous model. This time there are no different mouthpieces to change the tuning, but the profile is unique, slightly more polarised than the F1 Silver tuning, but very much in line with the second generation of planar IEMS that came out last year. As standard, the F1 Pro comes with a good set of accessories and its classic shiny, silver-plated cable that has been used on the brand's last few great models. Of course, you can choose with either a 3.5mm SE or 4.4mm BAL plug. But you can also choose with alternative cables. These include the FirstTouch cable or the New Cyan Cable. For this review, it was fortunate that the cable provided was the special New Cyan cable. It was used for this article. Let's see what a great pair the two elements are.



Specifications

• Driver Type: New generation 14.2mm planar diaphragm driver.
• Frequency Response: 20-28000Hz.
• Sensitivity 104dB/mW.
• Impedance: 16Ω.
• Capsule material: aluminium alloy.
• Cable conductor material: OCC and silver-plated mixed cable.
• Jack connector: choice between SE 3.5mm and BAL 4.4mm.
• Capsule Connection Type: 2Pin 0.78mm.

Packaging

The F1 Pro comes in a sober medium-sized blue box with gold lettering, whose dimensions are 170x117x47mm. On the main side you can see the brand logo and the model name in the centre. Nothing else. On the back side there is not much more, again the name of the model and a small description underneath, also in the centre. At the bottom, on the left are the contact details and on the right an EAN13 code and the logos of the certifications it complies with. After removing the cardboard, a completely white box with the brand logo in the centre is displayed... when the lid is lifted, the classic protective configuration is revealed: a white mould containing the capsules, a white box with the logo in its centre, which houses a zipped case with the accessories. In summary, the complete contents are as follows:

• Both capsules F1 pro.
• Warranty card.
• User's manual.
• Leatherette case with zip.
• OCC and silver-plated mixed cable.
• Three pairs of grey silicone tips, sizes S-M-L.
• Four pairs of black silicone tips with coloured core, sizes XS-S-M-L.
• Five pairs of white translucent silicone tips and coloured core, sizes XS-S-M-L-XL.

Nice set of tips, with a remarkable zippered case, with the right size to protect the IEMS. NiceHCK leaves behind their good chest cases and goes back to using the zip, increasing the interior space in a good way. The cable is the classic of the latest models, as are the tip sets. If there is one thing missing, it might be the foam tips, although it is true that they are less and less used as standard accessories these days.



Construction and Design

The capsules of the F1 Pro are made of aluminium alloy and machined by a 5-axis CNC. The outer face is almost circular, but with a rectangular corner. At the point where the rectangle ends and the circle begins, there is a small, narrow triangular-shaped trench with a gold background. The rest of the capsule is light blue. At the edge and close to this bezel, there is a 2Pin 0.78mm connection interface, fully integrated into the capsule. It consists of a rectangular piece of translucent plastic, while the female connection is gold-plated. On the other side of the apex, there is the model name, the brand name and the mole containing the letter indicating the channel, all in white lettering. It could be said that this part is the base of the capsule and that a more cylindrical, very rounded and ergonomic inner face emerges from it. It contains a hole in its centre, while the nozzles grow close to the rim. They are not too long, although they are longer than those of the previous model, a clear weak point of that first F1. Up to the mouthpiece, the entire inner face of the capsule is integrally constructed. The outer crown diameter is 5.9mm. The mouthpieces are protected by a metal grille with several overlapping spiral patterns. Despite the metal construction the weight is low.
The standard cable consists of a fairly soft double braid. The material is mixed OCC copper with silver plated cores. It is light, mouldable and shiny. The sleeves of the 2Pin 0.78mm connectors are rounded cylinders at the end of the cable, with red and blue rings to indicate the channel. They are smooth, shiny and polished metallic, but have a roughened band for easy gripping. The plug sleeve has the same design, but is longer. The plug is 4.4mm balanced. The splitter is completely smooth and the pin is a metal ring with a rough surface. It has over-ear guides, but they are smooth, like the whole cable, which is very mouldable.
The special New Cyan cable consists of four coiled strands, each protected by a very light blue textile fabric. The plug is a balanced 4.4mm gold-plated plug. Its sleeve is a metal cylinder painted in glossy black. It has a slight notch around the plug and a thinner notch near the cable exit. The cable is not protected by a plastic sleeve after exiting the connector. The splitter is the same as the connector sleeve, but shorter. The pin is a black metal ring, in the same style as the other sleeves, with a large inner hole. It is a bit too large for a durable fit, and the cables slide around too easily inside the sleeve, slipping more than they should. The sleeve of the 2Pin 0.78mm connectors is a pair of black metal cylinders with a notch around them in the colour of the channel. The notch is near the cable outlet. The 2Pin interface protrudes from a rectangular, transparent plastic part. There are transparent, semi-rigid, over-ear shaped sleeves for the cables. The cable is hardly stiff and although it is a bit thicker than normal, it is quite manageable and comfortable. Its weight is not high either. Quite good.



Adjustment and Ergonomics

One of the most compromised aspects of the previous F1 model was the ergonomics. The mouthpieces were very short and it was difficult to find the right tips. In this case, the ergonomics are much improved and almost excellent. The size is not too big, the inner shape is almost spherical with slim, longer mouthpieces and a better angle. Now, finding the right tips is easier and the insertion can vary from a shallow fit to almost medium, depending on our morphology and the tips used.
With my homemade foam-filled tips I get a shallow insertion, with very good insulation. The fit is quite good, the capsules rotate until they are seated and well integrated. They are not too bulky in my ears and they don't stick out too much. As I said, although the capsules are metal, the weight is low. Very good improvement over the previous model.



Sound

Profile

The profile moves between a U or a w. The sub-bass is linear, without being predominant and continues towards the mid-bass, thereafter decreasing. The transition to the midrange is smooth while the rise to the upper-midrange is steeper. At that point it maintains a good energy level and extends towards 10kHz with small peaks and gentle valleys. Again, this is an explicit second half of the frequency range, although there is a certain softness to it, the energy is noticeable. In truth, the F1 Pro follows a very similar FR to the Letshuoer S12s, but somewhat softer in many ways, smoothing and refining the bass, midrange and treble, as if to sweeten and homogenise its curve. The result is a more homogeneous sound, less dense in the first half and somewhat more controlled in the second half. Overall, there is a little more light, as there is less darkness.



Bass

The lower area of the F1 Pro is deep without being too dark. It is also quite sensory, with a very good and pleasant texture. That's something that is already demonstrated in the very low-frequency pure tone test. Starting at the lower audible end, its reproduction is surprisingly pure and clean, with very good behaviour, almost devoid of any inappropriate vibration, no colouration and the 20Hz tone is on the perceptible and audible side at 50%. As you go up the frequencies you notice how the energy and power grow, without losing naturalness, nor that deep and realistic character. You can even feel how the execution of the lower notes favours the appearance of a smooth, perceptible, even quite natural texture, with a controlled roughness that never becomes excessive or impostural.
Although the FR extends in a linear fashion towards the midrange, there is no bloat in them, they are just a little more rounded enough to provide volume and a good level of punch, although without being predominant. It is true that the bass has good weight and presence, beyond neutrality, but they don't reach bass-heads territory, although, for their quality, texture and strength they fall squarely in the bass-lovers section. They are elastic enough to add a certain realistic and natural rubberiness, providing that fleshy and physical volume I've already mentioned, as well as a sweet sensation that invites you to turn up the power of the source to fully feel its quality, without losing control. It's worth mentioning how the F1 Pro's are able to absorb the power from the source and deliver it into the bass in a very controlled way, with just enough punch and texture to still sound natural, polite and very engaging. And the best thing is that, despite the power they denote, it is still a permissive bass with the rest of the range, which does not go beyond its frequencies, which dissipates quickly and does not lose speed in its execution. Good planars are known to have low distortion in the bass, and the F1 Pro's is a key characteristic. Moreover, its behaviour in the worst bass passages, in those that are dirty, unfiltered and complex to reproduce, the F1 Pro is able to bring a great deal of sweetness, delicacy, pristine and reliable performance that makes many other IEMS in the same conditions pale in comparison. I insist, the F1 Pro invites you to turn up the volume and say "give me more".



Mids

As I wanted to explain, while bass is not neutral, it is neutral in its behaviour towards the other frequencies. When the song has a powerful bass base, but also a strong vocal presence, the F1s are able to distribute the energy precisely in both areas. I don't talk much about the music I use for testing, but I must admit that the F1 Pro's are excellent when it comes to playing the songs on Massive Attack's Protection album, where Tracey Thorn and Nicolette's vocals melt over a magma of dirty, unfiltered sub-bass and continuous, overlapping bass lines. The F1 Pros have no problem reproducing such heavy bass, nor separating it, being technical enough to decipher it carefully. But, best of all, female vocals are even on top of that bass, being either prominent or on the same level, but never feeling drowned out or distant. The same goes for the instrumentation, which prevails with enough autonomy to be explicit and descriptive.
My first impression of the F1 Pro was fairly neutral. I didn't feel they were spectacular. Their low end is not very powerful, although it is clearly beyond neutral, but without being predominant. The midranges are somewhat closer than in other planars, but without being prominent. But, they stay ahead in the mix, even surprisingly closer than the FR seems to indicate.
The first half of the midrange has a physical and full-bodied base, the male voices sound quite full, but slightly behind the bass and female voices, which are the real protagonists of the midrange. The male voices may gain presence if they are lower or if they are higher, in that respect, the basses and tenors will have more privileges in the mix. Even so, the timbre of all of them is very adequate, within that natural neutrality that on that first impression does not attract attention, but on subsequent and more selective listening, one begins to notice an improved behaviour, a superior performance, a quiet ability that separates them from the usual suspects. In this way, without euphemism, the F1 Pros describe the midranges with breathtaking ease, with flourishing but not blatant detail, with nuances that are visible but not overt or spectacular. It's a range without artifice, one that advocates a descriptive presence, but is noiseless, no pomp, even polite, almost shy in its exposition. But, little by little, this seemingly modest sound grows richer and richer, capable of recreating every aspect of the central range adequately, but without overdoing it.
On the other hand, I feel that the vocals have some advantage over the instrumentation, but when the instrumentation is filled with guitars and higher-pitched sounds, the contest evens out. But even in those situations, the midrange and highs remain controlled and smooth. I can't say that the sound is warm at this point, but there is a certain edge that calms the energy in this area, limiting hiss and the sharper character of some recordings that are too explicit in these frequencies. In this way, such situations become more delicate and pleasant, but without diminishing in their level of presence, energy or brightness, just sounding more neutral, calm and polite.
And all of this richness and good work has to be shown in some way. And yes, as with the previous F1, the Pro version is still very detailed, but in a more delicate and refined, again, more pleasing way. Again, I have to resort to terms like naturalness to describe how F1 Pro executes detail: without being completely overt or resolute, micro detail is displayed in an effective and simple, yet obvious way. In that way, the neutrality of the midranges feels reinforced by the enrichment provided by the delicate and refined expressiveness of their nuance, detail and micro detail. And all this, without one hardly noticing it, without making a sound.



Treble

Fortunately, I usually listen to the IEMS before measuring them. And while the choice of tips can counteract some aggressive midrange and treble behaviour, I have to say that the F1 Pro retains the energy level of the first generation planars. However, the twist is in their actual behaviour. I don't doubt that it may still be energetic for some, but its behaviour has improved, being more rounded, efficient, less sharp and penetrating. There is that extended brightness, but it is not an explicit or aggressive crackle, not as crystalline or discernible. It's clearly above the smoothness of the recent S15, but it's not dark. Nor do I find it as fatiguing as the S12, even though it is very similar in its treble energy level. The difference is in the performance. It is possible that this new generation of planars has something to say in this respect, although they still don't find the air level too high.
In short, the F1 Pro's treble is in that classic planar vein, both in terms of energy and extension, but with a softer, more mellow and more pleasing delivery. It's very capable of delivering lots of harmonics, lots of detail and sparkle, but without being too sharp or piercing. It's certainly an improvement over the previous generation, even without losing too much presence.



Soundstage, Separation

The NiceHCK F1 Pro is still not an IEMS with a compact, dense, planar sound, although it is true that it has a more powerful sound than its sibling. Also, it is possible that the improved ergonomics and the possibility to use more suitable tips allow for a fuller sound. With the old F1 and its short mouthpieces, the number of tips to use was very limited. So I had to resort to very wide tips, but without foam filling. With them the sound is cleaner, more vivid, clearer, more transparent, but it is also less full, especially in the first half of the frequency range. However, the Pro version, as you can see from its FR, is somewhat more V-shaped than the previous version with the Silver (Balanced) filter, has a subtle rise in the low end and a clearer one from the midrange onwards. This should give it more of a sense of brightness, clarity and transparency, but it is also counterbalanced by a stronger impression of punch and punch in the lows, due to the increase and also the effect of the foam-filled tips. Be that as it may, and going back to the description of the soundstage, it has a clear sense of depth and width. It is still not enveloping, but it achieves a great laterality and stereo feeling, which clearly reaches 180°, even beyond. There is a noticeable impression of height and a slight hint of ethereal perception. Despite this, the sound is not volatile, gaseous or overly three-dimensional, but it doesn't have that homogeneous feel of the S12s, nor is it as free or thin as the F1s. The F1 Pro recaptures that characteristic density of sound, but demonstrates great technical skill in both separating the elements and describing them in a precise and concrete way. But again, in a natural way that is not analytical or cold. The F1 Pro's achieve realistic micro detail without being sharp or too separated sounding. Separation comes across as natural, without being impressive, but is clearly effective. There are very good technical capabilities without being, at first glance, a purely technical headphone. Perhaps, its virtue lies in that double sensation of calmness, neutrality in the exposure of the music, added to a high but musical level of resolution. All this allows the volume to be turned up without any problems and to see how high the level of definition is.
All in all, the F1 Pro has good separation without being sparse, very good micro detail without being analytical, remarkable precision without being too fine, transparent or glossy. All in all, the image recreation is easy, eloquent, simple to discern, with fairly obvious front and side positioning, where the elements are well distributed. But it is still not an overly broad or clearly specific image.



Comparisons

Hidizs MP145 Gold Filter (Balanced)

Perhaps, the easiest thing to do would be to make a comparison with the F1 model and end the review on a happy note. But I would not be stressing the new NiceHCK model. That's why I want to compare it with one of the best Hidizs models and, also, one of the best planars of this new batch. The MP145 with the balanced filter.
First of all, the difference in size between the two capsules is very clear. The MP145s are large, perhaps too large, but it is very remarkable to note that this is not a negative for their ergonomics and I find them very comfortable as well. It is clear that the integration in my ears is not as neat as it is with the F1 Pro, but the high volume does not imply discomfort. I can wear them for quite some time without any problems. In the long run, though, the NiceHCKs are more comfortable, especially for everyday, out-of-home use. The level of construction is very good in both cases, with a great finish. But both have particular designs. The Hidizs are eye-catching, while the NiceHCK are a bit more simplistic and not as eye-catching, but I think they have improved their design level compared to their siblings. I prefer the standard Hidizs cable, but the New Cyan cable wins the game here, if you choose this option. The MP145s have filters like the F1s already had. The Pro version is without tuning filters. The Hidizs have more specialised tips, but the zippered case of the F1 Pro is clearly a plus. On the other hand, the MP145s have a leatherette pouch that is not up to the standards of a model of its category.
The sound profile of the MP145 with the Gold filter, which is the most balanced of them all, is very similar to that of the NiceHCK F1 Pro. You can see that the differences are very small. In fact, between the two models, the difference between channels could even further equalise the frequency responses. As far as you can see, the clearest difference is in the midrange, subtly more excited, in the early treble. But up to 1.5kHz both responses are completely identical.
In terms of sensitivity, the F1 Pro's are a little more sensitive, at the same source volume, they sound slightly louder.
If the low end is so similar, so is the sound. But I find the F1 Pro's bass a little brighter, clearer, cleaner, less opaque, less muffled and with a little more texture and roughness. These characteristics give the F1 Pro's a technical improvement in the lower range, they seem to have more resolution, better definition, superior descriptive power, more separation even.
In the midrange, this sense of increased brightness, light, clarity and transparency becomes more apparent. The sound of the MP145s feels more muted, drier and a little more together. The F1 pro is sharper, but also more descriptive and cleaner. Details are better outlined and vocals are further forward in the mix, but also very well differentiated. All this gives it a more evident level of nuance, a more explicit, analytical and vivid sound, but without being fatiguing. The result is a more dynamic sound, with greater transparency and separation. It also seems to be somewhat faster in the transients, being somewhat more resolute in the treble and when many notes need to be represented in a faster way. It even seems to have less aftertaste in these cases, as well as more precision in those cases.
The upper zone seems clearer, more evident and more extended in the F1 Pro, it is a little crunchier. For those who are more sensitive to this area they will clearly notice it. The MP145s with the Gold filter are more muted and controlled.
The better sense of clarity and the more analytical, separated and detailed capability of the F1 Pro gives you a wider scene feel, with better separation, more detail and resolution.
But what is the advantage of the Hidizs? Well, they have a Silver filter to enhance the treble, which still makes the two models much more similar and the differences smaller.



Conclusion

The NiceHCK F1 Pro is not just another new planar model. It is clear that they have been inspired by the latest models. But they have managed to generate a sound on a par with their rivals, with very good resolution, clarity, transparency, detail, in a small capsule, much more ergonomic and comfortable than their previous model. The F1 Pro manages to turn a more analytical sound into something more natural and neutral, more musical and pleasant. It is able to combine the best of both worlds: musical and euphonic appeal, with a high level of resolution and detail, but without sounding cold or sharp, but realistic and engaging.
NiceHCK does not create something new, it limits itself to refine its first version, to polish it, to improve it in its most negative aspects, learning from its mistakes and keeping an eye on the most direct competition. If we add to this a price that can be lower in many occasions, good accessories, a smaller, lighter and more comfortable capsule, adding the possibility of adding quality cables that the brand has accustomed us to, the result is very tasty and a clear challenge to the competition. This is how it is done.



Sources Used During the Analysis

• Aune X8 XVIII Magic DAC + EarMen ST-Amp.
• Aune M1p.
• Aune Yuki.
• Burson Audio Playmate II.
• Hidizs S9 Pro Plus Martha.

Purchase Link



You can read the full review in Spanish here

Introduction

It was not a new brand when LetShuoer launched its IEMS planar S12, but it is true that it has been one of its most famous models. It is also true that the brand itself has been going round and round about the same model, bringing out variants such as the Z12 or the Pro version, until it finally decided to bring out a new planar. And even the process has not been easy, as it has been delayed after the first demonstration units. Officially, the S15 is out this December 2023 and what it brings with it is not just a planar, but the brand has pulled out all the stops with them. The first thing that will catch your eye is the price, which has risen to $329, more than double the price of the S12. So what's in the S15 to justify the price hike? If we look at the exterior, there are many differences. The capsule is high precision 3D printed, the outer face is precision CNC machined aluminium alloy. Yes, it is no longer a full metal capsule. Its design has changed and the surface is as if it were made of some kind of rough resin. Many might think that this new capsule is not worth the high price, compared to the finish of the S12 Pro, for example. So where are the improvements? Well, you have to look inside. The LetShuoer S15s incorporate a third-generation 14.8mm dual-chamber planar transducer. To ensure smooth transitions between octaves, the S15 employs a dual acoustic tube structure with a crossover filter scheme. But one of the most important technologies is the addition of a 6mm passive filter module outside the planar driver. This passive filter module features LetShuoer's new R-Sonic dynamic harmonic technology. This is a positive filtering of sound energy through proprietary filters. This technology is explained in the following link:

https://letshuoer.net/es/blogs/news/letshuoer-r-sonic-dynamic-harmonics

In short LetShuoer R-Sonic PFM uses a membrane that acts as a filter that adjusts the amount of pressure inside the ear canal, allowing the headphone to be adjusted for a more comfortable listening experience, especially during long listening sessions. More details on R-Sonic technology are provided below:

1) R-Sonic is an adjustable module for ear canal pressure tuning.
2) The fundamental operating principle of R-Sonic is the adjustable characteristics of the passive membrane/transducer environment.

While the SPL is louder, the PFM membrane is activated, the pressure is transferred to the earcup chassis and thus the excursion of the active transducer piston movement is reduced. Thus, hearing fatigue is reduced.

Let's see how all this new technology affects the sound of the S15s, as well as other aspects in this review.



Specifications

• Driver Type: Third generation 14.8mm dual chamber planar driver + 6mm passive filter module.
• Frequency Response: 20Hz - 40kHz.
• Sensitivity: 106dB.
• Impedance: 30Ω
• Capsule material: 3D printed resin.
• Outer face material: Anodised aluminium alloy.
• Jack connector: interchangeable 2.5mm/3.5mm/4.4mm 90° angled.
• Capsule Connection Type: 2Pin 0.78mm.
• Cable: 1.2m 216 strands of silver plated monocrystalline copper.

Packaging

The LetShuoer S15 comes in a relatively large grey box. On the main side there is only the brand name on the top left, the model name on the top right and the Hi-Res logo, with the design lines of the outer side of the IEMS on the left side. All in white ink. The back side has the specifications, contact details and the warranty seal. After removing the outer cardboard, only the brand name and the phrase "Sound Alive" appear. The box opens like a lid and the first thing you can see is a closed seal with a sticker just like the external design of the S15 faces. Underneath are the two capsules inside a mould lined with the same cardboard as the rest of the packaging. There is a lower level that opens like a drawer. In it is a round blue-grey box with a rubbery matte finish. It opens with a screw lid. There are also the three 2.5mm/3.5mm/4.4mm connectors angled at 90°. The envelope contains a poster with the logo on the outside. There is a warranty card, 3 pairs of vocal tips and 3 pairs of balanced tips, plus the cable.
Although there is not much variety of tips, the presentation makes for a great unboxing experience and perhaps this feeling justifies the contents.



Construction and Design

The S15 has a big difference in the design of its capsules compared to the S12. It is not metallic, it is larger, the capsules are 3D printed with a bluish-grey resin with a matte look and feel. Only the outer face is made of anodised aluminium alloy and has a relief that is repeated as if it were its seal. You could say it's a letter C with an arrow pointing inwards, all in relief. Going back to the capsule, it is all one piece except for this outer face. It is an integral design that has a slightly more elongated mouthpiece than the S12, it is also larger and thicker. On each one you can read the make, model and channel lettering in white ink. There are two holes on the inside and one on the side, near the 2Pin 0.78mm connection. This connection is flat, the interface is embedded in the capsule. The mouthpieces have a narrower inner diameter (5.8mm) and a 6.2mm crown. They are protected by a dense metal grille. The entire capsule is very rounded and there are no sharp edges.
The cable is the classic LetShuoer two-stranded cable with mixed silver and darker wires inside. The conductor is made of 216 silver-plated monocrystalline copper wires and measures 1.2m. It has three interchangeable 90° angled 2.5mm/3.5mm/4.4mm plugs. The sleeving of these connectors is mixed, near their connection interface is silver metallic, while the elbow is white rubber. All plugs are gold-plated and have tailor-made protective sleeves for protection. The cable exits the connector protected by a small, transparent sleeve. The splitter is a matt metal cylinder. The pin is a translucent plastic ring with a pair of holes in it. The sleeves of the 2Pin 0.78mm connectors are both matt metal cylinders, in the same style as the splitter. There is a dark letter on each of them to specify the channel, there is also a red (R) and a transparent (L) disc, as a base for the two gold-plated pins. There is a velcro strip to tuck the cable away.
Anyone could criticise the new capsule design: it is larger and not metallic. The emphasis on the logo created for the outer face seems to be intended to be an iconic hallmark of the S15 model. And although the S15 is more comfortable than the S12, I like the design of the S12 better - those did have something unique.



Adjustment and Ergonomics

Well, beyond the design, talking about fit and ergonomics, you could clearly say that the S15s have improved over the S12s. Those were smaller, but the nozzles were shorter. Here they are longer, the angle is good and they allow both a shallow and an almost medium, quite occlusive fit. The capsules are light. Their surface is matt and very smooth. The fit is immediate, I didn't have to waste a second to find the right tips, I used my big home-made tips filled with foam and nothing else. Immediate fit, the best possible sound and a great feeling of isolation. There is perhaps a higher degree of rotation than with the S12s, depending on the degree of insertion. But the capsules fit correctly in the pinna to stop the movement. In my opinion, the S15s are an ergonomic improvement which, perhaps, justifies their external design.



Sound

Profile

Let's come to the most important issue of this new model. It is common knowledge that the tuning of planar IEMs has been criticised for the energy of their treble. It is not that it is a peaked high zone, but rather that it maintains a relatively linear extension, spreading the energy over a more extended frequency range. This could cause hearing fatigue for some sensitive ears. Well, LetShuoer has reduced the presence between 2kHz and 10kHz compared to the S12, while almost maintaining the bass and midrange up to that 2khz point. Strictly speaking, and trusting my measurements, there is only a small difference in favour at the 1.5kHz point and to the detriment of the sub-bass end. What does the profile of the S15s look like, then? Well, it keeps that w-shape but now it's in lower case. Everything is more balanced and the result is somewhat darker and warmer. There is not so much reinforcement in the sub-bass, resulting in a more homogeneous sound throughout the frequency range. Perhaps there is some loss of punch, both in the bass and beyond the upper-mids, but the S15s are tuned for hours and hours of enjoyment, with a sound that is quite natural, restrained and free of artifice. This is the result of a more rounded and refined FR, but also with less brightness, hence the darkness and sobriety are more evident.



Bass

First of all, the impact of the passive filter module on the sound is a mystery. As the system specifications state, the R-Sonic PFM device is activated depending on the SPL level, so it releases internal pressure from the IEMS. At what SPL level does it activate? Well, it is not specified. So, in reality, the beneficial outcome of the R-Sonic PFM system cannot be assessed individually. What can be done is to evaluate the low end of the S15s as I have traditionally done so far: with my own ears in the recurring very low-frequency pure tone test. Starting with the latter, one feels that the audible low end does not possess as much energy as its smaller siblings. The response at 20Hz is audible, not very sensory, very subtly coloured and quite good in execution, but not as pure as dynamic drivers of the same price. At 30Hz and above it feels more powerful and punchy, but there is still some colouration replacing a deeper feel. The vibration at 40Hz is more energetic, complete, fuller and already possesses more sensory and physical capability, but the audible side still drags that subtle colouration. This behaviour, translated to real music, explains that certain roughness in the bass, as well as a certain lack of depth and that audible rather than deep feeling in the bass lines. The bass is not heavy, nor does it take up too much volume, but it feels more respectful of the rest of the frequencies, as it is not as invasive. Nor does it feel as predominant as in the S12s. The bass of the S15s is certainly noticeable, but it doesn't come across as a wall of sound. There is undoubtedly a good level of energy, depth and force in their punch, but there is a sense of control, as if there is some limiter - could it be the fault of the passive filter module? I don't know, but it is true that there is no sensation of violence in his hit, even though it is powerful. On the other hand, the rubbery or elastic sensation in the hit is light, but enough to offer a pleasant, deeper and somewhat rounded aspect, together with that subtle roughness on its surface that makes it more attractive and enjoyable. In conjunction with this behaviour, there is also a good degree of speed and low decay. Fortunately for the full development of the low end, the sum of these abilities means that the bass does not feel swamped, bloated or magmatic. The speed of the transitions allows for space between hits, facilitating control, definition and resolving ability down low. Where it shows its technical ability and skill is in the worst conditions. The S15s are capable of reproducing unfiltered bass lines without losing naturalness in performance or distortion even at high volumes. The best thing about it is that it can play such complex bass lines alongside other lines without losing its composure, managing to stratify all the layers, as well as not influencing the upper ranges. Perhaps this is typical for planar IEMS, but I insist that there is that point of control, that release valve that seems to keep the energy at bay so that the bass is executed in the best possible way. Maybe it's a particular feeling, but it's a welcome one, because the result elevates the range.



Mids

I must confess that the S15 didn't impress me enough to leave me with my mouth open on first listen. Perhaps I was expecting a spectacular sound, but that's not the case. On the contrary, it is quite natural, with a certain warmth, soft in the upper range, moderately energetic and very decisive in the lower range. But it is in the mid-range that the natural, neutral feeling is most noticeable. It is true that something that is characterised by being neutral does not seem to stand out on first impression, but rather, with the passage of time and hours of listening, it becomes an acquired taste whose value progresses as the days go by and the more time one spends with them, the harder it is to stop using them. For so are the mids of the S15s, their virtue lies in rounding out the music, in playing it in a more subdued, slightly warmer way, but retaining that gentle neutrality that makes it musical, more analogue, but undoubtedly expressive, descriptive and detailed, to the point of being emotive and beautiful. The S15s possess the ability to magnify the mids, to recreate them in a broad and expansive way, without them even being shown in the foreground. Yes, the male voices are not predominant, but they are very well represented, but also very well wrapped by the whole instrumentation. In this sense, this mix is very well achieved, there is a great respect between music and voices, keeping the distance, balancing the prominence and generating a highly musical, conjunct and euphonic sensation. The result is very pleasant, attractive and highly harmonious. There is no sensation of a wall of sound, although the perception of fullness is almost overwhelming, due to the amount of information it is able to deliver, but without becoming saturated. This is the symptom of the richness of the midrange, of its breadth, but also of its balance, its naturalness and neutrality. If there is one point to criticise, it would be the slight imbalance between the centre and the upper midrange. I would have liked this small step to be smaller, to bring the first half a little closer. It's not the step itself, but the sinking of that first half. Because it's small enough not to elevate the female voices too much, and it's big enough to add clarity and transparency, but without offering a hint of excitement in the midrange. Hence the idea of balance and neutrality in exposure, in the weight of the notes and in their thickness persists. In this way, the distance between male and female voices is not too great, while the mix in the upper range continues to maintain its proportion. The result is a central range that is not particularly prominent (unless tips favouring the midrange are used), but which, without a doubt, has a very ample presential and descriptive fullness.



Treble

Planar IEMS have the advantage that they can subtract energy in their high end, without the sound becoming dull or veiled. I think LetShuoer could have stretched the S15s towards a more clean, crystalline, bright and analytical side, given the capabilities of the driver used. But it has preferred to be conservative in the high end. And due to the intrinsic virtues of this new driver, it has worked out well. The quality of the S15s allows them to be clear and transparent without the need to add energy in the midrange. But it also allows them to be very expressive and with great detail despite lowering the energy in the highs. And that's just it, the virtue is that lowering energy doesn't mitigate or qualify the treble, it's just balancing it out in the mix. The sense of extension and fullness is still there but not as eloquently. Perhaps there is more depression in the air zone, but the treble of the S15s is representative for a moderate, yet rich and sufficiently extended brightness. In that way, the treble is not only smooth, because it maintains a good degree of information and expressiveness. They keep sibilance at bay and are pleasant for long listens or for short, but loud, listens. It is at this point that I realise that the S15s maintain a characterful treble but with a connotation of control taken to a higher level. The S15's treble is not just controlled, smooth, moderate... it's all of that but without losing the virtue of brightness when necessary, yet eliminating the pejorative and penetrating part to maintain musicality and, once again, neutrality.



Soundstage, Separation

In front of a natural, neutral sound, a realistic, well-structured scene is possible. The S15s are spacious, but not three-dimensional, ethereal or holographic. They do not surround the head, but there is a certain enveloping ability, as they are very capable of stratifying and separating music into layers, planes and elements, offering a sense of vibrancy. This ability favours the listening of live music, adding an extra sense of presential realism. The grandeur of the music also benefits from this ability, which, together with the other technical virtues of the driver, allows for a remarkable level of separation and distance between elements. Despite the somewhat dark and warm character of the sound, the S15s are quite transparent. Again, their outstanding level of resolution and definition ensure a very neat, clean, very well delimited sound, which allows a glimpse of a dark background, even space in the separation. This is enough to describe the micro detail, even if it is not faithfully represented in its entirety, perhaps because it is not sufficiently analytical, rather analogue. All in all, the image is expressed in an easy way and the location of the elements appears effortless.
The S15s have many virtues, including the ability to be suitable for long, leisurely listening as well as for more intense, critical listening. In both scenarios, these IEMS will be able to deliver what is asked of them, offering detail, resolution and definition when demanded and smoothness and musicality when listening to music for pure pleasure. This duality is not always present and this adds superior value to this new model.



Comparisons

NiceHCK F1 Filtro Silver

The NiceHCK F1s are perhaps one of the most unknown planar IEMS. However, they are one of my favourite IEMS in terms of sound. They have several characteristics that have favoured them to be so: they have 3 tuning filters, a more analytical sound than the rest of the planars and too short mouthpieces. The latter is clearly a disadvantage, but it favours that the search for suitable tips to improve ergonomics generates a sound somewhat different from what could be expected for its FR. As I say, their mouthpieces are too short and I had to resort to ultra-wide tips instead of my large foam-filled tips. The sound you get with them is not as full, the bass is not as sensory and the midrange, treble and clarity of the sound is enhanced. It loses fullness, but gains detail and resolution. Maybe it is not the most faithful sound to its signature, but it is the one I can get due to its bad ergonomics and the union with the tips suitable to my morphology. In no case the sound is bad, on the contrary, it is very good because it is different. The filter used for the comparison has been the Silver, which provides a more balanced sound.
In terms of construction, the NiceHCK F1 is a medium bore and overly thick cylinder. They are made of aluminium alloy using 5-axis CNC machining. The outer face has a micro-stepped slope to a thick C-shaped carbon fibre flat. The nozzles are short and their angle is not the best of all, the fit obtained is only superficial. With an ultra-wide silicone tip, clarity and a more technical sound is favoured and this is what I notice even though I have one of the most relaxed FRs at that time in high-mids and treble. Now, the S15's are very similar in their FR. The low end seems to be a carbon copy and from 1kHz onwards the differences are small. It is true that the S15s are more rounded in their curve and that gives them a more distinguishable refinement.
I have used the same ultra-wide tips on both models to equalise the listening conditions as much as possible. Sensitivity in both is very even. Overall, the S15s are slightly darker and drier than the F1s, subtly more muted. In the low end, the dryness is felt, offering a tighter, smoother bass. The F1s have a rougher, slightly more textured bass, but are lighter, take up less volume and have less weight. The S15s feel denser and wider, with more energy and fullness, which gives them a greater sense of depth, but they also have more presence and impact within the sound.
There is more light and clarity in the midrange of the F1s, their sound is brighter and contrasts with the greater darkness of the S15s. There is more density in the midrange of the S15s and a sense of greater openness in the F1s. The sound is warmer in the S15s, with a perception of greater fullness and intensity in many respects. The F1s are lighter, their notes have less weight and are thinner. The density of the S15s gives them a more pronounced lushness, although the F1s' lightness gives them more freedom and a little more openness. If you try to match the wall-of-sound feel of the S15s with the F1s, the tendency is to turn up the volume, but the result is undesirable, as the sound becomes less pleasant and gentle, losing the more appropriate control that the S15s do have. Thus, the male voices on the S15s are more physical, fuller-bodied and have a juicier, richer corpulence. The base of these male voices place the S15 among my favourite IEMS in this regard. A similar thing happens with the female vocals and also with the instrumentation. The sense of presence and closeness, as well as its physicality is higher on the S15. It is warmer and fuller, also darker, but its density gives it a very high sense of weight and immersion, which makes the listener become more integrated in the sound.
In the top end the F1s are thinner and brighter, with a little more energy, though they are also more penetrating and not as restrained, softened and controlled as the S15s.
It's true that the thinner notes offer a little more vividness to the micro detail and a slightly more ethereal feel to the ambience, giving a sense of greater separation. The S15's denser and somewhat darker sound is a little more complex and doesn't seem as analytical as the F1. However, it is more refined and pleasant. The F1s can sound more strident, even less natural. Whereas the timbre of the S15s is more organic, warm and analogue. The F1s can offer a more open feel, while the S15s are wider and deeper.
In short, the F1s are finer, cooler and more analytical, have more light, clarity and appear more dispersed and ethereal. They offer good micro detail, but their timbre and note finish is somewhat more artificial, rougher, even harsher. The S15s are denser, darker, warmer, but offer more closeness in both bass and midrange, offering a higher level of lushness and richness. Their sound is fuller, with a heavier, more full-bodied base. But it is also refined at the edges, never harsh and more controlled even in the worst situations. The result is a more balanced, homogeneous, dense, thicker, complete and very musical sound. A step further in musical refinement.



Conclusion

It seems that LetShuoer has given a lot of thought to the release of its evolution of the famous IEMS planar S12. It could have followed the same path and created a more refined planar, following a continuist line. But it has not been like that, the S15 is a different model in many aspects, from its external design, with its capsules printed with 3D resin that gives them a less refined aspect, due to its matte finish and its colour. Ergonomics have been improved and weight has been reduced. In the end, these are aspects to be taken into account in favour of obtaining a better sound and pleasurable result. And it seems that pleasure has been the keynote to follow. The S15s have been softened in the midrange and the overall treble energy has been reduced, for a more balanced sound, with less noticeable sub-bass and more homogeneity in all ranges. The sound is now warm, even darker. A little more light can be obtained depending on the tips used, but it is clear that the treble is softer and more controlled, for a longer and more lasting enjoyment. The sound is richer and more lush, micro detail exists if you look for it, though it is not in the foreground. The S15s offer more than meets the eye at first glance, and that denotes a potential quality that increases with each passing hour.
On the other hand, to achieve these improvements, it is worth mentioning the effort of the brand, adding a new technology inside the IEMS. The S15s combine a new third-generation 14.8mm dual-chamber planar driver with a 6mm passive filter module. This module features LetShuoer's new R-Sonic dynamic harmonic technology. Complex technology for a step up in sound quality in a very tight price range. It's noticeable that when one reaches a point of excellence, every bit of quality one wants to gain costs a lot more and I think LetShuoer has done their part to achieve this.



Sources Used During the Analysis

• Aune X8 XVIII Magic DAC + EarMen ST-Amp.
• Aune M1p.
• Aune Yuki.
• Burson Audio Playmate II.
• Hidizs S9 Pro Plus Martha.

Purchase Link



You can read the full review in Spanish here

Introduction

Thanks to a European Tour organised by Head-fi.org I have been able to test two Dunu models. One is the Dunu Falcon Ultra and the other is this present Dunu Alpha 3. They are earbuds and the first thing I would like to say is that not many IEMS brands dare to release earbuds. So I appreciate the effort of a brand with as much tradition as Dunu to make this effort. Furthermore, these earbuds do not have the usual classic shape, but Dunu has created a relatively special design. It uses a dynamic driver with a liquid crystal polymer composite diaphragm with a highly flexible surround suspension. The capsules are made of stainless steel and aluminium alloy. Let's take a broader look at what these Dunu earbuds can do.



Specifications

• Driver Type: Dynamic with liquid crystal polymer composite diaphragm.
• Frequency Response: 5Hz - 40kHz.
• Sensitivity: 105 ± 1 dB at 1kHz.
• Impedance: 32Ω.
• Total Harmonic Distortion: <0.5% at 1kHz.
• Cable length: 1.2m ± 0.1m.
• Jack connector: SE 3.5mm gold-plated.
• Cable conductor: High purity silver-plated monocrystalline Litz copper type 1.
• Weight: 30g.

Packaging

The Dunu Alpha 3 comes in a medium-sized black box with dimensions 134x96x70mm. On the front side you can see a dark and realistic photo of the earbuds. At the top is the model name and at the top is a sentence reminding the 21st anniversary of the brand, why wasn't the 20th anniversary celebrated, does the 21st have a special connotation? On the back are the specifications in several languages, including Chinese and English. Underneath are the brand's brand designations. The outer cardboard is removed vertically to reveal a black box with the brand logo in white in the centre. After opening the box, a large zippered case with the Dunu brand name in reverse relief can be seen. Underneath is a second level with a black cardboard case carrying a portion of the accessories. To sum up:

• The Dunu Alpha 3.
• Zippered case.
• Cleaning brush.
• Complete foams.
• Doughnut type foams.
• Warranty certificate.
• User's manual.

I have not opened the bags with the foams and other accessories because it is a tour. I will use my own foams.
Inside the case come the earbuds, inside another plastic zip bag. And, in turn, each capsule comes in another zip bag. Dunu has a penchant for storing each part in a different pouch. This is appreciated for the level of protection, but you also have to be a bit more environmentally friendly in this respect.
Finally, the box has a seal of guarantee and authenticity.
For 80$ the level of accessories is good, there could be more foam and the case is too big for the product itself.



Construction and Design

The capsules of the Alpha 3 are made of stainless steel and aluminium alloy. The cable consists of four strands of high-purity silver-plated monocrystalline Litz type 1 copper.
The design of the capsules is a classic and rather regular cone which is anchored to two very elongated trapezoidal bars by means of a thin rib protruding from the top of the cone, where the apex should be, there is a horizontal cut from which the cylindrical rib protrudes. The side of the cone has small brand logo motifs of different sizes. At the upper end of the trapezoidal bar is a grille. On the inside face of the bars there is a small torx screw and also the lettering indicating the channel, inside a circle, all in white. The cable comes out of the bottom of the bar.
The driver is protected by a thick metal grille. The edge of the capsules is glossy, while the side of the cone is matt. It might look like the rods are plastic, but they are metallic with a rougher matte finish. The capsules are heavy, even individually.
The cable parts are metallic, matching the dark gold colour of the conductors. The sleeve of the 3.5mm SE gold-plated plug is cylindrical, with a roughened ring close to the cable part. The splitter piece has a similar design but is subtly more tapered on its long side. The pin is a translucent plastic piece that fulfils its role well.
Very good construction, remarkable cable, but the whole thing feels heavy.



Adjustment and Ergonomics

The conical, splayed shape of the Alpha 3 gives it a special playfulness when it comes to fitting. The cone tilt itself is fine-tuned, in conjunction with its diameter, to fit properly in the ear canal. The bars even allow for some rotation to find an alternative setting that will face the drivers more directly into the canal. I have commented on certain occasions that I usually rotate the capsules of the earbuds until they are almost horizontal. This way the driver is placed more towards the channel, opening it up a little more. This results in a fuller sound, better detail, even more bass. The elongated spigot of the Alpha 3 allows this, but not as much as the classic MX500 capsule earbuds, although I must also comment that the shape of the spigot and its edges can be a little less comfortable for this rotated use.



Sound

Profile

It's been a while since I've tried earbuds and I haven't had much time to shoot the Alpha 3s. The profile is somewhat dark, warm, slightly V-shaped, with good mid-bass presence. It has a nice puch in the early treble, with a touch of crispness. The vocals are a bit far away, with that darker and more opaque touch that is usual in many earbuds. I recommend using dunuts to gain clarity.
Due to the fact that the Tour only allows a week for two models, the Alpha 3 has not been able to be worn for many hours. It is possible that over time it may change its temperament and improve in clarity.



Bass

The bass is quite punchy, but, as usual with earbuds, the sense of depth is limited. In the very low-frequency pure tone test the Alpha 3 performs the lowest tones in a coloured way, with the vibration being felt rather than the actual sound. However, it performs rather better than expected. The lack of sensory capability limits depth perception, but there is good presence, quantity and speed of execution. The hit feels quite tight, concise and recovers early, but its roughness is low and it feels more smooth than textured. As I say, there is punch, but without overwhelming, without generating too much feeling of volume, nor dominating too much in the environment. It is well balanced and even its V-profile is not bass-heavy. On the other hand, in the dirty, complex and unfiltered bass test, the Alpha 3s suffer as soon as the volume is turned up. Their behaviour in this case is not very adequate, providing a coloured and not very reliable sonority.



Mids

The first half of the midrange feels somewhat opaque and distant, with the upper-midrange working better. Likewise, the micro detail is not very visible, being out of play due to the conjunction of the darkness and opacity of the area. The male vocals have a somewhat low physicality, they don't feel very full, lacking body and a little more nuance. The instrumentation of this lower mid-range zone is also on the simple side of musical representation. It suffers from a certain level of resolution and resolution, feeling warm and relatively dark. The feeling improves in the second half, reaching a more descriptive and explicit level, but without reaching a sense of clarity, luminosity and full transparency.



Treble

The treble has a good initial sparkle, with good representation in the next phase. But these are not overly clear or bright IEMS, accentuating that V-profile feel. The high notes are not too fine and feel detrimental to the dark character of the ensemble. I miss a greater sense of sharpness and cleanliness in this area.



Soundstage, Separation

Normally, earbuds tend to have a wider stage feel. The Dunu Alpha 3's present a rather front and centre stage. The laterality and stereo feel is focused and the angle is always well below 180°. It doesn't feel too high and the depth is average. It's not a congested scene, it's rather intimate, without too much sense of air or transparency. The light is dim and the separation is average. The level of detail is based on the V-profile, offering more visibility at the sharp peak, being more restricted in its representation of the central area.



Comparisons

ISN Rambo II

Priced at $69, with MMCX connection, metal construction and a similar shape, based on two cones attached to a spigot, are the ISN Rambo II. They are not a new model but a good point of comparison.
The Rambo's standard cable is simpler, but allows any other much better cable to be used. The presentation is more classic like other earbuds, with a typical ISN zippered case, 3 pairs of full foams and three pairs of donut foams. The build quality is as good as the Alpha 3, but I prefer the ergonomics of the Dunu, as the Rambo IIs have capsules that are more slippery to my ears. The improvement is in the ISN's rounder, more rounded spigot, which is more comfortable, in case it rubs against any part of the ears when rotated inside the pinna to find a better orientation of the capsules.
Rambo IIs are easier to move and at the same volume they sound louder. Their profile is less V-shaped, with less noticeable bass, but more balanced in the mid-range and with more light.
In the low range, the reproduction of very low frequency pure tones is similar, although it is more compact in the Dunu. The colouring is repeated in both, perhaps the Dunu's are more defined and their reproduction is cleaner and more precise. In the real bass representation, I find a little more gentleness in the ISNs, they feel a little more elastic, less dry and concise. Perhaps that superior elasticity in the ISNs gives it a feeling of superior projection, as well as a slightly more accentuated depth. The greater dryness and speed of the Dunu makes them more technical, but also shorter. Maybe it's the ISNs' longer roll-off, but they perform better in complex, unfiltered bass situations. Not that they are the best suited, but they sound better and closer to reality.
The central range of the ISNs is fuller than that of the Dunu. The male voices are fuller, wider from bass to treble, as well as closer. However, they seem to be better defined in the Dunu. It is noticeable that the technical aspect prevails in the Alpha 3s over the Rambo IIs, although their voices are thinner and a bit more sibilant. However, the mid-range of the ISNs is fuller and more representative, there is more life and music in their mid-range, with a more noticeable closeness of instrumentation, but it can also be somewhat more diffuse than the Dunu, better defined and sharper.
In the upper range the same discourse persists, softer the ISN, finer, more defined and marked the Dunu.
In terms of soundstage it feels wider and deeper in the ISNs, because of their fuller sound.



Conclusion

The Dunu Alpha 3 are earbuds with a great design and construction. They feel slightly heavy but the ergonomics are quite good. I might miss a design with a detachable cable, but the standard driver is quite good. It has a V-profile and good technicalities. The bass is compact and fast, the mids are a bit distant, but crisp, well-defined and defined, while the treble has a good initial sparkle. I'm glad to know that a brand like Dunu dares to continue producing earbuds with a great potential like the Alpha 3 and I think that if I had been able to try them for a longer time I would have felt improvements in their sound, due to the lack of break-in. In my last listens with them, I could perceive a sensation of improvement in the clarity with respect to their adversaries.



Sources Used During the Analysis

• Burson Audio Playmate II.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.
• Hidizs S9 Pro Plus Martha.
• Aune Yuki.

Purchase Link


You can read the full review in Spanish here