Disclaimer: FiiO has provided me with a review unit ahead of the launch. All thought and opinions are my own.

Introduction​

Many people would recognize FiiO from their excellent line of DAPs and DAC/amp combo in the past. For the longest time, their house sound is often being categorized as being too clinical, especially with the recent push of THX amp modules in their recent products further adding into that stereotype. I personally found that it is true to a certain extent, but once in a while, FiiO did come up with some products that avoided that “house sound” trend, such as the Q7, Q15, M17, and more, which are more tastefully “coloured” compared to their compatriots.

The entry level K11 ($129) was released sometime last year to somewhat of a warm reception. It was a very value-oriented product, a very clean DAC/amp combo with a pretty powerful headphone amp (matching its discontinued older brother the K5 Pro) at a much smaller physical size. What I didn’t expect was that FiiO was planning a plot twist: K11 R2R ($169).

R2R is often associated with having a more analogue sound signature, with organic tone and less aggressive technicalities. Also, R2R is also often quite expensive, making the K11 R2R one of the cheapest R2R devices on the market, even cheaper than the Cayin RU6 R2R dongle DAC/amp at launch. Now, will the K11 hit the mark again with its R2R cousin? Let’s find out!

Packaging & Build​

For an entry-level product, the packaging is pretty spartan. Inside the pretty thin box, there are the unit itself, USB C-to-C cable with USB A adapter, power supply (3-pin grounded, my preferred kind), and 6.35mm to 3.5mm adapter. As I am residing in the country with UK power socket, FiiO has kindly included a UK power cable outside of the box.



I have no complaints about the packaging, especially given the price point. The build quality, however, is very solid, almost like a Mac Mini (especially the silver option). There is an LED light on top of the unit in the shape of the Fiio logo that’s pretty bright. Fortunately you can indeed dim it or turn it off from the settings should you want it. In front, there is a monochrome OLED screen showing basic information regarding the device status. A digital encoder acts as a volume control as well as power button and menu navigation. There is no Bluetooth capability.

At the back, you can see the 3 different digital inputs: USB, optical, and coaxial, along with single-ended RCA lineout and power input. While I do wish for a balanced lineout (maybe 3.5mm for single-ended and 4.4mm for balanced lineouts), I think that’s just a nitpicky wishlist.

Specifications and I/O​

DAC: Fully-differential true 24bit R2R resistor array
Amp: Dual SGM8262-2
Ports: USB, SPDIF optical (input and output) and coaxial

Single-ended headphone output (6.35mm, OS mode):

Output power:
L+R≥660mW +660mW(16Ω，THD+N＜1%)
L+R≥460mW +460mW(32Ω，THD+N＜1%)
L+R≥50mW+50mW (300Ω，THD+N＜1%）
Channel crosstalk: ≥72dB
Frequency response
20Hz~50kHz: damping＜1.3dB
20Hz~20KHz: damping＜0.2dB
THD+N: About 0.025% (1kHz/0dB@32Ω)
SNR: ≥115dB (A-weighted)
Noise floor: ＜7.2uV (A-weighted)
Dynamic range: ≥107dB
Output impedance: ＜1Ω
Peak output voltage: 11Vp-p

Click to expand...

Balanced headphone output (4.4mm, OS mode):

Output power:
L+R≥520mW+520mW (16Ω, THD+N＜1%)
L+R≥1300mW+1300mW (32Ω, THD+N＜1%)
L+R≥220mW+220mW (300Ω, THD+N＜1%)
Channel crosstalk: ≥107dB
Frequency response:
20Hz~50kHz: damping＜1.3dB
20Hz~20KHz: damping＜0.2dB
THD+N: About 0.025% (1kHz/-11.6dB@32Ω)
SNR: ≥115dB (A-weighted)
Noise floor: ＜14.1uV (A-weighted)
Dynamic range: ≥107dB
Output impedance: ＜1.5Ω
Peak output voltage: 23Vp-p

Click to expand...

Looking at the numbers, K11 R2R is definitely very competitive at its price point, definitely a class-leading performance on paper. The fully differential R2R resistor array is indeed discrete based on FiiO's photos (I dare not open my unit). There is no Bluetooth functionality, which something I rarely use anyway, so it doesn't count as a con for me.

Sound Impression as Headphone Amp/DAC​

Gears used: 64 Audio U18S, Sound Rhyme SR8, Thieaudio Monarch Mk2, Sennheiser IE600, HD660S2, HD800S, Hifiman Edition XS, HE6SE V2, Final Audio D8000 Pro LE
Music Sources: Youtube Music, Tidal Masters, Apple Music Lossless

The K11 R2R has undergone a 48-hour burn-in at a medium volume prior to the review.

Listening impression is a very subjective experience depending on individual HRTF, music library, and personal preferences, so your experience may vary.
I personally listen mostly to pop, jazz, some rock, and very limited metal.

I have to first start by saying that K11 R2R has pretty different sound signatures in NOS and OS mode. In NOS mode, it is warmish with very rounded, laid-back tonal characteristics and a smooth upper treble (maybe slightly rolled-off). In OS mode, the upper midrange details are punched up, more forward in presentation, and overall brighter signature to balance out the warmth, making the overall presentation to be more balanced.

If I have to say shortly, the OS mode is pretty much the FiiO house sound, more neutral, clinical, and leaning bright. The NOS mode, however, has more organic, smoother, and natural sounding characteristics. I will be focusing on the NOS mode from now on.

Bass is leaning on the warm side, full-bodied and natural. The subbass is very well-extended and punchy. The lower end notes have a relatively long, smooth decay, giving a certain roundness to the texture.

Going into the midrange, I find that it is relatively neutral with decent resolution. Vocals and instruments are well-layered and with a more highly-resolving transducer, you can extract a lot of details from the K11 R2R.

Treble is quite rounded off, giving a more smoothened texture overall. No sibilance, no sharpness even with brighter gears like the HD800S. I wish there would be more air, but I do have a feeling that this is by design.

Technically, the K11 R2R is quite relaxed. The standout here is the soundstage, allowing for a more nuance layering. The resolution is decent and the imaging isn’t the most crisp. However, the naturalness and organic presentation of the technicalities made up for it.

(NOS mode)
Bass: slightly warm, natural, long decay
Mids: neutral, good layering, detailed
Treble: smoothened, moderate airiness, relaxed

(OS mode)
Bass: slightly warm, crisper, faster decay
Mids: neutral, good layering, more detailed
Treble: sharper, more resolving

Power-wise, I find it pretty decent, but not spectacular. It can handle most audiophile favourites like the Sennheisers, but it falters with more demanding loads like HE6SE V2. There is also a slight hiss with very sensitive IEMs like Sound Rhyme SR8. However, I still think it's fine for a product at this price point. Alternatively, of course you can use it as a dedicated DAC for your preferred, more powerful headphone amp or speaker amp.

Sound Impression as a Dedicated DAC​

For DAC testing, the K11 R2R lineout was connected to Nobsound NS-04G speaker amplifier with a pair of 30W speakers, as well as feeding into SMSL H300 headphone amplifier. Both fixed lineout and preamp mode were tested.

Additional note: when I was using it with my earthed H300, ground loop hiss could be heard. I added the ground loop USB isolator from Topping, the HS01, and the issue went away. Note that this is not an inherent issue with the K11 R2R, but more of the RCA interconnect flaws.

As a dedicated DAC, the K11 R2R in NOS mode does carry its natural tone to the line output. With my cheap speaker setup, it does add a bit more of the lower end rumble and maybe slightly bigger soundstage. It does cut down a bit of the top end, but not so severely that you’ll lose out on details. In OS mode, the DAC performance is a pretty standard neutral DAC.

When feeding the H300 headphone amp, I find that the smoothness of K11 R2R in NOS mode to be more prominent when I compared it to my usual D300 DAC. This extra smoothness gave more of a laidback presentation and more expansive soundstage, at the cost of some detail retrieval and sharpness to the tone. H300 itself is a very neutral amp, so pairing them together is quite enjoyable.

I noticed in both lineout modes (fixed and preamp), there is a slight popping noise when switching out of the mode. The popping noise also shows up in preamp mode when there is no audio playing for a while. I have reported this matter to Fiio and I hope this is fixable in future firmware updates.

At this price point, getting the K11 R2R for pure DAC purposes is also an attractive proposition, especially for those who are looking to add R2R flavour into their setup.

Select Comparison​

Fiio K5 Pro (the original one with AK4493):
Just from first impressions, I know that the K11 line is meant to overthrow the ever-popular K5 lineup. This is especially so with the R2R version. The K11 R2R is more organic sounding, smaller footprint, and generally more usable with the LED screen, I find that it easily beats the K5 Pro in every single use case.

Cayin RU6:
I know comparing a desktop setup with a dongle might be quite a stretch, but this is the only R2R device that is the closest in price. Comparing the headphone output of both of them, I noticed that RU6 has a bit more sharpening glare in the uppermids compared to the K11 R2R. Both offer similar kinds of analogue sound signature, but K11 R2R does provide it more effortlessly and with better dynamics (unsurprisingly due to difference in power output).

Conclusion​

FiiO K11 R2R is an outstanding value product, providing a solid performance across the board in a very slim package and at reasonable price point. It's definitely here to disrupt the competition in sub-$200 all-in-one market. If you are looking for something with a different flavour from the slew of modern delta-sigma DACs in the market now, I can wholeheartedly recommend the K11 R2R.

Disclaimer: FiiO provided me with a review unit. All thoughts and opinions are my own.

Introduction​

FiiO has been going back to step up their IEMs recently after a string of great releases in the DAP and amp department. Now, we started to see the “1” series of the IEMs, starting from FD11, FH11, FA19, and FX15. If you’re unfamiliar about the naming scheme, you can refer to this; essentially this means that they are the refreshed/upgraded version of an existing product line. This now leads to their newest release, the FD15 ($150), which is the upgraded version of the very popular FD5.

The FD15 is now sporting a different diaphragm material (magnesium-aluminium alloy) from FD5 (beryllium), with a 40% larger dome, longer coil, and stronger magnet (up to 1.5 Tesla; it actually moves the entire IEM if you put them too close to each other). According to FiiO, these would improve dynamics and lower distortions, but of course the final say should be in the listening experience. Let’s get into it then, shall we?

Packaging, Build & Specifications​

Driver configuration: 13.8mm DLC gasket + Magnesium-aluminium alloy (Magnalium) diaphragm
Frequency Response: 10-40kHz
Sensitivity: 112dB/mW @ 1kHz
Impedance: 32Ω
Cable: 1.2m Furukawa monocrystalline silver + monocrystalline silver-plated copper
Connector: Standard MMCX
Plug: 3.5/4.4mm modular plug

The packaging of FD15 is pretty generous. Included in the box, other than the IEMs and the cable, there are 5 sets of various eartips (including the HS18), the HB11 stackable storage system, MMCX remover tool, cleaning brush, and a set of alternate modular nozzles (red).



Speaking about the eartips, they came in different types: balanced (white translucent ones), vocal (white translucent with red shaft), bass (gray translucent with red shaft), foams, and the HS18. I did a quick comparison between the balanced, vocal, and bass tips (skipping the foams and HS18 due to fitting issues and comfort). The vocal and balanced tips are very similar to each other with the shape being almost identical; the vocal tips have a slightly softer dome, but the sound of these two is almost identical to my ears. The bass tips are similar to the AET07 and it does add a bit more low end punch.

The storage case (HB11) is good for static storage, it is not really for travel as it is actually a mini drawer with a Lego-like attachment system. I wish they used the older Pelican-like case like the one included in the FH1s.

I also wish that they provided a sort of screw-in holder for the extra nozzles, currently they are held in a thick plastic sheet with a small cutout, making it hard to store and take out. The nozzle is pretty good quality and does not unscrew easily.

The cable is actually the same as the LC-RC 2024 upgrade cable. It is excellent with little microphonics and neat 4-wire braiding with Furukawa pure copper material. I personally prefer the more common 0.78mm 2-pin connector, but the MMCX used by FD15 is pretty solid and does have some resistance to spinning. The modular connectors come with 3.5mm and 4.4mm plugs (no 2.5mm) which connect to the cable with a screw-lock system, which is my preferred modular cable implementation

The IEM housing is made out of 316L stainless steel for an improved corrosion resistance and strength. Despite that, the IEM itself isn’t that heavy, but you do feel the heft after wearing it for a while. The heft does increase the tendency for the MMCX to spin around more, but it also does make it feel more premium.

The most interesting thing in the housing is of course the “Tesla Valve” located in the vent, called the FTBS (not sure what it stands for). For those who are unfamiliar with the concept, a Tesla Valve is a one-way valve without any moving parts invented by Nikola Tesla. The valve will allow undisturbed flow of fluid from one direction, but greatly reduce the flow in the opposite direction. In FD15, the valve is positioned in the way where air can enter the IEM housing freely, but resist the air flow going out of the housing. This allows for a more powerful air pressure in bass frequencies without causing any too much pressure build up by still allowing some air out, theoretically resulting in better bass extension according to FiiO.

Overall, while I have some reservations about the storage case, the IEM is very well-built, the cable is very nice, and the other accessories are generous.

Sound Impressions​

Sources: FiiO KA11, Onix Alpha XI1, Xduoo XA-10, FiiO M23, SMSL H300+D300 stack
Setup: Stock balanced L tips, stock cable with 4.4mm termination (if possible), black nozzle
Music Sources: Youtube Music, Tidal Masters, Apple Music Lossless

The IEM has undergone a 24-hour burn-in at a medium volume prior to the review.

Listening impression is a very subjective experience depending on individual ear shape, choice of eartips, music library, and personal preferences, so your experience may vary. I personally listen mostly to pop, jazz, some rock, and very limited metal.

Measurement is taken with IEC711 clone coupler with foam tips

The tuning can be briefly described as U-shape. The vocal is left pretty clean and relatively undisturbed by other regions and I would describe the overall tuning to be pretty versatile and all-rounder.

The bass quantity itself is pretty modest, certainly won’t make bassheads salivate. The Mg-Al alloy diaphragm is usually fast, lean, and very textured. The addition of the Tesla valve system does add some additional texture to the bass to make it resonate just a bit longer (sort of reminding me of the passive radiator implementation in other IEMs). Each bass note has a tasteful trailing tail that lingers a bit longer adding a sense of grand-ness. There’s a slight rolloff in the subbass, which contributes to its more realistic bass expression.

The midrange presentation is pretty clinical. Vocal is slightly forward, with good clarity and speed. Both male and female vocals are well-reproduced and sweet. The midrange does have some Harman-ish neutral quality to it, but a much tamer upper midrange/pinna gain. I find the upper midrange generally detailed and energetic with the black nozzle, while on the red nozzle this part is slightly more subdued without losing much detail.

The treble is quite airy and well-extended. There’s no sibilance nor sharpness, but there is quite a bit of emphasis in the lower treble. To note, both nozzles have more or less the same treble; the nozzles seem to exclusively affect the upper midrange. For the price point, the treble is very competitive. Overall, I find the treble response to be pretty textured, not overly-smoothened, and generally pleasant.

Technicality-wise, I find the soundstage to be relatively spacious with decent separation and good resolution. Imaging is not its strongest suit, but the layering is pretty well done. Timbre is leaning towards natural and realistic. Dynamics are great, owing to a very agile driver. Overall, I find the technicalities to be very competitive within the price range.

Bass: Textured, resonant, midbass-leaning, grand
Mids: Clean, detailed, sweet
Treble: Smooth, bright, well-extended, non-sibilant
Technicalities: Spacious soundstage, good resolution, decent layering and imaging, natural timbre

As for the pairing, I find it to be pretty easily driven by most modern sources, but it does benefit from more powerful sources. I prefer a more coloured source (especially warmer ones), like the Xduoo XA-10 and Onix Alpha XI1.

Select Comparisons​

NOTE: I have very limited experience with the FD5 and thus very little memory about it, so I won’t be making a direct comparison with it.

Simgot EA1000 ($220):
When I was listening to the bass of FD15, I really am reminded of the passive radiator-equipped bass of EA1000; both sounding grand without being necessarily reflected in the graph. The mids are more neutral on the FD15 and more energetic in EA1000. Resolution is slightly ahead with the EA1000 but it is closer to the sibilance area depending on the tracks, while FD15 has safer upper mids. I would recommend FD15 to listeners who are more sensitive to treble.




Moondrop Starfield 2 ($109):
Between the FD15 and Starfield 2, the biggest difference would be in the overall texture. Starfield 2 is very lean, tight, fast, and bright. With FD15, the tone is relatively more relaxed but still keeping some of the details and speed. Technicalities are slightly better on the FD15. The Starfield 2 is way brighter compared to the FD15. For trebleheads, the Starfield 2 might be a better option, but for most listeners, FD15 is easier to like. Additionally, surprisingly the bass in FD15 has more oomph than the Starfield 2 despite being lower in the graph, probably courtesy of the Tesla valve.

Conclusion​

FiiO FD15 marks a strong entry into the super competitive mid-fi single DD market, especially with the novel concept of Tesla valve, as well as solid build quality, nice cable, and ample accessories. I think it is an easy recommendation at $150 range if you’re looking into a single dynamic driver IEM.

Disclaimer: Simgot provided me with a review unit. All thoughts and opinions are my own.

Introduction​

Coming from Simgot that is more well-known for its single DD IEMs, the SuperMix 4 ($150) is Simgot’s first quadbrid IEM with 1 dynamic driver, 1 balanced armature, 1 planar magnetic driver, and 1 piezoelectric driver. Judging by the physical size, that “planar magnetic” seems to be more likely a micro-planar rather than the conventional one.

It is indeed a very ambitious step from Simgot with this driver configuration, considering I personally find that their only hybrid in 2023, the EM6L Phoenix, to be very mediocre at best. Plus, having a notoriously difficult to tune type of driver in a piezoelectric unit certainly does not inspire much confidence in my book.

Then after spending some time with it, I am so glad to be proven VERY WRONG in my initial preconceptions. SuperMix 4 has produced an incredibly potent cocktail of drivers that would certainly please many audiophiles.

Packaging, Build & Specifications​

Driver Configuration: 1 DD+1 BA+1 Planar +1 PZT
Impedance: 7.2Ω±15% (@1kHz)
Sensitivity: 120dB/Vrms (@1kHz)
Frequency Range: 8Hz-40kHz
Effective Frequency Response: 20Hz-20kHz
Connector: 0.78mm 2-pin
Shell: High-Precision Resin 3D Printing
Cable Material: Litz Structure High-Purity Oxygen-Free Copper Silver-Plated Wire
Plug: 3.5mm Single-Ended Plug




The SuperMix 4 comes with Simgot’s usual complete accessories: 3 pairs eartips in S/M/L sizes, detachable cable, and EVA zippered hard case. I wish more IEMs would come with these kinds of accessories.

The IEM itself is made of black resin with metal faceplate with a very understated design (no logo, no text) and a small vent in the middle. Just underneath the faceplate on the resin, you can see the only text on the IEM stating its name. The nozzle measures at 5.5mm, so it is relatively comfortable for me personally.

Also, something that I usually amuse me is that Simgot always has a second name to their lineup like EW100P “Shark”, EA1000 “Fermat”, or EM6L “Phoenix”. This somehow is absent in SuperMix 4, which led me to believe that it is definitely a unique entry in the Simgot lineup, with its name carrying its own identity.

Sound Impressions​

Sources: L&P W4, Onix Alpha, FiiO M23, SMSL H300+D300 stack
Setup: Stock L tips, stock 3.5mm cable (also tried with Yongse WhiteBear 4.4mm)
Music Sources: Youtube Music, Tidal Masters, Apple Music Lossless

The IEM has undergone a 24-hour burn-in at a medium volume prior to the review.

Listening impression is a very subjective experience depending on individual ear shape, choice of eartips, music library, and personal preferences, so your experience may vary.
I personally listen mostly to pop, jazz, some rock, and very limited metal.

Simgot SuperMix 4 has a very close adherence to Harman 2019 target in the graph. Upon listening, it is indeed the case. What sets it apart from tons of other “Harman-tuned” IEMs is the EXECUTION. Most IEMs trying to force the pinna gain to match the Harman target often end up with a very rough texture, kind of sharp or jagged. SuperMix 4 handled the pinna gain and subsequent treble extension effortlessly and naturally. My guess is that the use of the planars for the uppermids and the piezoelectric driver for the treble handled these regions really well, similar to how other high-end EST-equipped tribrid IEMs hit the Harman target.

Bass is relatively speedy and tight with the SuperMix 4. Considering the rest of the drivers in this IEM are typically speedy (BA, planar, PZT), having a quick dynamic driver does help with coherency. The focus is definitely on the subbass, leaving the midbass to glide smoothly into the mids very cleanly. While this ends up giving a lean presentation of the bass region, it makes this IEM to be very versatile.

The mids are clean and detailed. The midbass to mids transition don’t have the “tuck” that often shows up in Harman IEMs, giving it a more natural texture and timbre, as well as some thickness to the vocals. While it is not the most forward midrange expression, it is not overwhelmed by the bass nor the treble region.

Treble has an excellent extension with a very smooth texture. There is no sibilance nor sharpness, but there are still some details. While the smoothness won’t excite trebleheads, for the majority of the listeners, this is probably just right.

For technicalities, I would say that SuperMix 4 performs slightly above its price brackets. Details and layering are excellent, paired up with medium soundstage and decent imaging. The overall smooth texture does impact the sense of dynamism and excitement, but pairing it with a clean, powerful source does help alleviate this. Timbre is surprisingly natural for this driver configuration, something I can’t say for some TOTL quadbrids around.

Bass: Speedy, lean, and tight
Mids: Clean, detailed, natural
Treble: Smooth, well-extended, non-sibilant
Technicalities: Medium soundstage, decent layering and resolution, natural timbre

As for pairing, the SuperMix 4 requires quite some decent power to drive. The 120dB/V sensitivity is actually around 98dB/mW, which puts it at about the same level as some full-size headphones. When you’re using dongles, I highly recommend switching to a balanced connection and pairing it with some beefier dongles like Onix Alpha and L&P W4. In my desktop setup, it really comes alive.

Select Comparisons​

Truthear Nova ($150):
Being in exactly the same price bracket, Nova used to be my top choice for $150 range. SuperMix 4 now pose a legit challenge to that. Nova is more dynamic, energetic sounding while being tonally almost identical. SuperMix 4 is the smoother of the two, while maintaining a slight lead in technicalities. However, what sets them apart a lot is the scalability. SuperMix 4 does scale a lot more with better sources, but Nova is indeed easier to drive. Personally, I would go with Nova if I have limited driving power, but I would go with SuperMix 4 now as my choice since I have good enough sources to drive them. That said, if you have one of these two, I would not recommend getting the other.




JUZEAR 41T ($140):
Yet another of my favourite $150-ish range IEM which is tuned to a more mild V-shaped. Tonally, the 41T is more coloured with slightly recessed mids compared to the SuperMix 4, but the more mellow and smooth bass might appeal to some people. Technically, SuperMix 4 is the better one with better scaling and timbre. I personally think that overall SuperMix 4 is a more well-rounded, cleaner IEM and therefore my choice.

Conclusion​

SuperMix 4 is indeed a very potent cocktail of drivers that can lull you into musical bliss. I am now really hooked to the SuperMix 4 for its versatility and clean presentation, especially at this price point. Also, the novelty of being a very well-tuned quadbrid certainly shows how mature is Simgot’s tuning department. I can highly recommend this for a blind buy.

Disclaimer: Shenzhenaudio provided me with a review unit. All thoughts and opinions are my own.

Introduction​

I do not really follow Moondrop’s earbuds lineup, and as far as I know, they released the Chaconne around late 2019 and has never designed another earbud until the Moondrop U-2 (priced at $35 at the time of writing). While typically known for IEMs initially and now spreading into headphones lately, it’s a fresh new experience that Moondrop entered back into earbuds, and at an entry-level price range too!

I personally have quite an interest in earbuds, having some units from Venture Electronics, NiceHCK, and FiiO… How does the U-2 stack up to them? Let’s find out!

Packaging, Build & Specifications​

Shell Material: ABS
Driver: 14.8mm Compressed Composite Paper Diaphragm
Cable: SPC with 3.5mm Single-Ended Termination
Frequency Response: 20Hz - 20kHz
Impedance: 30Ω±15% (@1kHz)
Sensitivity: 116dB/Vrms (@1kHz)
THD: THD≤0.1% (@1kHz, 94dB)

The U-2 came in a simple, small packaging similar to the Chu or Quarks with similar accessories. There are five pairs of earbuds foams, a simple drawstring pouch, and some paper documentations. Note that unlike IEM eartips, earbuds foams are basically consumable materials, so I’m glad that Moondrop included five pairs of them. The foams are quite thick and do alter the sound.

People do ridicule their “paperclip” design, but I feel that it’s quite well-done and solidly built. I personally found them pretty unique and probably can take some real beating compared to those plastic MX518 clones.The cable is decent, similar in quality as the ones used in Moondrop LAN. Overall, I find the build and packaging decent.

Sound Impressions​

Sources: L&P W4, Venture Electronics Odo, Hiby Digital M300, Xduoo XA-10
Setup: Stock foams mostly (also tried foamless, donut foams)
Music Sources: Youtube Music, Tidal Masters, Apple Music Lossless

The earbuds have undergone a 24-hour burn-in at a medium volume prior to the review.

Listening impression is a very subjective experience depending on individual ear shape, choice of eartips, music library, and personal preferences, so your experience may vary.
I personally listen mostly to pop, jazz, some rock, and very limited metal.

Moondrop U-2 is vocal-focused, mid-centric earbuds with a quite rolled-off bass and good treble extension. The bass rolloff is expected for a pair of earbuds and typically the bass response depends on ear shape and seal. Personally, I have to use the foams to get a good enough seal to get the bass response of my preference, but it does cut quite a bit of brilliance in the uppermids. On foamless, the lower treble can sometimes sound too fatiguing and sibilant on some energetic tracks, so I do recommend using the foams.


(Donut foams from VE Monk)

Now, the game-changer to me is the donut foams: the kind of foams where there is a hole in the middle of the surface facing the ear. This allows for the foam-like seal and still passes some of the upper frequencies through with less damping. I’m using the donut foams included in my VE Monk set. However, in the spirit of the review, I’ll proceed with the stock foams for the remainder of the review.

The bass of U-2 can be described as relaxed and lean. With the huge 14.8mm driver, you do get some of the more visceral, physical reaction of the bass pressure on the ear structure, but still it’s not the same impact you get from a properly-sealed IEM or closed back headphones; after all earbuds are basically a micronized open-back headphones. That said, it’s still a somewhat textured and pleasant bass expression, but definitely not the star of the show.

When it comes to midrange, it is clearly the star of the show for U-2. It’s quite detailed with good details and timbre. Vocals are front-and-centre, especially in typical mastering of J-pop and city jazz tracks. I do find them quite soft in texture and mellow (probably due to somewhat bigger but slower driver), but overall experience in midrange is quite solid.

The treble is quite exaggerated since the bass is not boosted as much, necessitating the use of the foams. I do think the treble might be distracting for those who are treble-sensitive on some tracks, but it’s contributing to its relatively good resolution at this form-factor.

Technically, the U-2 is decent, with a pretty wide soundstage and average resolution. The layering and separation are pretty competent. Timbre is very natural and smooth. Dynamics are average but do scale with more powerful sources.

Bass: Rolled-off, relaxed, smooth
Mids: Clean, laid-back, mellow-textured, can be a tad sibilant in uppermids
Treble: Exaggerated, detailed
Technicalities: Large soundstage, decent layering and resolution, natural timbre

As for pairing, U-2 is relatively easy to be driven by most dongles, and I recommend a bassier/darker source. My favourite is the Venture Electronics Odo, which is pretty powerful and adds some much needed warmth to the U-2. On the more neutral W4, while I get more bass control and dynamics, I do miss the warmth.

Select Comparisons​

NiceHCK EB2S Pro (usually $30):
Build-quality wise, on the first glance I do prefer the EB2S Pro due to its metal construction and availability in 4.4mm or 3.5mm with mic. However, after one of its decorative metal pieces just dropped off out of nowhere (I glued it back since), I think I’d take the U-2 for build. Sound-wise, the tonality is quite similar, with more of mids and treble focus and rolled-off bass. I do find them to be trading blows on technicalities on the most part, but I think the vocal expression is slightly more pronounced with U-2, while EB2S Pro is more balanced overall.

Venture Electronics Monk SPC ($20):
The Monk SPC is definitely one of the most popular VE earbuds, kinda a step up from their $5 Monk entry-level. Compared to U-2, Monk SPC is noticeably bassier and darker, with a more oomph in the midbass and thicker vocals. However, upper mids and treble are an easy win for U-2. Soundstage sounds larger for the Monk SPC, while resolution and layering go with U-2. For the more pop-adjacent genre, I think the U-2 will sound more energetic and dynamic, while for a more laid-back tracks, the Monk SPC will excel.

Conclusion​

The U-2, while not groundbreaking in any way, seems to be pretty competent product. I can sense that Moondrop is testing the waters with the revival of their earbuds product line and this is a very solid attempt at that. I hope Moondrop will continue making more earbuds in the future and I hope this can prove to be an impetus for better earbuds from Moondrop in the future.

Disclaimer: Shenzhenaudio provided me with a review unit. All thoughts and opinions are my own.

Introduction​

Truthear Gate ($19) is the latest IEM from Truthear, somewhat of a spiritual successor to the very popular Hola that was released last year in 2023. It features a 10mm dynamic driver with N52 magnet and LCP composite diaphragm.

Back then, the sub-$20 market was extremely competitive starting with the release of Moondrop Chu, which was followed up by heavy-hitters like 7Hz Salnotes Zero, Tangzu Wan’er SG, Simgot EW100P, and of course Truthear Hola. Among the competition, Hola stood out for being the only one offering the darker, smoother tonality.

Now, in this year of 2024, the revival of the sub-$20 market seems to be less intense, but with all other manufacturers lining up their successors, Truthear decided to discontinue Hola silently and released the Gate.

Will Gate improve on the Hola? Let’s find out!

Packaging, Build & Specifications​

Driver: 10mm Dynamic Driver
Diaphragm Material: Carbon LCP Dome Composite Ultra-thin PU Diaphragm
Impedance: 28Ω±15%@1kHz
Sensitivity: 122dB/Vrms@1KHz
Total Harmonic Distortion: THD≤1%@1kHz (94dB)
Frequency Response Range: 10-45kHz (IEC61094, Free Field)
Effective Frequency Response Range: 20-20KHz (IEC60318-4, -3dB)

Truthear Gate comes with a similar-sized packaging as Hola, and almost identical accessories set. Aside from the IEMs, you’ll find two types of eartips (standard and wide bore) with the standard ones in S/M/L sizes and wide-bore ones in XS/S/M/L sizes, bringing a total to seven pairs of eartips. The included cable is the same 1.2m OFC cable terminated in 3.5mm jack as the one that came with Hola. Lastly, there is the same black, faux-leather magnetic clasp carrying pouch as the one included with Hola too. I’m glad that they kept the quality accessories the same.

My verdict on the accessories: they’re generous and good enough quality that newcomers probably won’t feel an immediate need to upgrade. I have no complaints other than hoping that it came with a 4.4mm option, that would make it a step up to what Hola offered.

The build, however, does seem to be a downgrade compared to Hola. The Gate seems to have used a thinner plastic that feels more hollow and cheaper compared to its predecessor. While it’s something I would not care about for the price point normally, in light of the Gate being the successor of Hola, I just feel that I have to highlight this change in build. That said, aesthetically, I actually like Gate more than Hola, with the see-through backplate showing the entire driver.

Sound Impressions​

Sources: 7Hz 71, Fiio KA11, Fiio M23, Hiby Digital M300, Xduoo XA-10
Setup: Stock L size standard eartips, stock cable (3.5mm)
Music Sources: Youtube Music, Tidal Masters, Apple Music Lossless

The IEM has undergone a 24-hour burn-in at a medium volume prior to the review.

Listening impression is a very subjective experience depending on individual ear shape, choice of eartips, music library, and personal preferences, so your experience may vary. I personally listen mostly to pop, jazz, some rock, and very limited metal.



Short summary of Truthear Gate is that it’s a laid-back, smooth IEM that leans slightly on energetic upper midrange. It’s a great choice for easy listening and not too punishing for less-than-ideal mastering/recording.

I would describe the tuning of the Gate to be slightly warm-neutral with relaxed transients. Comparing the Gate and Hola side-by-side, Gate pulled the bass slightly back and opened up the upper midrange slightly, making it better technically over the darker Hola. By my personal preferences, I feel that Gate is an upgrade to Hola.

For bass region, Gate is pretty reserved, with a decent texture. It is more subbass-focused with gentle transition into mids, giving a more leaner impression. The bass is also not fast, more of a mellow presentation, making it more suited to laid-back tracks like lo-fi or slow jazz.

Moving into midrange, Gate is clean and detailed in its presentation. Due to the pulled back bass, the midrange has better opportunities to shine. Male and female vocals are crisp and expressive. There is an extra bite in the upper mids that is sometimes quite rough and sibilant on certain tracks (notably the “Hope is the Thing with Feathers” from Honkai Star Rail OST, which I have been listening to a lot lately). Personally, I think the mids is the standout feature of this IEM.

The treble is just average, more in line with its price range. I honestly don’t really expect much in Gate’s treble performance, but it is definitely serviceable. I find it pretty relaxed with moderate extension.

Technicalities-wise, Gate is also pretty average for the price. It definitely improves on resolution over Hola, bringing it up on par with the current competition. Soundstage is still “bubble around your head” kind, with good layering. Timbre is natural, as expected from a solid single DD.

Bass: Subbass-focused, smooth, mellow
Mids: Clean, detailed, can be a tad sharp in uppermids
Treble: Relaxed, decent extension
Technicalities: Medium soundstage, good layering and resolution, natural timbre

Measurement taken on clone IEC711 coupler with a foam tip

As for pairing, I would say that the Gate has pretty good scaling. On a desktop environment, it does come more alive, with the dynamics noticeably improved, especially in the treble region. However, it is easy enough to drive with something like the 7Hz 71 dongle. I would recommend something more neutral to make use of its versatility and laid-back nature, but going with a warmer source would work as well.

Select Comparisons​

Truthear Hola ($19):
The most obvious comparison would be against its predecessor, the Hola. In comparison, Hola is noticeably warmer and darker, making it even more laid-back compared to the Gate. The dynamics in Gate is more energetic and lively, with cleaner mids. However, the transients are quite similar, so Gate does share a little bit of the laid-back nature. However, overall to my taste, Gate is the superior option.

Moondrop Chu 2 ($19):
Another popular entry into the current sub-$20 battlefield is of course the Chu 2. Comparing the two, Chu 2 is more V-shaped than Gate, with faster transients and overall sharper note definition. I would say Chu 2 is the more technical of the two, but Gate has a more natural timbre; on some tracks Chu 2 might sound quite a bit metallic. I think the differentiating factor between the two would likely end up in preferences: do you want a more laid-back or intense IEM?

7Hz Salnotes Zero 2 ($25):
Well, we can say 7Hz gave up on the sub-$20 market and moved up to $25, but the comparison is still quite interesting. Zero 2 is also sounding more V-shaped compared to the Gate, but less bright compared to the Chu 2. Timbre-wise, both Gate and Zero 2 are quite on par, but Zero 2 does exhibit better dynamics with more slam in the bass and better treble extension. On the other hand, the mids do sound more forward with Gate, so if you’re a vocal lover, I do think Gate would be a better option.

Conclusion​

Gate did improve a lot on the sound department over the Hola, somehow going into a more neutral route instead when the fellow successors of its competitors (Chu 2 and Zero 2) went to a more V-shaped direction. It’s quite interesting to see that Truthear seems to be going the opposite direction from the competition in both generations. That said, given the generous accessories, enjoyable laid-back tuning, and affordable price, I will say that the Gate is a safe buy and easy to recommend for anyone looking for a solid entry-level IEM.

Introduction​

I was never a big “brick” DAP person. In the past, I have owned some cheap small MP3 players from Creative and Sandisk, but in the end I invested more in desktop setup. It all changed when I bought a FiiO M11S about 1.5 years ago. Having an Android-based player with great battery life and decent sound quality while remaining relatively small, it offloaded most of music listening time from my phone to the DAP. The M11S also served as my digital transport for my dongle DAC collections.

After that, I bought the FiiO Q15 as I was interested in the AK4499EX+AK4191EQ combination and was completely impressed by it. I was using my M11S+Q15 stack as my portable setup for a time. They made me wish for the Q15 in a DAP form, so one could imagine what kind of excitement when M23 was announced. After trying it at Canjam Singapore 2024, it convinced me to get it immediately.

FiiO M23 is the latest mid range DAP from FiiO. Due to the recent naming convention change of FiiO’s product lineup, M23 is actually placed in between M11S and M15S. In fact, it is the direct successor to the M11 Plus, taking its place in FiiO’s DAP price pyramid. M23 came in two variants: aluminium alloy ($699) and stainless steel ($899). I bought the aluminium alloy version and the leather case (SK-M23) separately; the stainless steel version comes with the leather case included.

So, does M23 improve on my previous M11S+Q15 setup? It’s a bit complicated, so let’s get into it!

Specs and Features​

Quick rundown of the basic specifications of the M23.

DAC: AKM AK4499EX+AK4191EQ
Amp: THX AAA 78+
Max Output Power: 2x 1000mW @32ohm in Desktop Mode
CPU: Qualcomm Snapdragon 660
OS: Android 10

The M23 is powered by THX AAA 78+ amplification which is the evolution of the THX AAA 78 that is in the M11 Plus. With the Desktop Mode, it is capable of reaching 1W per channel with very low THD levels and very black background.

The OS is Android 10-based, which means it came with Google Play store, allowing us to install music streaming apps easily. It also came with system-wide Android SRC bypass, making all audio outputs run bitperfect natively. I think FiiO’s Android implementation is my favourite so far.

Desktop Mode​

One of the unique selling points of M23 is definitely the Desktop Mode. FiiO has been developing this feature for a while, with the M17/Q7 having the dual power supply system with barrel plug charger, then M15S having the first dedicated desktop mode when being powered by compatible PD power supply. Then KA17 and Q15 came in with the dual USB C inputs, making it possible and convenient to access the Desktop Mode (with the new “D” icons too, starting from KA13). This culminated in M23, the first DAP with the “refined” Desktop Mode implementation.

In battery mode, there are 3 gain levels: Low, Mid, High. When you connect an 18W PD charger on the orange USB port and you switch the D.Mode switch, the battery will be bypassed and you’ll gain access to the Super High gain level; the battery will neither be discharged nor charged while in this mode.

Sound​

Gears used for testing (among other stuffs):

• 64 Audio U18S
• Thieaudio Monarch Mk2
• Sennheiser IE600, HD660S2, HD800S
• Hifiman Edition XS
• Final Audio D8000 Pro LE

I typically listen to a lot of J-Pop, jazz, orchestral soundtracks, and some rock and EDM.

I would describe M23’s sound as neutral-bright, still somewhat adhering to FiiO’s house sound. It does have a very tactile subbass response, but it is not overly boosted, just enough for the subbass to balance out the treble energy. Midrange is generally pleasant, clean, and detailed.

Tonally, nothing is really emphasised. Generally, the sound is very balanced with very little coloration. The tuning seems to be intentional to reveal the excellent technicalities of the AK4499EX+AK4191EQ to the fullest extent. Separation and layering are exceptional and crisp even in complex tracks. Soundstage is also relatively wide, but not the widest I’ve ever heard. Resolution and dynamics are definitely top notch, beyond M23’s price point.

The THX sound is also often described as being too sterile and dry. I would say that FiiO’s current implementation has addressed this criticism to an extent, but with some tracks I can still sense slight dryness. It does take away from the velvety and warm AKM timbre quite a bit, but still pleasant in many different genres. However, if you want a thicker AKM timbre taste, I’d recommend the FiiO Q15 instead.

Bass​

The bass is very well extended, maintaining very tight grip on most transducers I paired with it, generating a very tight bass control and well-textured midbass. While I don’t think it’s bass-boosted, but the bass region does sound quite distinct, probably due to the faster transients and texturing.

Mids​

The mids are detailed and layered, the star of the show. If anything I would like to nitpick, the presentation can be a tad too clinical, but that also means that both male and female vocals are equally well-reproduced and generally more versatile for most genres.

Treble​

M23’s treble reproduction is on the safe side, free of sibilance or sharpness. It’s pretty much taking the characteristics of the transducer, taking nothing nor adding more to the actual capabilities of any IEMs and headphones you paired it with.

Power​

This is where the complicated feeling starts. To my surprise, outside of Desktop Mode, the power output of M23 is actually below my old M11S (and by extension, lower than M11 Plus too). On top of that, the battery life is also below the M11S and M11 Plus, which is understandable since the DAC chip is actually desktop-grade this time. I still find that M23 on battery is acceptable with most IEMs and easy-to-drive headphones, but started to struggle with higher power demands, like with my HD660S2 and HD800S.

While writing this review, a new firmware update 1.0.1 dropped and it changed the situation greatly. A new option is added into the Audio settings called “Hifi boost”, which will give you a warning that the battery life and the heat generation will increase with this setting. However, the peak power while in battery mode is then increased from 475mW to 760mW at 32ohm! This is well beyond its predecessor M11 Plus and my old M11S, which now made it a true upgrade to them. It is a game-changer for my headphones use case, allowing me to finally drive them on M23 without having to resort to Desktop mode.

Naturally, with Desktop Mode, M23 has enough power to drive almost everything, including the aforementioned full-sized headphones to almost their full potential. Note that if you have an 18W PD capable power bank, you can activate the Desktop mode as well.

Other Experiences​

So, in about 3 weeks of owning the M23, here are a few points about my experience using it:

• Desktop mode is actually great for making M23 as a dedicated digital transport. While at home, I can plug the M23 into a DAC while in Desktop mode charged with the power USB port, while connecting the external DAC through the main USB port. This allows for the battery from getting charged and therefore prolonging battery life.
• You can also use Desktop mode when the M23 is working on the external DAC mode.
• The Hifi boost doesn’t seem to adversely affect the battery life. Normally I use IEMs most of the time while on M23, which means I operate it at lower volume settings with Hifi boost on. I feel that the Hifi boost does not really increase the average power consumption, but allows a higher instantaneous peak in the playback, so it does improve the dynamics to my ears. I now just leave the Hifi boost on all the time.
• The leather case is pretty nice, but I’m not a big fan of the metal grill back. It doesn’t feel nice in the hands and it tends to tangle with other stuff in the bag. I ended up getting a soft pouch to cover the entire thing.
• Similar to the M11S, the 3.5mm SE out doesn’t perform as well compared to the 4.4mm balanced out. I think M23 does maintain the sound signature similar, just the dynamics are still slightly behind.
• Charging is quite slow with the charging logic. It does charge quite quickly when it is at low percentages (up to 30W), then it will ramp down as it has more charge. I can understand that this is due to the battery lifespan maintenance, so I try to charge at 30-40% to avoid getting into the super fast charging. You can also limit the maximum charge, but I keep it at 100% personally. I usually get about 8h on IEMs.
• Volume touch control is quite nice, but I’d recommend keeping it on the auto-lock.
• The leather case may be quite annoying if you’re using the swipe navigation, as it blocks the sides too closely. Same goes with the notification tray pulldown, quite hard to pull when the leather case is installed.
• Very fluid OS, I think it’s one of the smoothest Android implementation even when the M23 is still on the aged Snapdragon 660.
• Size-wise, since it is very close to my M11S size, I didn't really have much problem with it. One of the reasons why I skipped on M15S was the size, so I’m glad that the M23 fits just fine.

Overall I’m still very positive with the M23, especially after the firmware update.

Conclusion​

With the rise of dongle DACs, it does pose a question to everyone’s minds whether owning a DAP is worth it, and it is often cited that DAPs under $1000 are not worth it. Well, as dongles get more expensive and DAPs are getting cheaper and better, I think the age of DAPs is still far from ending. M23 is a proof of that, giving enough features, sound quality, and package that would justify its existence in the age of smartphone+dongle. I would highly recommend the M23.

Disclaimer: Dita Audio provided me with a review unit. All thoughts and opinions are my own. Unaffiliated link here.

Introduction and Packaging Impression​

Dita Audio is a boutique Singaporean audio company that has been known for their single dynamic driver IEMs and premium cables. Project M ($325) is Dita Audio's first foray into the hybrid IEM market with a single dynamic driver and a balanced armature. I did not have much experience with Dita Audio products previously, but prior to this review, I have listened to the Perpetua, Dita Audio's flagship 1DD IEM. Suffice to say, I was impressed by the sound and the craftmanship enough that I sought to know more about their products, especially knowing that they are local to me too in Singapore. Dita Audio also has a long history with Final Audio.

Due to their boutique status, most of their products are often sold out and hard to find a demo, as well as being pricey. So, when I learnt about Project M, it seemed like a perfect opportunity for me, especially at the price point (it is currently the cheapest Dita Audio product next to their DAC/amp, the Navigator). Thankfully, Dita Audio has given me an opportunity to review the Project M.



I have to say that the unboxing experience of Project M feels extremely premium. I have other expensive sets of IEMs and headphones that have much more boring unboxing experience. Opening up the box, you can find the IEMs, TANOS Systainer³ containing the MOCCA cable, and a set of glow-in-the-dark custom Final Audio Type E eartips.



Speaking about the MOCCA cable, it is a custom-built cable by Cardas Audio terminated in Dita Audio's modular cable system called Awesome Plug v2. Personally, I prefer not to use modular plug system, but if I have to use one, I prefer this screw-in type. The unit comes with 3.5mm and 4.4mm L-shaped plugs. The 2-pin plug connector is recessed and sleeved like QDC, but the protrusion on the IEM isn't as tall as QDC's. I am told that the 2-pin configuration is standard 0.78mm, non-reversed polarity, but due to that sleeve, the cable is only usable with Project M. Additionally, if you want to use an aftermarket cable with Project M IEM, the protrusion will make the 2-pin stem sticks out pretty long. Thankfully, the stock cable of Project M sounds excellent and I can tell that the IEM is indeed tuned and optimized with this stock cable in mind.




Then, we go to the container. After a short research, I found that TANOS Systainer³ is a modular container system from Germany, normally used to store industrial parts and tools. Dita Audio's decision to use this system for their default case is indeed interesting and unexpected, but I am definitely very intrigued by its organizing potential. However, I find that with eartips and cable attached, the IEMs barely fit into the case, giving the eartips a slight squish when closed. However, with the interlocking, stackable design, I hope that Dita would sell the case separately and in different sizes.



The IEM itself is encased in clear, slow-pour resin, giving you a full view of the 9.8mm PM1+ dynamic driver encased in a stainless steel chamber bearing Dita Audio's logo. There is a really small vent the size of a sewing needle near the back of the chamber. The Knowles BA is hidden in the nozzle and you can see a red and green cable running in the main sound tube into the aluminium nozzle. There isn't an obvious crossover circuitry in sight, so it seems that the dynamic driver is running full range with the BA assisting on the higher frequencies. I guess Dita Audio did not stray that far from their 1DD speciality with the custom PM1+ DD being the main star for most of the frequency range. The nozzle measures at 6mm at its widest and it may cause some fit issues for some.



At the first glance, the eartips seems to be just a glow-in-the-dark version of the popular Final Audio Type E eartips. However, on closer inspection, the bore is slightly larger than the standard Type E eartips, and the central bore feels a tad stiffer.

Overall, I find that the packaging and the unboxing experience are excellent.

Sound Impression​

Sources: SMSL H300+D300 stack, Fiio Q15, Fiio M11S, L&P W2-131, Hiby FC6, Dita Audio Navigator
Setup: Stock L size eartips, stock cable
Music Sources: Local FLAC (redbook/hi-res), Tidal Masters, Apple Music Lossless

The IEM has undergone a 24-hour burn-in at a medium volume for prior to the review.

Listening impression is a very subjective experience depending on individual ear shape, choice of eartips, music library, and personal preferences, so your experience may vary. I personally listen mostly to pop, jazz, some rock, and very limited metal.

First, I have to say that burn-in is a MUST for this IEM. Out of the box, it is pretty sibilant and sharp. After burn-in, the sound noticeably mellowed down and more coherent. The burn-in also helped to reduce the tinge of metallic timbre I find when I first listened to it.

I would describe the tuning to be close to neutral with a slight boost in subbass and upper treble, somewhat of a U-shaped tuning. That allows the midrange to be forward while keeping excellent extensions on both ends of the frequency spectrum. I would not call this a reference-grade/monitoring-grade neutral tuning, but the colouration is subtle enough to be enjoyable and versatile. Overall, I don't think there is any specific frequency range that stands out above the rest, keeping the sound signature balanced. It does have its quirks that made it much better on certain tracks more, notably on vocal-focused tracks.


(measurement taken with a clone IEC-711 coupler with foam tips, the small notch at 1.2kHz is my particular coupler's quirk)

Bass​

The best way to describe Project M's bass is "quality over quantity". Unless you're a basshead, I don't think you'll be lacking the bass if you can get a deep enough insertion. The bass texture is impeccable with quick attacks but deep-reaching rumble. It still maintains a certain thickness and weight to the tone without being too bassy. The stainless steel chamber seems to introduce a pleasant, trailing resonance in the bass to give it a more natural timbre. The subbass glides smoothly into midbass without having a steep bass shelf, giving it a more coherent expression of the lower frequencies.

Testing tracks: Dream of Arrakis (Hans Zimmer), DAYS (Shimizu Shota)

Midrange​

Project M's midrange is quite forward with plenty of details. Vocals do pop out slightly, but it is not too intimate or ASMR-like. The note weight is on the lean side, so it does not exaggerate male vocals while making female vocals sound sweeter to my ears (not to say that male vocals are lacking quality here). Clarity and resolution in midrange are top notch, allowing you to separate the vocals and instruments very well. The midrange is also overall sounding very clean without any noticeable bleed from the bass region.

Testing tracks: Phony (Wagakki Band), Shape of You (Ed Sheeran)

Treble​

Project M has a very airy upper midrange and treble with excellent extension to upper treble. There is a tinge of wispiness in the really high notes and it does make it seem a bit too sparkly. That sparkle, however, does improve the detail retrieval and treble texture. The burn-in helped to even out this treble region, making it less fatiguing to listen too, and does not seem to affect the excellent treble resolution. Usually with in-nozzle BA, you'll find the treble to be really in-your-face too, but luckily Project M has implemented it really well.

Testing tracks: Through the Fire and Flames (Dragonforce), Golden Hour (JVKE)

Technicalities​

Despite being a mere 1DD+1BA configuration, I would say that this is one of the most resolving IEMs in any price point. The resolution is amazing, capturing a lot of details in the presence region. Other aspects of technicalities are a bit more modest: the soundstage is just a modest "bubble" around your head, going with more depth in layering and pin-point accurate imaging rather than size. The coherence is also excellent with little to no BA timbre.

Testing tracks: Change (MONKEY MAJIK), Bubbles (Yosi Horikawa)

Driving Requirements & Pairing Suggestion​

Project M is moderately easy to drive, even through 3.5mm single-ended output. It needs a fair bit of power to open up the soundstage and dynamics, but it may exaggerate the treble too much when paired with bright sources. I would recommend a neutral to darker sources generally. Resolution does improve with more power, but it might push the treble a bit too much.

Select Comparisons​

Moondrop Blessing 3 ($319):
Looking at the price point and the direction of the tuning, Moondrop Blessing 3 is natural comparison to the Project M. I have to say, despite having a simpler driver configuration, I would say Project M bested Blessing 3 on sheer technicalities, which is quite a surprise to me as well, most notably at resolution and layering. Soundstage are somewhat on par between them, but due to the better coherence in Project M, it does a more accurate imaging. Both are U-shape, but I feel that Blessing 3 has a higher boost on both ends of the spectrum. The bass speed and details are quite similar between them, with Blessing 3 having more impact while sacrificing a bit of coherence. The treble on Blessing 3 is more smoothened out, losing out a bit of texture when compared to Project M. I personally think Project M is the superior set between the two, in terms of sound and as a whole package with the accessories.

Final Audio A5000 ($279):
The A5000 has been my favourite 1DD recently due to its comfort, resolution, and soundstage. Compared to Project M, I would say that A5000 still excels more at soundstage. However, A5000 isn't the most vocal forward set around and Project M definitely has an advantage here and in the midrange overall. At a quick listen, it seems like A5000 has similar level of treble details, however the more I listened to it, the A5000 does lean towards a more fatiguing treble expression. Project M seems to have a better-controlled treble region just shy of being shouty or sharp to my ears. A5000 also has a punchier bass, although it does sound a bit diffused rather than the focused bass with Project M. I think overall, I would go with Project M on the count of better layering and more accurate imaging.

Thieaudio Monarch Mk2 ($999):
While from the price isn't a fair comparison, but I was asked for this comparison, so here it is. They are tonally different. Monarch Mk2 has that very clean presentation with that distinct layering between bass-mids-treble, making each frequency range to be very detailed and layered yet balanced. Project M is a bit more blended with more focus on upper mids and treble, but that nudges it to be more natural and musical overall. Monarch Mk2 is my Swiss Army Knife of IEMs, it excels in most things, without having anything stand out. It's an excellently technical IEM too. Meanwhile, Project M has better vocal expression, and I dare say that I enjoy vocal-heavy tracks more with Project M than the Monarch Mk2. Project M's resolution, however, is very close to Monarch Mk2. The thing that Project M loses out absolutely against Monarch Mk2 would be the bass and versatility.

Conclusion and Final Thoughts​

Project M is an excellent entry at around $300 price range. Beautiful design, excellent set of accessories, and enjoyable sound. I believe Project M is indeed a successful foray into the hybrid territory for Dita Audio, and I do hope that whatever they learnt from this would eventually be expanded into their future products.

Disclaimer: Simgot provided me with a review unit. All thoughts and opinions are my own. Unaffiliated link here.

Introduction and Packaging Impression​

Simgot EA500LM ($89.99) is a single dynamic driver IEM with all metal body and swappable tuning nozzles. It is an incremental improvement over EA500, with the "LM" here referring to their new diaphragm material, lithium-magnesium (previously, it was DLC diaphragm in EA500). Back in early 2023, EA500 made a huge waves for being the "new benchmark under $100", dethroning the ever-popular Moondrop Aria. Personally, I was not really impressed by EA500 sound-wise, but I was intrigued at the accessories and potential tuning possibilities with the release of EA500 tuning kit. I guess all that experimentation bore fruit in this revision of EA500, the LM version sounds to me like a huge leap over the original, despite a modest $10 price increase.






The packaging is virtually identical to EA500 with a difference in the cover art. There are also very similar set of accessories, with the EA500LM having an extra set of different type of tuning nozzle (the default gold nozzle). There are a set each of S/M/L eartips, a stock 3.5mm cable, and a hard carrying case. For the price, this is one of the most generous accessories set, although I do hope that they can provide a 4.4mm cable option.

Sound Impression​

Sources: SMSL H300+D300 stack, Fiio Q15, Hiby FC6, Simgot DEW4X, Fiio M11S, L&P W2-131, Hiby Digital M300
Setup: Stock L size eartips, stock cable (3.5mm), Simgot LC7 cable (4.4mm)
Music Sources: Local FLAC (redbook/hi-res), Tidal Masters, Apple Music Lossless

The IEM has undergone a 24-hour burn-in at a medium volume for prior to the review.

Listening impression is a very subjective experience depending on individual ear shape, choice of eartips, music library, and personal preferences, so your experience may vary. I personally listen mostly to pop, jazz, some rock, and very limited metal.

First, I have to address the tuning nozzles. This is my brief impressions of each of them:
- Gold with red ring (default): the smoothest nozzle, no sibilance nor sharpness, decent details and treble texture
- Silver with black ring: sparklier than the default nozzle, most detailed and textured at the cost of being the sharpest, closest to Simgot's target
- Silver with red ring: in-between tuning between the other two nozzle, some more treble texture and moderate sharpness, closest to Harman target

Trying out all three nozzle, I prefer the gold nozzle in the end due to the smoothness and tonal balance across the spectrum. I will proceed with the review with this nozzle.

The EA500LM tuning seems to be based on general Harman target direction (DF neutral with bass boost), with subbass emphasis that slopes into midrange smoothly, giving it a mild U-shape signature. It is definitely targeting a more neutral-leaning group of listeners. The technicalities are pretty impressive for the price range, most notably in the bass and treble extension, giving a very wide dynamic range. The timbre is natural and organic.

Bass​

I think EA500LM has a very clean bass with decent amount of subbass rumble. The bass expression is on the faster and lean side with snappier attack and somewhat short delay, having enough sustain to keep it from sounding too thin. The quantity and texture aren't basshead level, but adding some bass with PEQ would easily solve that in case you need more bass. Luckily, the the driver is very receptive to EQ very well and does not distort when pushed. The bass texture is quite detailed and deep. For most genres and types of listeners, the bass is adequate and enjoyable.

Midrange​

EA500LM delivers an excellent midrange, easily the strongest element of the IEM. The midrange does sound more forward without sacrificing the bass and treble details. The layering of vocals and instruments is clean and impeccable, bringing out a very nuanced performance out of both male and female vocalists. There are enough thickness and weight to the midrange to also render most midrange instruments like guitar and saxophone very well.

Treble​

There is enough treble energy in EA500LM to bright out the airiness and details in the treble. The treble extension is quite exemplary for this price range and the texture is impressive without being shouty or sibilant. Throughout my listening sessions, I did not experience any excessively sharp notes that I normally found with similarly-graphed IEMs.

Technicalities​

The soundstage of EA500LM is moderately sized, closer to a small studio or cafe, more on the width than the height. The resolution is amazing due to that excellent treble extension, bringing out the subtle details in live performances very well. Imaging and layering are great despite the modest soundstage, which I attributed to the excellent lithium-magnesium driver here.

Driving Requirements & Pairing Suggestion​

(with Simgot LC7 upgrade cable)

EA500LM is very easy to drive, even through 3.5mm single-ended outputs. With more power, it does scale a decent amount on the stock cable, but with the LC7 upgrade cable, it does open up even more: snappier bass, wider soundstage, and improved dynamics.

Select Comparisons​

Simgot EA500 ($79):
I think EA500LM is a straight upgrade to EA500. If you like EA500, you will be very likely enjoy the EA500LM more. The subbass extension is improved while taming in the sharpness in the upper midrange. Resolution is also increased, soundstage is slightly larger, and the layering is improved. To be perfectly honest, with EA500LM, there is very little reason to buy EA500.

Simgot EM6L ($110):
Slightly moving up the price tier in Simgot to EM6L, I personally prefer the EA500LM. The EM6L might take an edge in resolution and layering, but my biggest issue with it was the coherence. EA500LM is smoother and being a single-driver IEM, it has no issues with coherence while keeping very close technical performance to EM6L. Timbre is also more natural on the EA500LM. Depending on individual preferences, I can still see how EM6L might be preferred over EA500LM, but personally I think EA500LM is a winner.

Simgot EA1000 ($219):
Quite an unfair comparison here, but this is just to highlight a diminishing returns in audio. EA1000 easily beats EA500LM in both technical and tonal aspects: the EA1000 has higher resolution and wider soundstage, having stronger subbass rumble and texture. However, the difference between EA500LM and EA1000 is much closer that it is between EA500 and EA1000. The EA500LM sounds like a more laid-back version of EA1000, while giving it a more relaxed technicalities and more balanced tonal characteristics for a much cheaper price.

Moondrop Aria 2 ($90):
Another steadfast contender in under $100 range, the recently released Aria 2 is pretty similar in tuning to EA500LM. Tonally, I find Aria 2 is slightly warmer and darker, with weaker resolution but wider soundstage. Both are excellent improvements over their respective predecessors, however I think that the leap that EA500LM made over EA500 is much more significant than Aria 2 over Aria. As a whole package, I personally prefer the EA500LM.

Conclusion and Final Thoughts​

EA500LM positioning is weird, which I feel kind of cannibalizing Simgot's own product line (especially the EA500 and EM6L), a move that I really respect Simgot for. This thought came to me because I find EA500LM to be way too good for its price range and at the current state of the market, I believe that this is indeed the current under $100 benchmark. I am very thoroughly impressed by Simgot by beginning 2024 this strong, and I do hope for an even stronger year this year too. I am highly recommending the EA500LM.

Disclaimer: Simgot provided me with a review unit. All thoughts and opinions are my own. Non-affiliated purchase link here.

Introduction​

Most people who recently followed Simgot are probably more familiar with their IEM offerings like the popular EW200, EA500, and EA1000. However, in Chinese domestic market, Simgot also produces a few DAC/amps in their DEW lineup, starting from DEW0, DEW1, and DEW4. While I didn't have any experience with them since I didn't really find them interesting. However, when Simgot announced the DEW4X, it caught my attention. Instead of using the more common dual CS43131, the DEW4X is using dual CS43198. At $80, it is the second cheapest dual CS43198 next to Truthear Shio, and the cheapest in the market right now since Shio has been discontinued at the time of writing. That said, the dongle market has gone through significant changes since I wrote my review of Shio, I am impressed by what DEW4X can bring to the table among the stiff competition.

Side Note: CS43131 vs CS43198​

About these two very popular chips from Cirrus Logic, one might wonder what are the difference. On paper, CS43131 is just CS43198 with a built-in headphone amplifier. Everything else, CS43131 technically has exactly the same DAC portion as CS43198. A manufacturer might go with CS43131 so that they don't have to implement their own headphone amplification component, making it ideal for smaller space and power budget, or they can use the built-in headphone amp in conjuction with their own to increase the output power further. This could be seen in a similar situation in the past when Luxury & Precision W2 (dual CS43198) was replaced by W2-131 (dual CS43131) due to chip shortage. The W2-131 ended up having higher power output while consuming less power than W2. However, even L&P admitted that the chip doesn't sound exactly the same and the change made it difficult for them to tune it exactly to their intended house sound.

Now, Simgot has a similar story with DEW4 and DEW4X, but their power specs doesn't change much on paper. I suspect that they chose the CS43198 due to the cleaner DAC, allowing them to fully express their house sound.

Specifications​

DAC: 2x Cirrus Logic CS43198
PCM decoding: 384 kHz/32 bit
DSD decoding: DoP 128/Native DSD256
Body material: Black anodized, sandblasted aluminium alloy
Cable material: Sleeved, shielded OFC
Output plugs: 3.5mm (TRS, TRRS), 4.4mm (TRRRS)
Output voltage (RMS):
- 1V SE, 2V BAL (low gain)
- 2V SE, 4V BAL (high gain)
Max output power: 70 mW SE, 150mW BAL
THD+N: 0.00025% SE, 0.0002% BAL
SNR: 125 dB SE, 130 dB BAL
DNR: 125 dB SE, 130 dB BAL

Personally, I think this is a very solid numbers for the price. I have no resources to confirm them unfortunately, but easy to say DEW4X does sound as good as the specs.

Packaging & Build Quality​

DEW4X comes in a very spartan packaging, just a box containing the unit itself, a short USB C to C cable, and a USB C to A adapter, along with an information booklet. Sadly, the booklet did not really say anything about LED operation. The USB cable is very solid, with good amount of stiffness that keeps the DEW4X from flopping too much while used on the move. The shielding on the cable is also sufficient enough to prevent RF interference.




The unit itself is made of solid blocks of CNC-ed aluminium. This greatly protects it from outside interference and also acts as a heatsink in heavier operation. Not to mention, it feels really hefty and premium in the hands. The big volume buttons are easy to press and give satisfying clicks when pressed. You can change gain settings by pressing both volume buttons at the same time, and you can see the LED colour changes. The LED is located near the USB port, and it is quite small and dim, which is good for people who listens in a dark room before sleeping, but bad for people who are using it outdoors.

To decipher the LED colours meaning, I went to test it with my PC. Luckily it's quite simple.


- Low gain: red (44.1kHz-48kHz), green (88.1kHz and above)
- High gain: yellow (44.1kHz-48kHz), cyan (88.1kHz and above)
- Solid light (UAC 2.0) or blinking light (UAC 1.0)
(to enter UAC 1.0 mode, press volume + button when plugging in the DEW4X)

The volume adjustment has 30 steps with a non-linear curve that is generally more comfortable to listen at lower volume.

Sound Impression​

I am very impressed at how well Simgot implemented the CS43198 in DEW4X. There isn't any significant coloration overall, very slightly warm with some emphasis in the subbass region, which seems to be a common characteristics in C43198-based DAC/amps. Speaking about bass, I find that the driver control in the bass region is exceptionally tight, giving a lot of texture and rumble. The mids and treble are very linear, with excellent details and timbre that's easy to like. Honestly, for under $100, if you're looking for something close to neutral with a tight bass control for IEMs, this is one of my recommendation.

All testing are done on 4.4mm unless specificed.

Mild Stress Test: Verum 1 (8Ω), Simgot EW200 (16Ω), Simgot EM6L (26Ω), Simgot EA1000 (16Ω) at low gain
At this load, DEW4X handles this like a champ. The subbass does not sound bloomy, nor bleeding into the mids. The treble are crisp and there are no sibilance even on a somewhat bright EW200. The dynamics and texture are excellent to the point that it matches its more expensive CS43198 siblings, although mostly at this level of load. This perfectly matches most of Simgot's own set of IEMs, so no surprises here. The DEW4X does add a slight improvement in staging and layering due to that distinct subbass expression and wide dynamic range.

Moderate Stress Test: Hifiman Edition XS (18Ω), Thieaudio Monarch Mk2 (36Ω) low/high gain
Edition XS does seem to be one of the easier Hifiman headphones to drive, but that doesn't mean it is very easy to drive. When underdriven, the bass is noticeably loose, while the overall dynamics seems to suffer. Similarly, the Monarch Mk2 seems to require more amping to reveal its EST-powered upper treble energy. I have to say DEW4X did pretty well in this segment, keeping the dynamics in satisfying levels. Some technicalities does suffer a bit, like the soundstage and imaging get slightly more compressed, but the resolution is overall maintained. I would use this to regularly drive the Edition XS. It also doesn't really heat up the dongle at this load.

Heavy Stress Test: Hifiman HE400SE Stealth (25Ω), Beyerdynamic DT880 Pro (250Ω), high gain
Now, this is the real challenge for the DEW4X. The HE400SE will indeed sound sharp when underpowered, and it does seem to be the case with the DEW4X. Dynamics in the bass seems to be missing and the staging gets more compressed. The volume gets loud enough though. On Beyerdynamic DT880 Pro 250Ω (modded to run in balanced) is a different kind of challenge: while the dynamics and solid bass are somewhat maintained, the dongle gets EXTREMELY hot during operation that I stopped testing the Beyerdynamic halfway.

Pairing Suggestions​

I personally prefer using the DEW4X on simple driver config, preferably 1DD or low driver count hybrids where it shines the most. One of my earliest IEMs to test was the EA1000 and I was quite surprised at the dynamics that DEW4X can provide. In more complicated driver configurations like the Monarch Mk2, it is still serviceable, but I can name a few dongles that perform better (of course at a higher price point). As for full-sized headphones, just keep to an easy-to-drive ones and generally lower impedance. Dynamic driver headphones are preferred over planars with DEW4X.

Select Comparisons​

Within the CS43198 siblings, I would say that this is the closest to the L&P W2 in terms of tonality (tight bass, great resolution) and driving characteristics (both seems to not perform best with complex driver configurations), but at lower power output and less customizability. As you go up to heavier loads, the gap easily widens and W2 does not really have heating problems even with higher impedance loads. However, considering the huge power consumption of W2 and the fact it is more than triple the price of DEW4X, I'd still call DEW4X a steal.

Compared with Shio, I have to say that DEW4X easily outclasses it. The Shio trades technicalities for analogue sound signature, making it sounding quite dull and rounded, while gaining a certain level of euphony and softness characteristics. I also find the the dynamics are way better with DEW4X. They're roughly the same in terms of power. I'd pick DEW4X any day.

Fiio KA5 offers slightly different approach to the tuning, being even closer to neutral and being overall somewhat more bland. The tight bass control is not as prominent compared to DEW4X, but the dynamics are still somewhat comparable. Of course the KA5 is more powerful and that leads to better compatibility with heavier loads, plus the customizability on the dongle itself from the OLED screen, as well as the accompanying app makes it better for those who likes to tinker. However, if you just want to have something simple to carry around and plug-and-play, DEW4X is still a strong contender.



My last minute addition to the CS43198 is the Colorfly CDA-M2. I find that CDA-M2 has a slightly more relaxed bass and midrange, but still maintaining a slight musicality. DEW4X is a bit more precise and tight. CDA-M2 is definitely more powerful and offer more customizations, but it is also still almost double the price of the DEW4X. The verdict is similar to comparison with KA5: if you want something easy to plug-and-play and you don't really need to power complicated loads, the DEW4X is still a great choice.

Other similarly priced and comparable sidegrades are Colorfly CDA-M1/M1P, Moondrop Dawn Pro, and Fiio KA13. They offer varying amounts and types of colouration to the sound, and overall driving power and technicalities are similar. That said, I find DEW4X particularly stands out in detail retrieval and overall bass texture.

Conclusion​

Simgot now has an entire affordable ecosystem to build upon: excellent value IEMs with the DAC-amp dongle to power them. At the current state of competitive market, the DEW4X is a solid beginning dongle that can power most IEMs and even some easy-to-drive headphones. At $80, I can recommend the DEW4X to anyone looking for a simple dongle to start the hobby and even beyond. It definitely hits at exactly the right spot for the entire lineup of Simgot IEMs.

Disclaimer: Simgot provided me with a review unit. All thoughts and opinions are my own.

Introduction and Packaging Impression​

Simgot EA1000 "Fermat" ($219) is a single 10mm dynamic driver IEM with a 6mm passive radiator. I've been quite intriqued by Simgot's naming scheme, with some interesting write-up inside the box about the famous mathematical problem "Fermat's Last Theorem". For those who are not familiar with it, it is one of the most difficult mathematical problem ever solved in human history with the largest number of unsuccessful proofs, and Simgot is drawing parallels between the humanity's effort to solve this problem with their work in designing EA1000 as an homage to the eventual proof of this theorem in 1995. Quite a lofty idea here, but Simgot indeed is one of the first IEM manufacturers who popularized passive radiator in IEM design with the EA2000.

What is a passive radiator?
This is a more commonly used technology in full-sized speakers, it is basically a speaker unit without voice coils or magnet that will resonate with the main speaker driver at certain frequency. It is usually used to resonate with the bass frequencies in a non-vented (non-ported) design.



However, if you see the shell of the EA1000, there seems to be a vent as well as the big hole for the passive radiator, making it pretty puzzling. Also, as I was researching about this IEM (and also its big brother, the EA2000), there are a few skeptical people who expressed doubts whether this PR is just a gimmick and basically useless due to the lack of full seal and the fact that IEM is being used so close to your ears, it would not matter so much. However, as I listened to EA1000, I would say that there is definitely some merit to the passive radiator here. I will get into more details in sound impression.



The packaging feels premium, with an excellent carrying case. The cable is very pretty with a very nice finish, however only available in 3.5mm. Given the power demands on this IEM, I really would have liked it if it is available in 4.4mm. There are 6 pairs of eartips, 2 pairs of each size, so you will have some spare in case you lose some. There are also 2 pairs of alternative tuning nozzles: one pair golden copper, one pair silver steel with black ring. The default installed filer is silver steel with red ring.

Sound Impression​

Sources: SMSL H300+D300 stack, Fiio Q15, ifi Gryphon, Hiby FC6, Topping G5, L&P W2-131
Setup: Stock L size eartips, stock cable (3.5mm), Yongse SCC SPC 2-core cable (4.4mm)
Music Sources: Local FLAC (redbook/hi-res), Tidal Masters, Apple Music Lossless

The IEM has undergone a 30-hour burn-in at a medium volume for prior to the review.

Listening impression is a very subjective experience depending on individual ear shape, choice of eartips, music library, and personal preferences, so your experience may vary.

First, I have to address the tuning nozzles. This is my brief impressions of each of them:

• Silver with red ring (default): smoothest upper mids with good amount details
• Silver with black ring: sparklier than the default nozzle, best treble extensions among the three and the most resolving, but can be shouty
• Gold: quite shouty, but offers the most distinctive texture in upper mids; personally not my favourite

I personally prefer the silver with black ring nozzle, but I do acknowledge that I'm quite tolerant towards some shoutiness. I believe the default nozzle will be have the widest appeal. Also, I think most people will go with the default settings at first, so the rest of the review with the default configuration.

So, the big question is: does passive radiator (PR) make a difference?
I would say it does. Let me explain: in a hybrid design, the tuner can individually adjust individual frequency ranges to match the target sound independently, but in single-driver design, any changes will often affect the whole frequency range. PR allows the tuner to specifically target just the bass frequencies more accurately. Comparing the EA1000 to its PR-less sibling, the EA500, you can tell that in EA500, the tone and texture is uniform across the frequency range, but in EA1000, the bass region is noticeably more resonant and has more reverberation than the rest of the frequency range, something that's unusual in a single-driver configuration.

I find that EA1000 is very technical in the upper mids and treble with a decent amount of air. The overall tuning can be described as neutral-bright, but there is a slight midbass emphasis to add that "thickness". It seems that the PR does something to the bass perception of the IEM, since on graph, it should be quite similar to the EA500, but I feel more rumble with EA1000.

Bass​

I would say that EA1000 has one of the best bass texture and timbre regardless of the price range. The low notes are rumbly and deep, with long enough decay to get that smooth bass sensation. The only thing that I sometimes find missing is the bass amount, which I think separates this from TOTL-class IEMs' bass performance. I attempted to rectify the bass quantity by adding a modest bass boost with PEQ at around 250 Hz and below or by using ifi's XBass, but I noticed some audible distortion. That said, in majority of my tracks, I find the bass quantity and quality to be sufficient. I think EA1000's bass is definitely the highlight of this IEM.

Midrange​

The midrange is very well done at this price point with a lot of details and natural timbre. There is a slight concern of shoutiness in certain tracks, but nothing that some tip rolling can't fix if it really bothers you. The vocals are neither too forward nor too recessed, and I find both male and female vocals are equally well-reproduced with great texture and note weight. I think the overall midrange impression is very positive for me.

Treble​

I find the treble to be excellent. I think the presence of the passive radiator allows Simgot to put in a very fast DD with a very good detail retrieval without making the bass too tight. This makes the treble performance also equally a highlight and impressive for the price range. The treble does seem to perform more similarly to a BA, but without the BA timbre. The treble texture is also relatively smooth without any harshness, and the treble extension is excellent. I think EA1000 can easily go toe-to-toe or beat hybrid IEMs at its price range.

Technicalities​

Soundstage and resolution are the two standout technicalities of EA1000. I find EA1000 to be grand sounding, some sort of opera house effect to a certain extent. EA1000 does have that lower frequencies reverberations that keeps the staging natural and enhances the sense of spatial awareness. The resolution, as I mentioned earlier, is excellent due to the really agile driver. Layering and imaging also benefit a lot from the expansive soundstage and excellent detail retrieval. For the price point, nothing to complain about.

Driving Requirements & Pairing Suggestion​

While EA1000 is relatively easy to be driven, it does scale a lot with power, especially in the bass department. Some amps with tighter bass control like the H300 and L&P W2-131 have noticeably better bass rumble and texture. I would also avoid pairing it with brighter sources like Topping G5, which may exarcebate the potential shoutiness.

Select Comparisons​

Simgot EA500 ($79):
People with EA500 would be more likely to look into EA1000 as potential upgrade. I would say, EA1000 is indeed an upgrade from EA500 in all aspects; if you want more from EA500, then EA1000 is the answer. Tonality are very close, but timbral quality is much better with EA1000. However, I find that EA500 to be the less fussy one in amp pairing, so depending on your existing setup and upgrade budget, you might want to plan well if you think of upgrading to EA1000 from EA500.

Tangzu x HBB Wu Zetian Heyday Edition ($199):
I mentioned in my previous review that WZT Heyday is my $200 gatekeeper personally. Given that EA1000 is slightly above $200, I think the status quo is undisturbed, but if I was asked to buy one right now, I'd spend the extra $20 and get the EA1000. The level of technicalities are similar, but tone and timbre of EA1000 is way more superior. The rumble of the bass and vocal performance is also much better with the EA1000, I find that the performance difference is much larger than the price difference.

Conclusion and Final Thoughts​

I think Simgot did hit the homerun with EA1000 this time. I personally did not find EA500 to be that special (in fact, I prefer the EW200 instead), but EA1000 is really offering something special. The PR technology certainly works in this implementation to my ears, and it's hard to find what not to like about this IEM. I would easily recommend this to anyone even for blind buy. Easy 5 stars from me.

Disclaimer: 7th Acoustics provided me the unit at a discounted rate in exchange for this review.

Introduction​

7th Acoustics is a boutique IEM maker hailing from Indonesia, primarily focusing on made-to-order builds. However, recently they have been shifting towards a few standard lineups including Proxima (1BA, discontinued) and Stargazer 3 (1DD+2BA, discontinued), mostly not really catching international attention until the Supernova.

7th Acoustics Supernova is a 6BA IEM with dual Sonion vented bass BAs, two Sonion BAs covering midrange and upper-midrange BA, and two Knowles BA handling the treble and upper treble. The IEM is vented to give a more natural bass response, as well as for comfort to reduce air pressure buildup. Upon purchasing, you can get choose from a selection of abalone shell colours, or go with other custom designs at an additional cost as it is still made-to-order.

For accessories, it comes with 5 sets of Final Audio Type E tips and 3 sets of BGVP 07 eartips in various sizes, metal carrying case, cleaning cloth, and warranty card. The cable was a tad shorter than typical IEM cable, measuring at just 1.1m, largely due to the very tight braiding of the strands. However, after informing 7th Acoustic, I received a new cable at the more common length of 1.2m and was given assurance that the subsequent orders of Supernova will be of at least that length.

Sound Impression​

Sources: SMSL H300+D300 stack, Quloos MUB1, Fiio Q15, L&P W2-131, Questyle M15, ifi Gryphon, iBasso DC04 Pro, and many more
Setup: BGVP Y01, Nostalgia Audio X, stock cable, Liquid Links Westlake
Music Sources: Local FLAC (redbook/hi-res), Tidal Masters, Apple Music Lossless

Listening impression is a very subjective experience depending on individual ear shape, choice of eartips, music library, and personal preferences, so your experience may vary.

For a multi-BA sets, it's typically straightforward to boost technicalities by stacking more and more BAs (at the cost of increasing BA timbre and incoherency). However, 7th Acoustics managed to extract the best out of a relatively modest BA count at just six. I let some friends who were unfamiliar with the brand and they were suprised to find out that Supernova is an all-BA set. But of course, you can't cheat physics and it eventually hit the technicalities ceiling in terms of resolution and layering with this BA count but still competitive at its asking price. Additionally, they managed to get an amazing coherency and beautiful tonality with a very natural timbre.

​

Bass​

Being an all-BA set, most people would expect a lacklustre performance in bass department, the so-called "BA bass". However, I think Supernova managed to avoid that stereotype and deliver a very natural bass with great subbass extension. Usually with other all-BA set, to get the subbass extension, the manufacturer would opt for a non-vented design. Instead, Supernova is a vented BA design, allowing the bass BAs to breathe and deliver an effortless rendition of the lower frequencies: not sounding over-damped or constricted. You could very easily mistake this for a DD bass. While the bass amount itself probably won't satisfy bassheads, it is mostly enough to balance out the rest of the frequencies.

Midrange​

Usually in Harman-tuned IEMs with aggressive bass shelf that's popular in the recent times, you tend to find this ultra clean midrange due to the precise separation from the bass region. Thankfully, Supernova has an immaculate midrange, rich and detailed with a smoother transition from the midbass. That also allows vocal, both male and female, to be rendered very beautifully and naturally. Indeed, this slight bleeding of the midbass into the midrange will impact the crispness of the midrange slightly, but it gains better musicality and timbre instead.

​

Treble​

I describe Supernova's treble as "unassumingly impressive". It managed to do nothing gimmicky or having a "special sauce" in treble, whilst having an amazingly smooth, fatique-less treble expression. Other IEMs might stuff in some ESTs there or PZT here to make the treble that extra special. However, by using the same type of drivers, the impeccable coherence from bass and mids also continues here that the music just flows right into the upper registers effortlessly. The treble details are also not lacking with a treble extensions that's competitive with those in kilobuck range. While it is maybe not as airy as some other summit-fi IEMs, Supernova delivers a more natural, delicate treble.

Technicalities​

For the price, I think Supernova delivers as good technicalities as it is possible at this budget and driver configuration. Due to the emphasis on naturalness of the timbre and the coherence, it does not have the bleeding edge resolution or layering. Also, soundstage is more on the intimate side. That said, with some tips and cable rolling, you can definitely improve on some aspect on technicalities. With the XWB tips, I find that the treble extension and details are improved slightly. With the BGVP YO1 tips and Westlake cable, the soundstage opened up slightly.

Driving Requirements & Pairing Suggestion​

While 7th Acoustics did not list the sensitivity rating of the Supernova, based on my usage, it is quite an efficient IEM. It does need some decent amplification from at least a dongle. I would recommend a slightly warm source or warm-ish cable to bring up the midbass slightly, but careful from going too warm. With ifi Gryphon, the warmth gets overwhelming quite easily and gets in the way of the mids. Somewhere along the line of MUB1 or iBasso DC04Pro can be a pretty good pairing.

Select Comparisons​

Night Oblivion Butastur ($599):
When I blind bought the Butastur, I was hoping that this is finally the one to dethrone Supernova in my preference list. I would say it is close, but no cigar. I find Butastur did excel over Supernova in resolution and layering, but at the cost of some incoherency in the upper midrange. The BA timbre is also more noticeable with Butastur. However, in terms of comfort, I think Butastur is definitely better. Over the months, Butastur did eventually replace Supernova for my on-the-go IEM, while Supernova still my preferred when I'm on my desk at home. I would say if vocal is your focus, Supernova is hard to beat due to its excellent coherence. I think Butastur is more focused on instrument separation.

Softears RSV ($720):
The RSV is probably the closest to Supernova in terms of tonal balance, coherence, and technicalities. RSV does have a slightly drier timbre due to its reference-style tuning, especially in the transition between midbass and lower midrange. I find RSV performs better than Supernova in layering and imaging accuracy, as well as slight edge on staging and bass texture. Meanwhile, Supernova's treble is better than RSV, with better texture and resolution. I find the comfort with Supernova to be much better too due to the vented design; with the RSV, I often feel some pressure buildup. I still think that RSV to be my preferred "reference" IEM, while Supernova is more for my enjoyment IEM.

Thieaudio Monarch Mk2 ($999):
Monarch Mk2 is still the most technical set in my collection so far. With the Harman-ish tuning and impressive resolution, I find that Monarch Mk2 is still the set that reliably incites a "wow" from non-audiophiles, but it is definitely not the most natural kind of sound expression. Monarch Mk2 can get fatiguing after a while, and the fit isn't the most comfortable. I ended up mostly with my Supernova than my Monarch Mk2 as of late, unless I want to do some critical listening.

Conclusion and Final Thoughts​

Supernova is a very versatile IEM with close to a perfect coherence, paired with competent technicalities, natural timbre, and great tonal balance. While we can nitpick on individual aspects of the IEM as being not the "best-in-class", as a whole it is an absolute package of an IEM. It is a very easy IEM to love and enjoy.

To be honest, I have been holding on the Supernova since April and was pretty hyped when I got it after hearing about it for so long. I have been holding off this review in fear that I may have praised it too much during the honeymoon period. So, now we're at the end of the year, and after trying many excellent IEMs along the way, I do admit my opinions on Supernova are more tempered now, it still remains on top of my preference list. Especially now that 7th Acoustics just announced Supernova's successor, the summit-fi level Asteria, I do think I have to release this Supernova review.

Disclaimer: Linsoul loaned me with a review unit. All thoughts and opinions are my own. Unaffiliated product link.

Introduction & Packaging​

Hype 2 ($299) is a dual dynamic drivers with two Sonion balanced armatures IEM From Thieaudio. Using the technology that debuted with their flagship, the Monarch Mk3, the dynamic drivers are arranged in the isobaric configuration that they named IMPACT² ("Impact Squared"), which Thieaudio claimed to "keep the frequency and pressure constant" in their marketing materials; we'll see whether this actually translates to a better sound quality.

The accessories and packaging are reminiscent to its higher-end siblings like the tribrids lineup. The hard case is exactly the same as the ones that came with Monarch, Prestige, and other Thieaudio flagships. The cable looks to be similar to the Thieaudio EST cable, a silver-plated OCC copper cable. I would prefer it if there were other termination options like in the EST cable listing. There are silicone and foam tips included, with a small microfiber cloth to keep the Hype 2 shiny. Overall, I think it's a solid packaging.

Sound Impression​

Sources: SMSL H300+D300 stack, Quloos MUB1
Setup: Large stock eartips (silicone), stock cable
Music Sources: Local FLAC (redbook/hi-res), Tidal Masters, Apple Music Lossless

The IEM has undergone a 20-hour burn-in at a medium volume for prior to the review.
Listening impression is a very subjective experience depending on individual ear shape, choice of eartips, music library, and personal preferences, so your experience may vary.

Hype 2 has a pretty warm-dark tuning with relatively neutral mids expression. Overall texture is smooth with decent details and natural timbre. Some earlier impressions mentioned that Hype 2 is like a mini Monarch Mk3, which I can agree to a certain extent. From subbass to midrange, I would say that Hype 2 is remarkably similar to the Monarch Mk3, but I just find the upper treble lacks air in comparison. Certain tracks that don't emphasize treble region are excellently rendered with Hype 2, mostly smooth jazz, but as you get to a more complex tracks, you can understand why the Monarch lineup costs more than 3x the price of the Hype 2. That said, the Hype 2 indeed can give you a sneak peek to what the Monarch Mk3 bass is capable of.

Bass​

Hype 2's bass is definitely the star of the show here. Excellently textured, punchy, and detailed. The IMPACT² technology did deliver what they promised. Having listened to a Monarch Mk3 previously, I can say that it is indeed the same technology and tuning on the bass region. Thumpy beats on the Seven Nation Army by the White Stripes are visceral and detailed, with enough resolution to render that famous bassline well. The bass drops in "DAYS" by Shota Shimizu is also distortion-free and punchy. It's not a basshead kind of midbass, but more focused on subbass.

Midrange​

The midrange in Hype 2 is competent, no bleeding from the bass. There are certain lushness to how the vocal performances from both male and female are reproduced. The timbre is pretty natural here, with decent amount of details. However, if you push some more complexity into it, you can start feeling the limits of a single BA handling this region. "Fragile" by Laufey was a good representation where Hype 2 shines the brightest, with the simple instruments and excellent vocal performance from Laufey.

Treble​

I have to say that Hype 2 is weakest in this point. The treble extension is lacking, especially compared to the competitors around this price point like Moondrop Blessing 3. There are certain wall-like sensation when the track reaches for some airy regions of the frequency range. However, for those who are looking for super laid-back, relaxed listen, then Hype 2's treble would not be of an issue at all. When I listened to "Rather Be" by Jess Glynne, Hype 2 did allow me to still enjoy the song while cutting out some parts of the song that may be sibilant with other IEMs.

Technicalities​

Hype 2 has a pretty good technicalities overall, with the tuning allowing for a decently spacious soundstage and moderate imaging capabilities. It's not as incisively sharp in a way that you can pick out individual instruments, but good enough to have a rough projections of them. I would describe it more of a jazz club sensation than an open theatre.

Driving Requirements & Pairing Suggestion​

Like most of Thieaudio's lineup, Hype 2 does not take much power to fulfill its potential. It remains consistent from low to high power sources. I would recommend a warmer source to play to its strength more rather than trying to balance it out with a brighter source. I would also recommend a mid-sized bore eartips, similar to the stock tips for a better bass to mids balance.

Select Comparisons​

Moondrop Blessing 3 ($320):
The Blessing 3 has a more neutral-bright signature with a slight bass boost. I find that Blessing 3 has a more 'correct' timbre, but still Hype 2 has a better musicality. Hype 2's note weight and texture are overall more natural and made the Blessing 3 sounds too dry in comparison. That said, Blessing 3 has a much better treble extension, resolution, and overall better technicalities. Then on the other hand, Hype 2 has way better bass quality than Blessing 3 with the same driver configuration. While I think both units are still solid choices, the decision would be more of a personal taste. Personally, I would go with Blessing 3, but I can still find some tracks or genres (like jazz and slow rock) where Hype 2 is a clear winner over Blessing 3.

Kiwi Ears Orchestra Lite ($250):
Straight out of the gate, I think Orchestra Lite is a more detailed IEM with excellent mids. There is a couple of issues with it tho, which are the BA timbre and the slight incoherence. I think in those two fronts, Hype 2 is a better performer. When it comes to bass quality and quantity, Hype 2 is also the clear winner, with a more natural, textured bass reproduction. I still personally think Orchestra Lite is more of my taste, again, depending on the music library and genre, I can see how Hype 2 would be preferred by some.

Conclusion​

Hype apparently means "Hybrid Performance", an evolution of sorts from their Legacy lineup. If the naming pattern would follow the Legacy series, I am optimistic that we'll be seeing Hype 3, 4, 5, or more in the future. And based on what I hear from Hype 2, there are definitely more rooms for improvement. There are some excellent parts of Hype 2 and subpar parts too, and while it is not for me at the moment, I'm looking forward to the future of the Hype lineup.

Disclaimer: Linsoul provided me with a review unit. All thoughts and opinions are my own. Unaffiliated product link.

Introduction & Packaging​

7Hz Sonus ($60) is an entry-level IEM from 7Hertz, featuring a hybrid configuration of 1 dynamic driver and 1 balanced armature. In the recent releases, 7Hz is more known for using single-type configuration, either DD (or 2 DD) or planar, with the 7Hz Timeless being its claim to fame. Sonus is 7Hz first foray to a hybrid IEM and it is clear that they are trying hard to get it right.



Since the Dioko and the Legato, 7Hz has been experimenting with various packaging and accessories set. For Sonus, I do feel that it hits the right spot. There are 8 sets of extra eartips on top of the default one installed, which are similar to the KBEAR 07 and 08 series of eartips. There are 4 sets of spare filters as well as an excellent leather pouch. However, the best of them all is the cable, a 4-core flat wire, not braided. It is indeed a unique presentation among the typical braided design, yet still maintains a good flexibility, no microphonics, and most importantly sounds great with the Sonus.



The IEM itself is quite understated, a simple resin inner shell and aluminium outer shell with some simple design and 7Hz logo. It is also available in red and white. The body itself is quite large, but understandable considering the 11.3mm dynamic driver. You can also see from the semi-transparent shell that the BA is not in the nozzle or ran in an acoustic tube, but instead both the DD and BA output seem to be mixed in a large acoustic chamber, which would explain the good coherency (more on that later). The nozzle is quite large at 6.3mm at its thickest part.

Sound Impression​

Sources: SMSL H300+D300 stack, Quloos MUB1, Fiio M11S, Cayin RU7
Setup: Large stock eartips (transparent yellow), stock cable
Music Sources: Local FLAC (redbook/hi-res), Tidal Masters, Apple Music Lossless

The IEM has undergone a 20-hour burn-in at a medium volume for prior to the review.
Listening impression is a very subjective experience depending on individual ear shape, choice of eartips, music library, and personal preferences, so your experience may vary.

7Hz Sonus is aiming for a laid-back, relatively neutral and balanced tuning with a very well-extended subbass. It has the kind of tuning that is hard to find faults for, with relatively forward mids and decent overall technicalities. Its timbre is very enjoyable, although out of the box it does have a smidge of that metallic BA timbre. A short burn-in session overnight tamed the slight sharpness and develop into a more analogue-sounding profile. It does have some brightness in the upper registers but far from being fatiguing or sharp, while also having just enough details to hear the tidbits in your music and not being overwhelming your senses. While it is not a technicalities champ, it's a very musical and enjoyable set of IEMs. Due to these characteristics, I find Sonus to be one of the most versatile IEMs under $100, playing well with most genres from orchestra pieces to smooth jazz to pop and electronica.

Bass​

Sonus's bass is more emphasized in the subbass rather than the midbass, giving it a tighter and snappier punch at the beginning, but with a slower decay, preventing it from lacking warmth. There is no aggressive bass shelf and it just glides cleanly to the mids. The bass quantity is not at the basshead level, but if you should choose to do so, you can PEQ a bass boost from 200 Hz and below by 5-6 dB and the driver is capable enough to handle it without much distortion. I really do wonder if 7Hz works on Legato's successor with this driver.

Midrange​

In my opinion, the mids are certainly its main strength with overall pleasant vocal presentation and no shoutiness. There is very little bleed from the midbass, leaving a relatively forward vocal presentation, no matter male or female vocalist. The details in the upper midrange is quite smoothed, but you can still somewhat discern some of the nuances in the instruments in this frequency range.

Treble​

The Sonus has a decent quality treble with good amount of air and extension. It is also quite smoothed out like in the upper midrange and does not have the level of incisive details like from multi-BA setups, but it is still competitive within its price point. It has no problem handling cymbals and hi-hats without being fatiquing.

Technicalities​

7Hz Sonus isn't one of the most technical sets in the market at under $100 price range; I would put something like the 7Hz Salnotes Dioko to be ahead of it. Soundstage is still quite intimate, maybe around 50 cm around the head. Imaging is relatively precise and the layering is sufficiently distinct. Resolution is pretty good for the price but with more emphasis on the macro details rather than the micro details. Overall, I think it is a competent performer technically, but it is not the main focus.

Driving Requirements & Pairing Suggestion​

While it is not hard to drive Sonus (most entry-level dongles can sufficiently drive it), it does scale with better amplification. The bass response gets more energy and opens up the soundstage more. I would recommend a warmer source to add a bit of midbass emphasis to go along with that excellent subbass.

Select Comparisons​

QoA Vesper 2 ($79):
The Vesper 2 is tuned toward warm and dark direction, which is quite the opposite of the direction of the Sonus. I find Vesper 2 to be more laid-back in overall sound presentation, with even more focus in musicality. Sonus does sound to be more technical, but I attribute that mostly due to the tuning direction. I see Sonus and Vesper 2 to be kind of yin-yang of each other and both have its place and purpose in my collection. The Vesper 2 also has smaller shell and nozzle, making it slightly more comfortable for some people. However, if you're not a big fan of the very warm and dark tuning, I would recommend Sonus instead.

Simgot EA500 ($79):
EA500 is the crowd favourite due to the very good technicalities at under $100, with neutral-bright tuning and natural timbre. With the Sonus, the brightness is turned down a little along with some bass improvements. I do find EA500 to be a tad fatiguing with some tracks, but I didn't find any issue with the Sonus. I would personally go with Sonus for an overall balanced listening experience, but if you prioritize technicalities above all else, the EA500 would be a good choice too.

Conclusion​

7Hz Sonus is a great first attempt by 7Hz into the hybrid IEM market. Versatile tuning, decent technicalities, great accessories set, and solid build quality at a reasonable price... I find it hard not to recommend this unit as a daily set. Sonus has certainly taken its spot as my new daily beater set.

Disclaimer: Linsoul loaned me with a review unit. All thoughts and opinions are my own. Unaffiliated product link.

Introduction & Packaging​

Kiwi Ears Dolce ($25) is the cheapest IEM in the Kiwi Ears lineup, a full $10 cheaper than the well-received Kiwi Ears Cadenza, which happens to be one of my favourites. Considering the super competitive market for sub-$50 recently, does this latest 1DD IEM from Kiwi Ears have what it takes to compete? Let's find out...

The Dolce came with a very barebone packaging, only the IEM, cable, and 3 pairs of eartips in S/M/L sizes. It can't be more barebones than that. The included cable is quite stiff and tangly, and honestly you'd better off getting an aftermarket cable. The eartips are very snug and I have no complaints about them. There is no included carrying case, sadly, but at this price point, I am totally fine with it.






The IEM itself seems to be really well-built. The housing is made out of 3D printed resin, with a metallic backplate. What I didn't really like was the colour and overall design; I'm more of a fan of Kiwi Ears's previous all-resin design. The termination is also the QDC-style instead of the standard 0.78mm 2-pin, which I am not a big fan of. However, all these are my personal opinions, and it is still a very solid IEM when you touch and feel it. The driver configuration is a single dynamic driver, with a brand new composite material called LDP, which is a combination of low-density polyethylene and liquid crystal polymer.

Sound Impression​

Sources: Xduoo XA-10, Fiio M11S, L&P W2-131, Musehifi M1 (all single-ended)
Setup: Large stock eartips, stock cable
Music Sources: Local FLAC (redbook/hi-res), Tidal Masters, Apple Music Lossless

The IEM has undergone a 20-hour burn-in at a medium volume for prior to the review.

Listening impression is a very subjective experience depending on individual ear shape, choice of eartips, music library, and personal preferences, so your experience may vary.

"Dolce" means "sweet" in Italian, which Kiwi Ears claims to be the direction of their tuning with this IEM. Overall, I find the sound to quite V-shaped, with plenty of warmth in midbass and ample note weight. The driver is also quite capable with decent technicalities all across the board, a pretty solid showing for a new driver material. I would like to see this LDP diaphragm to be more optimized in the future and used more widely.

Bass​

The bass in Dolce is sounding full with a good subbass extension and midbass emphasis. Going with the "sweet" direction, the bass does not decay too quickly and allows for a more mellow presentation. The bass texture is also very well done, sharing some characteristics as LCP drivers.

Midrange​

The midrage is not the cleanest with some midbass bleed, but nothing disturbing. Male and female vocals equally get an extra thickness, making them sound fuller and hence, sweeter. There is no shoutiness or pierce in the upper mids.

Treble​

The treble extension is actually really good regardless of the price point. There are plenty of air and treble details, but some treble-sensitive people might find it overdone. I personally didn't find the treble to be overly spicy.

Technicalities​

Overall technicalities are great for the price. The resolution and imaging are excellent among the competitors in similar price range, while the soundstage is average. Timbre is natural and pleasing overall.

Driving Requirements & Pairing Suggestion​

Dolce is a very easy-to-drive IEM and would be easily driven even from a standard 3.5mm output from a mobile phone. I don't find the Dolce scales very well with sources, and in fact, it does show some fuzziness when paired with a more powerful source like a desktop amp. A simple, neutral dongle like the Musehifi M1 would be ideal to bring out the best out of Dolce.

Select Comparisons​

CCA CRA ($16):
When I think of a budget IEM that has technicalities way beyond its price, I'd think of the CRA. I would say that Dolce would be in similar position with both having an excellent treble extension and detail retrieval. I do find CRA to be spicier in the upper treble and generally bassier, hence even more V-shaped. Dolce in comparison has better timbre and note weight in my opinion. Overall, I would go with Dolce.

Kiwi Ears Cadenza ($35):
Compared to its senior, I find that Dolce sound noticeably more V-shaped and Cadenza more neutral. The Dolce has a better treble details and more airiness. That said, ironically, I do find Cadenza to be sweeter sounding overall with a cleaner mids and fuller vocals in my listening comparison. This is a harder choice to make; I would go with Dolce for technicalities, but I'd rather go with Cadenza for overall musicality.

Simgot EW100P ($20):
One of my new favourites, EW100P is also another great value choice. I find that the Dolce to be more V-shaped again compared to EW100P, giving the Dolce a more exciting presentation. I do find the Dolce to be better in technicalities, but I think EW100P does scale better with different sources. That said, Dolce still have a slight edge over EW100P in the timbre and technicalities.

Conclusion​

Dolce is a very enjoyable IEM for those who like V-shaped tuning, featuring a unique driver with a new material at the time of writing. I do believe that this is a proof-of-concept product from Kiwi Ears to flex their driver development and I do commend them for the effort.

Disclaimer: Linsoul loaned me with a review unit. All thoughts and opinions are my own. Unaffiliated product link.

Introduction & Packaging​

BLON X HBB Z300 ($35) is another entry to the long list of collaboration IEMs from HawaiiBadBoy (or otherwise known as Bad Guy Good Audio Reviews on Youtube). I have owned several others of his collab IEMs in the past and even reviewed one of them here. I have to say, unlike Crinacle, who are very strict with his target signature, HBB took a wider range of sound signatures, ranging from neutral-balanced like the Tangzu Heyday or Tripowin Olina, warm-dark like QKZ x HBB, V-shaped with KZ X HBB PR2, and more. So, where does Z300 lie in this spectrum? I would say... at the root of it all.




It's no secret about HBB's love for BLON BL03, which is in fact reflected by his very first collab, the Tripowin Mele as an attempt to recreate the magic of BL03. Alas, while I think Mele was a good IEM, it did not really recapture BL03's musicality and timbre in my opinion. My short time with Mele was enjoyable nevertheless. Now with the 'oppoty' to work with BLON directly, this is HBB's second attempt to do what he set out to do in the first place. And, spoiler alert, I think he did way better than his previous attempt.

The packaging is simple, with the IEM, cable, 6 pairs of tips, and a cloth carrying case. Nothing much to really point out about the eartips and the carrying case. The biggest highlights are definitely the cable and the IEM itself. The cable is a beautifully braided 4-core copper cable, which is decently thick and feels very premium in hand. The IEM housing is all metal, 18K gold-plated zinc alloy for the gold colourway option which I have for review. There is another blue colourway which is also made out of zinc alloy with matte painting. Honestly, having it on my hands, I really thought it's way more expensive than it is.




Now, with the competition under $50 getting so heated up, how does Z300's sound stack up?

Sound Impression​

Sources: Topping D90SE/A90D stack, Fiio M11S, L&P W2-131 (all single-ended)
Setup: Large stock eartips (white large), stock cable
Music Sources: Local FLAC (redbook/hi-res), Tidal Masters, Apple Music Lossless

Listening impression is a very subjective experience depending on individual ear shape, choice of eartips, music library, and personal preferences, so your experience may vary.

Z300 can be described as a relaxed, warm-dark tuned IEM with a slight V-shaped profile. It has good extensions on the subbass, but has a slight roll-off at the upper treble region. The mids are not perfectly neutral, but that's not the aim of the tuning direction after all. The Z300 is all about fun and musicality.

While Tripowin Mele was trying to get close to BLON BL03 in terms of raw graph tuning, I feel that Z300 is trying to get to the spirit of BL03, focusing on the smoothness of the sound presentation while keeping the richness of the tones. What I find lacking in Mele was the lack of tightness in the notes and overall sluggishness, which are thankfully addressed in Z300. However, I do think that it is indeed targeted to a specific set of music libraries like slow rock, classical, jazz, or hiphop, making it less all-rounder in my opinion. That said, for theese genres, Z300 is indeed very enjoyable.

Bass​

I find the bass in Z300 to be its strongest point. Its subbass extends very well, gliding smoothly into midbass. The bass is tight enough to render decent textures, but not so tight to make it sound too dry. The bassline in "Seven Nation Army" by White Stripes are reproduced beautifully, with enough energy and details of each twang of the distorted guitar.

Midrange​

There are a fair amount of bleed from midbass into the mids, but not to a degree where it affects the listening experience. Vocals do suffer a bit here, especially with female vocals. Male vocals fare better with quite an oomph whenever the right low notes are hit. I personally like vocal jazz with the Z300 here, something like "Hajimete no Chuu" by Platina Jazz feat. Niklas Gabrielsson. This is, again, another example of genre specificity that Z300 excels in.

Treble​

The treble is leaning slightly towards dark without losing ground too much from the bass. It does have enough contrasting energy to provide decent amount of details without being piercing or sibilant. It does have adequate extension and air up top, but not fantastic. However, treble is definitely not the main focus here and I doubt this will affect the listening enjoyment that much.

Technicalities​

For the price point, Z300 is quite above average in technicalities overall. Soundstage is medium-wide, still pretty much sounding near to your head in one giant blob. Imaging is surprisingly good (plus point for those who want to game with this). The layering is actually good due to the pretty responsive driver. Details retrieval is quite average. With a more complex track like "Change" by Monkey Majik feat. Yoshida Brothers, I do find the Z300 does not overly mush the instruments together and I can still piece out the shamisen from the rest of the bands.

Select Comparisons​

BLON BL03 (about $28 at the time of writing):
I do find BL03 is less technical compared to Z300. Resolution and layering are certainly better with Z300. However, there is something about BL03 where the musicality seems to be in the right spot, and that is probably the reason why it leaves so much good impression from people who experienced it (might be a rose-tinted nostalgia glasses here). That said, Z300 still managed to come close to BL03's experience while providing a more updated technicalities to compete with current models, as well as a less awkward form factor compared to BL03. I do think Z300 is a worthy successor to BL03.

Kiwi Ears Cadenza ($35):
This is a bit more complicated personally. Cadenza is pretty much my favourite set under $50, with amazing price-performance ratio and good build quality. I personally think that Z300 has a better build quality and accessories, however I do like Cadenza's genre flexibility better. Cadenza's tuning is more of neutral with bass boost, which tends to be the more versatile one. I do think, however, in the genres like jazz, slow rock, or classical, Z300 does perform much better. Overall, if you like Cadenza and wish for something a little darker than it, Z300 might be your answer.

Venture Electronics SIE ($99):
This is quite a bit of a leap in terms of price, but hear me out... I think Z300 does sound like SIE's little brother. The tuning direction is similar, the build is similarly all-metal, and it seems that the only differentiating point here is the technical performance. VE SIE has a better treble extension and resolution. Additionally, due to SIE's driver superiority, I find it less limited in the genre pairing too. However, as I alluded many times earlier, with correct genre pairing Z300 can easily match others in much higher price bracket, SIE included.

Conclusion​

Z300 is a very fine IEM, balancing musicality and technicality at a very competitive price point. With the included accessories and build quality, I do think we have a hit on our hand here. While its staying power is yet to be proven against BL03 as of writing, I do have confidence that this will be a nice addition to anyones collection in a long time.

Disclaimer: Linsoul loaned me with a review unit. All thoughts and opinions are my own. Unaffiliated product link.

Introduction & Packaging​

Kiwi Ears Quartet ($109) is the fourth IEM coming out of Kiwi Ears, which is apt considering it's named "Quartet" as well. Further on the theme of "four", the Quartet features 4 drivers: 2 dynamic drivers and 2 balanced armatures, with the dynamic drivers in an isobaric configuration, making them effectively functioning as a single dynamic driver (no word whether it is a push-push or push-pull configuration). The remaining 2 balanced armatures are each handling the mids and the treble.

The included accessories are pretty decent: a zippered semi-hard case with Kiwi Ears logo, 9 sets of eartips, and a 3.5mm 4-core oxygen-free silver plated cable terminated in 2-pin 0.78mm. The case is pretty much identical to the one in the Orchestra Lite and I find it good enough, although I would like it slightly taller as the IEM does feel a bit compressed when eartips are installed (similar issue with the Orchestra Lite). The eartips are available in 3 different sizes and colours, but I don't think there are any significant difference between the colours to my ears. I personally used the large black-red eartips for the duration of the review. The cable is decent, but not spectacular. I would recommend switching to a nice pure copper cable. Surprisingly, I could not find a tool to change the tuning switches. Normally, IEMs with tuning switches will include a tool similar to a SIM card ejector pin, but I simply did not see it in my package.

On the IEM itself, I find the build quality to be quite premium. The purple-black medical-grade resin looks and feels elegant and robust. The nozzle is also moulded from the same resin, which is also usually my preferred construction. I didn't find any issues with changing the tuning switches using a SIM ejector tool. Comfort-wise, I don't find any issues with the Quartet and I can wear it all day easily with little fatique.

Sound Impression​

Sources: Topping D90SE/A90D stack, Fiio M11S, L&P W2-131 (all single-ended)
Setup: Large stock eartips (black-red), stock cable
Music Sources: Local FLAC (redbook/hi-res), Tidal Masters, Apple Music Lossless

Listening impression is a very subjective experience depending on individual ear shape, choice of eartips, music library, and personal preferences, so your experience may vary.

Kiwi Ears Quartet's sound signature can be generally described to be quite thick in the bass region, with a more relaxed upper mids and treble. The tuning switches of course can adjust the sound slightly, but all 4 possible tuning settings still exhibit this signature. The first switch controls the bass response, while the second switch controls the mids and treble region. Here's a quick rundown of my impression of each tuning:

• 1 - OFF, 2 - OFF : warm-dark
• 1 - ON, 2 - ON : slight V-shape
• 1 - ON, 2 - OFF : warmer-dark
• 1 - OFF, 2 - ON : balanced (my preference)

The review from now on will be done mostly with the switches in my preferred configuration: 1 OFF and 2 ON.

Bass​

Bass is Quartet's strongest defining characteristics. The isobaric configuration definitely helps with the bass tactility and overall texture, keeping it in pace with a more complex tracks like Dragonforce's "Through the Fire and Flames". If one should turn on the bass switch on, it does increase the bass amount a bit, but at the expense of a slower decay, making the bass too overly thick to my liking. Hence, the bass switch remained off during my time with the Quartet.

Midrange​

I do find the midrange slightly fuzzy and do struggle with vocals especially. There are some bleed from the midbass, but I do feel that it is done intentionally to give a more laid-back listening experience. Male vocals are generally more well-represented here. "Galaxy Express 999" by Platina Jazz is one such track where the deep and lush vocal performance of Niklas Gabrielsson is amazingly rendered by the Quartet. The details reproduction does still suffer from the fuzziness and the bleed, but that's more of a nitpick rather than a real problem, especially at this price point.

Treble​

With the second switch off, the treble does seem dark and quite grainy; with that switch on, the treble does not just improve in quantity but also in quality in my opinion. Hence, this switch remained on for the longest time for me. There is decent amount of air and upper treble extensions, with quite good amount of resolution and dynamics.

Technicalities​

Overall details resolution is average for the price. Coherence could be better. Soundstage and imaging are decent, still mostly in-your-head experience most of the time, which then also impacts the layering negatively. Despite all that, I do think that the tuners do have a priority in mind here, which is Quartet's relaxed tonality. While the weaker technicalities made it not a critical listening IEM, the Quartet sure does give a generally more pleasant and non-fatiquing listening experience.

Driving Requirements & Pairing Suggestion​

Quartet does not need a lot of power to sound its best. I can comfortably drive it at low gain settings in single-ended for most of the testing. I would recommend a neutral or slightly-bright source for Quartet to even out its warmer tonality.

I also tried the Quartet with some different cable materials and eartips. I do find some marginal improvement going with a pure copper cable, giving a more consistent bass texture. Going with wide bore eartips like TRI Clarion brought forward the upper mids further and slightly improved its resolution. However, I still think the stock tips are generally acceptable.

Select Comparisons​

Simgot EA500 ($79):
I find that overall, EA500 has superior technicalities over the Quartet, in terms of resolution, soundstage, imaging, and layering. Bass response is also tighter with the EA500, even though the subbass extension is still better with the Quartet. With my preference, I would say EA500 to be better than Quartet, especially for critical listening. However, I can still see the possibility that those who are sensitive to upper mids zing would prefer Quartet.

7Hz Salnotes Dioko ($99):
Dioko offers a more balanced tuning overall with great technical performance. However, it does suffer from thin note weight and lack of musicality. On the other hand, the Quartet trades off technical prowess with better musicality. So, between the two, I find that both of them offers great value for the price, but it really depends on your priorities in sound.

Truthear Hexa ($80):
For a similar priced hybrid, I think Hexa is a good comparison. While Quartet outperforms the Hexa in rendering of bass, Hexa does midrange better and cleaner than Quartet. I find the vocals to be more forward with Hexa, but overall instruments sound more lifelike with the Quartet. I think this is another musicality vs technicality battle, and again your choice will be heavily dependent on your priorities in music or Quartet's place in your collection. I would personally go with Quartet since it does offer something different from the usual technicalities-focused IEMs of the recent times.

Conclusion​

Quartet is an easy IEM to like and enjoy. However, coming off the heels of the excellent Orchestra Lite and the value king Cadenza, I do worry slightly that the Quartet might be overshadowed. That said, I still personally think that Quartet is a solid IEM in isolation, giving you more options with tuning switches, great build quality, decent accessories, and overall relaxed presentation.

Disclaimer: Linsoul provided me with a review unit. All thoughts and opinions are my own. Unaffiliated product link.

Introduction & Packaging​

Kiwi Ears Orchestra Lite ($249) is the third IEM coming out of Kiwi Ears, being the continuation of their first IEM, the Orchestra. Their previous release, the Kiwi Ears Cadenza, is a value champ at $35 and brought Kiwi Ears a new reputation as being a high cost-to-performance ratio brand. So does Orchestra Lite follow in this direction? Coming in at HALF the price of the original Orchestra, surprisingly the Lite still comes with the same driver configuration: 8BA per side. While I have never actually tried the original Orchestra, I do wonder what kind of compromises that Kiwi Ears took to get into this price point. Well, as it turns out, with some smart corner cuts, I don't think it's that impossible after all.






First cut corner that I notice is the packaging. The original Orchestra, aiming at upper mid-fi, came with much more 'elegant' accessories: leather case and nicer-looking cable. The Lite smartly went with a cheaper case and a more 'basic' cable. However, case and cable are some of the things that audiophiles tend to change anyway, so this is indeed an acceptable change. Lite does come with more eartips option (9 pairs, up from 6 pairs). Another corner that may be cut is likely the BA selection, in which Orchestra Lite seems to be using cheaper BA variants compared to the original Orchestra. Lastly, rather than corners being cut, I think it is a more natural progression: Kiwi Ears just simply has gotten better at IEM production, having the trickle down benefits from their previous tuning experience, thus likely lowering cost.

However, looking at the IEM itself, if I wasn't informed of the price, I would have guessed that this is an upgrade instead of the lite version of the Orchestra. The shell is just simply beautiful, with impressively clear solid resin where you can see the BAs and crossover. The backplate comes in green or blue, both are very aesthetically pleasing. All-in-all, I'm very impressed at their final result. Orchestra Lite is a very strong contender in the $200-300 price range in my opinion.

Sound Impression​

Sources: Topping D90SE/A90D stack, Fiio M11S, Questyle M15, Fiio KA5 (single-ended)
Setup: Large stock eartips (white), stock cable
Music Sources: Local FLAC (redbook/hi-res), Tidal Masters, Apple Music Lossless
*Listening impression is a very subjective experience depending on individual ear shape, choice of eartips, music library, and personal preferences, so your experience may vary.

Kiwi Ears Orchestra Lite is tuned to be mostly neutral with a slight bass boost. I would not say that this is reference-level neutral; there are still some fun to be had with the Orchestra Lite, and it is a very safe kind of tuning that does not interfere with Orchestra Lite's great technicalities. The timbre coupled with the slight lack of coherence will always remind you that they're an all-BA set, and I did find them mildly distracting at the beginning. Still, the overall tonal balance and excellent dynamics quashed any of my misgivings.

Bass​

For an all-BA set, the bass is often lacking in punch. In a similar vein, Orchestra Lite's bass does not have the kind of impact that will blow your socks off, still passable in quantity. It does make it up in the texture and dynamics. Subbass extends very well and the midbass does not bleed into the midrange. The bass note weight is on the lighter side but accurate. Low frequency rumble like in the "Dream of Arrakis" by Hans Zimmer is definitely audible and well-reproduced, just lacking a bit of visceral, physical feeling to it. With the Orchestra Lite, I can definitely tell the so-called bassline in "Seven Nation Army" by The White Stripes is a down-pitched guitar, a nuance take that often gets blurred in other IEMs with less bass texture and details.

Midrange​

With this kind of neutral-ish tuning, it is only natural for the midrange to be the star of the show. The mids are clean courtesy of the gentle but distinct bass shelf. However, I can sense the BA timbre and incoherence the most here, which is understandable since there are 4 BAs (out of 8) which are responsible for this frequency range. Vocals from both male and female singers are well-reproduced and equally enjoyable. There is no shoutiness or excessively forward expressions. In some jazz tracks like "Galaxy Express 999" by Platina Jazz, the vocal sounded intimate and lush. Emi Meyer's version of "Cheek to Cheek" is also rendered beautifully, with the vocals and instruments well distinguished.

Treble​

The Orchestra Lite is also going with a safe tuning direction with the treble. It has no sibilance, proper pinna gain placement and amount, and decent extension. There is enough air to let the trailing notes of string instruments to linger, also helping with separation and imaging very well. The high notes of Sheena Ringo's vocal in "Nagaku Mijikai Matsuri" would normally be piercing in a more sibilant IEMs, and I found no issues at all with the Orchestra Lite.

Technicalities​

I do not really expect much soundstage knowing that Orchestra Lite is an unvented all-BA IEM, and it is indeed pretty intimate overall no matter what source I use. It does have some width in a 'three-blob' sensation, which I guess came with the tuning. Imaging and layering is slightly compressed but accurate considering the small-ish soundstage. I do experiment with some FPS gaming and I find the positioning is pretty decent overall. I think the best quality is definitely the resolution. The Orchestra Lite indeed makes a full use of those 8 BAs to push out a lot of details. In complex songs like "Phony" by Wagakki Band or "Change" by Yoshida Brothers, the intricacies of the multiple instruments along with vocals are preserved with the Orchestra Lite.

Driving Requirements & Setup​

Orchestra Lite does not need a lot of power to sound great. I can comfortably drive it at low gain settings in single-ended for most of the testing. I do note that a current-biased amplifier like Questyle M15 would yield a tighter bass response and improved coherency.

I also tried the Orchestra Lite with some different cable materials and eartips. I do find some marginal improvement going with a pure copper cable, giving a slight body to the note weight. Going with wide bore eartips like TRI Clarion brought forward the mids further, but does diminish the bass too much to my liking. I would stick with the stock eartips.

Select Comparisons​

7Hz Timeless AE ($259):
The TLAE definitely edges out the Orchestra Lite in the coherence department, being a single planar driver. However, surpisingly Orchestra Lite comes really close to the TLAE's excellent resolving capability; I would say Orchestra Lite has about 90% of the TLAE's resolution with slightly smoothed out details. Timbre-wise, I would give it slightly to the Orchestra Lite. I also found that TLAE has a more impactful bass response and more compressed mids compared to the Orchestra Lite. Sound-wise, I think I can go with either one, depending on music library and preferences.

Moondrop Blessing2 Dusk ($319, but often discounted now):
Orchestra Lite is more resolving compared to the Dusk, and its mids is more forward as well. However, Dusk has one of the most pleasing timbre in a hybrid for this price range and I still gravitate towards Dusk for a more relaxed listening experience. I would go with Orchestra Lite for a more critical listening.

Softears RSV ($730):
While the price difference is huge, I am testing how can Orchestra Lite cope against another all-BA set from higher tier. In my opinion, RSV is one of the most coherent full BA IEM, almost sounding like a single DD with a natural timbre to boot. However, surprisingly Orchestra Lite has almost the same amount of resolution and clarity, with similarly pleasant tuning. Other technicalities are also pretty close, with soundstage and imaging to be competitive with each other.

Conclusion​

If you are looking for your first all-BA set, I would highly recommend the Orchestra Lite to actually get a taste of what the higher end all-BA models could give you, especially in terms of tuning and technicalities. Pleasant tonality and versatile set for a wide range of genres, with a right cable, eartips, and source, I think Kiwi Ears Orchestra Lite is a very good value purchase.

Disclaimer: 7Hz provided me with a review unit. All thoughts and opinions are my own. Unaffiliated product link from Linsoul.

Introduction & Packaging​

7Hz Legato ($109) is a long-anticipated new release from 7Hz after a few delays during the production. It features dual dynamic driver (12mm woofer and 6mm tweeter/midrange) and active crossover with tantalum capacitors. Following off the heels of the 7Hz Timeless that restarted the planar magnetic IEM trend and the popular budget killer 7Hz Salnotes Zero, the expectations on 7Hz Legato is high. Moving away from the recent trend of neutral-warm, Harman-inspired tuning, 7Hz certainly took a bold move with a very different, niche tuning direction with Legato.




Starting from the packaging, it is similar to one of their previous release, the 7Hz Salnotes Dioko: a simple box over a huge carrying case containing the IEM, the cable, eartips, and extra filters. The cable is OCC+SPC hybrid and only available in 3.5mm termination. The included eartips is quite an improvement over Dioko's set, totaling eight sets, pretty similar to Acoustune AET07 and AET08 sets. The IEM shell is made of CNC aluminium with a fairly long stem which might dangle out a bit if you have a shallow ear canal. The entire package is simple, yet feels very premium.

Sound Impression​

Sources: Topping D90SE/A90D stack, Fiio M11S, Questyle M15, Xduoo Link2 Bal Max, L&P W2-131
Setup: Large white stock eartips/Moondrop Spring Tips, stock cable
Music Sources: Local FLAC (redbook/hi-res), Tidal Masters, Apple Music Lossless

Listening impression is a very subjective experience depending on individual ear shape, choice of eartips, music library, and personal preferences, so your experience may vary. The set has been burnt in for about 20 hours with white noise at medium-loud volume prior to the review. While I'm not primarily a basshead, due to the niche-ness of the tuning, I'll be going through this review as a basshead.

Developed in cooperation between 7Hz engineers and tuners in China and Singapore, the Legato is somewhat a reactionary product to the recent obsession over Harman target. An unabashedly bassy set, Legato does stick out among similar-sounding, Harman-inspired IEMs of recent times. Quoting 7Hz, Legato is tuned to replicate the feeling of vintage big speakers of the 80s and 90s, and I daresay that they achieved their goals amazingly well.

Bass​

Bass is definitely the major emphasis of the tuning. Not just any bass, but a real big, ground-shaking classic subwoofer bass. That does mean that it might not be the tightest bass, but it is certainly not lacking in punch and slam. Achieving this quantity and quality of bass without introducing much distortion is typically reserved to much higher tier IEMs, but somehow Legato does deliver. I have only ever experienced this amount of jaw-shaking rumble with FatFreq Maestro Mini and Maestro SE, but now Legato has joined this rank. The bassline and percussion thump in "Seven Nation Army" by The White Stripes rarely sound this visceral out of an IEM, reminding me of the big speakers playing the song in the football stadium. Hans Zimmer's "Dream of Arrakis" sounds so grand and vivid that you can feel the droning low frequency rumble shaking your skull.

Mids​

Given the amount of bass, it is understandable that the mids might sound a bit recessed. It is nevertheless still clean enough for the vocal details to still be present. Switching to a more mids-focused eartips like a Moondrop Spring Tips does help bringing the vocal forward slightly. Male vocals might be a tad too warm, but female vocals are a good fit. The Corrs' "Irresistable" live version and Jess Glynne's "Rather Be" sound lively and has some sort of karaoke room effect.

Treble​

The treble is definitely not overshadowed by the bass. I would not describe Legato as dark nor bright, but it's just enough to get ample presence and air. There are some treble edginess out of the box, but after a short burn in, it is mostly smoothed out. Chrono Cross OST "Time's Scar" violin portion extends well and detailed enough.

Technicalities​

I would say that technicalities are not the priorities for Legato, but it's still no slouch. Soundstage is medium-sized, about the size of a family karaoke room. Detail retrieval and layering are very competent for the price, competing with single DD or hybrid IEMs of the same tier or one above. Complex instrumentals in Yoshida Brother's "Change" and Wagakki Band's "Phony" are beautifully rendered with Legato, allowing you to pick out individual instruments pretty well.

Driving Requirements​

One thing I noticed about Legato is that it needs quite a bit more power than average IEMs. I tried running it with the 7Hz 71 dongle and VE Avani/Abigail, I find the bass is a bit loose with them and mids become quite muddy. Stepping up to something like Xduoo Link2 Bal Max, the bass gets tighter and slams harder as well as clearer mids. Running it on balanced (using NiceHCK BlackCat cable) does help bringing the mids forward a bit further. Some warmer sources like Truthear Shio and Tanchjim Space are not a very good match. Even though the power is sufficient, the additional warmth made the bass too boomy to my liking.

The best result to my ears is with the Questyle M15, having a perfect balance of bass texture, mids clarity, and smooth treble. I really recommend at least around 80-100mW of driving power to get a tight bass response.

On side note, there are indeed at least one exception to the power requirement. Trying my friend's Sony NW-A55, even with a mere 35mW, Legato can still be driven excellently.

My final preferred configuration is as such:

Select Comparisons​

QKZ x HBB ($20):
While the price range doesn't seem fair, there are quite a number of people online who are making this comparison due to QKZ x HBB's reputation as a value basshead IEM. I would say that given the price, QKZ x HBB does deliver an ample amount of bass, but Legato is quite a leap forward. Subbass and midbass are way punchier and more textured with Legato compared to the QKZ x HBB. I like the way that Legato delivers bass overall more effortlessly to my ears; at higher volumes and output levels, Legato remains cleaner and smoother. Tonality-wise, they are indeed similar, but the subwoofer effect is more visceral with Legato. I'd say that Legato is indeed a logical upgrade path for those who likes QKZ x HBB.

Fatfreq Maestro Mini ($599, borrowed unit):
Another unfair comparison looking at the price, but in the reverse now; however, even at 5x the price of Legato, the Maestro Mini is still a natural comparison to Legato, considering their similar reputation as bass monsters. I would describe Legato as a 'mini' Maestro Mini. Having overall similar bass quantity and quality, Legato has stronger emphasis in midbass compared to the Maestro Mini. Naturally, Legato's extra midbass does mean that it has less clean midrange compared to Maestro Mini which has a steeper bass shelf. Resolution is significantly better on Maestro Mini. Coherence are about the same between the two. Legato's timbre is more enjoyable to me. Fit wise, I would prefer Maestro Mini's lighter shell, but I do experience pressure buildup with Maestro Mini. That said, Legato does seem to offer a better value over Maestro Mini if bass is your ultimate priority, given the huge price difference. However, if you're looking for huge bass along with great technicalities, Maestro Mini is probably the better choice if you can afford it. Personally, between Fatfreq's Maestro line, my favourite is the Maestro SE (even more bass!), but comparing it with Legato would be even more unfair.

Truthear x Crinacle Zero ($50):
Since the TE Zero started off the recent dual DD trend, I feel that it is an apt comparison to Legato even though the price difference is quite huge. TE Zero is tuned closer to the Harman curve, so the "subwoofer" effect is not as prominent as Legato, especially since TE Zero has a more aggressive bass shelf. That would also mean that Zero's mids are more forward compared to the Legato and the treble is smoother. The technicalities on both of them are mostly on par, with Legato edging the TE Zero in soundstage width. To make it a bit more of a level playing field in terms of bass, I added a DUNU 75ohm impedance adapter ($16) to the TE Zero. While it made the Zero much harder to drive than Legato, now the bass level is more comparable. However, as a tradeoff, the impedance adapter does reduce the dynamic range and technicalities of the Zero. Again, if your priority is bass, TE Zero with 75ohm impedance adapter and a powerful enough amp might be enough for you. However, for overall convenience and value, I would still go with the Legato.

Conclusion​

7Hz Legato is an excellent basshead IEM priced really competitively given its build quality, technical performance, and accessories included. While the tuning might be quite niche, for a particular music library and matching preferences, I think Legato is currently the best value at this price range at the time of writing. If you've experienced or grown up with those big, vintage speakers of the 80s and 90s, Legato will walk you down the memory lane and immerse you in the nostalgia like no other could.

Disclaimer: Shenzhenaudio provided me with a review unit. All thoughts and opinions are my own. Unaffiliated product link.

Introduction & Packaging​

Moondrop LAN is a $40 single dynamic driver IEM from Moondrop, following the lineage of the extremely successful Moondrop Chu. Featuring a similar shell design, LAN comes with a detachable cable unlike Chu, fulfilling probably the most requested improvement when Chu was launched. Another improvement over Chu is with the driver; LAN is sporting a Beryllium-coated composite diaphragm.





LAN's overall design language is following a similar direction as Chu, tastefully simple. The shell itself has been changed to a bigger, bare stainless steel, so people can worry less about the infamous Moondrop paint-chipping issues that has been plaguing Starfield, SSR, Aria, and more. That said, it does mean that the IEM is noticeably heavier and larger than Chu. At the same time, that additional heft made the LAN feels more premium and sturdier.

The tall packaging is reminiscent of the older Moondrop like the Starfield, with the usual Moondrop waifu on the cover. Inside, there are a few standard accessories: cable, leather carrying case, and a set of S/M/L silicone eartips. Sadly, the eartips are not Spring Tips like the one included with Chu, but it may not necessarily be a minus point (see further down below). The soft leather carrying case is definitely a better option over the felt carrying case that comes with the Chu. The cable is pretty standard of Moondrop line, decent but not the best out there. Overall, I think the packaging and the accessories are great for the price point.

Interesting fact: it seems like there is a naming convention for this lineup. Chu (竹 = bamboo) is followed by LAN (蘭 = orchid). My guess is that the future entries to this lineup will be named after decorative plants.

Sound Impression​

Sources: Topping D90SE/A90D stack, Fiio M11S, Questyle M15, Cayin RU6 (all single-ended)
Setup: Large stock eartips, stock cable
Music Sources: Local FLAC (redbook/hi-res), Tidal Masters, Apple Music Lossless

Listening impression is a very subjective experience depending on individual ear shape, choice of eartips, music library, and personal preferences, so your experience may vary.

The LAN is tuned to the now-ubiquitous, Harman-like Moondrop VSDF target, which are shared with the Chu, Aria, Starfield, Kato, and many more in the Moondrop lineup. Simply said, it is neutral with a bass boost, a very mild V-shaped. The bass is tight and smooth, having enough punch without bleeding much into the midrange. Subbass extension is deep enough to feel the rumble and the midbass has enough bite to reproduce percussions with some snap, albeit there are some smoothness over the entire bass region. The midrange is pretty clean and detailed. Vocals do not sound too recessed, nor too forward; LAN is not tuned to be a vocal-focused IEM in my opinion. Midrange tones from instruments like guitars, violins, or shamisen are beautifully rendered and natural. The treble extension is great for its price point, with ample presence and some air, as well as plenty of details. Overall, LAN is a fairly balanced IEM with no particular emphasis on any frequency range.

The treble may sound intense out of the box, courtesy of the Beryllium-coated driver; with Cayin RU6, LAN sounds outright sharp and fatiguing to me at the beginning. After about 24 hours burn-in with white noise, it did somewhat improve, and with further source matching (Questyle M15 or Fiio M11S), I am no longer bothered by the treble.

Technicalities-wise, there isn't anything groundbreaking, and pretty source-dependent. On Fiio M11S, LAN's technicalities are pretty decent, but not remarkable. It starts opening up with the Questyle M15, and further with the D90SE/A90D stack. Soundstage is noticeably more spacious compared to Chu. Detail retrieval is remarkably competent too, quite on par more with Aria or Starfield. Imaging and layering are sufficient, not easily overwhelmed in more complex tracks. Timbre is largely natural with a hint of metallic character which is mostly gone after burn-in. Safe to say that LAN scales really well with better sources.

Moondrop's lineup tend to play very nicely with mostly pop music (particularly J-pop) and LAN is no different. Aimer's "Kataomoi" is beautifully reproduced, with Aimer's amazing vocals shining through very well. LAN does struggle a bit with a more energetic Aimer track "Zankyosanka", with the vocals being overwhelmed in some places, but overall still enjoyable. I find LAN to be personally very well-suited to instrumentals like Hoyo-MIX "Liyue" from Genshin Impact OST or the opening sequences of "Change" by Monkey Majik & Yoshida Brothers, demonstrating its layering and imaging capabilities very well. The subbass rumble in The White Stripe's "Seven Nation Army" can be sufficiently felt, but does feel a bit lacking in texture. I find that some male vocals to also be quite enjoyable with LAN, with Chrisye's "Cintaku", Yuuri's "Betelgeuse", and Platina Jazz's Niklas Gabrielsson rendition of "Hajimete no Chuu" to be amazingly presented.

Bass: Tight, punchy, smooth
Mids: Clean, layered
Treble: Detailed, well-extended, may sound a bit sharp out of the box
Technicalities: Decent resolution, spacious soundstage, good imaging and separation

BONUS: Experiments with Spring Tips​

Considering that LAN now lacks Spring Tips, does it get improved by using the Spring Tips? I'd say it's a very marginal difference, not necessarily an improvement. Spring Tips are mids-focused eartips, which kind of help with the abovementioned treble edginess, but also sacrificed some bass impact. Vocals did become slightly more forward, but at the cost of overall technicalities. All-in-all, I think Moondrop's decision not to bundle Spring Tips here is more of a tuning decision rather than budgetary one.

Select Comparisons​

vs Moondrop Chu ($20):
Even though it is exactly half the price of LAN, Chu's sonic performance isn't exactly half of LAN, to nobody's surprise. Chu is a very well-tuned, technically competent IEM even in isolation. Sound-wise, LAN does marginally improve on Chu's detail retrieval and soundstage. LAN is also slightly warmer than Chu. So, I can surmise that the price difference is largely due to the other, non-sound related factors like the build quality and materials, included accessories, and of course the detachable cable. As someone who actually spent the time to mod the Chu to have a detachable cable, the amount of effort doing so, plus the additional cost of getting a new cable as well, would easily bring the cost of a Chu to be about the same as LAN. So, if you're looking for these improvements, LAN is a logical upgrade from Chu.

vs Kiwi Ears Cadenza ($35):
Another budget-level Beryllium-coated single DD IEM, I think Kiwi Ears Cadenza can serve as a very good comparison to LAN. Cadenza is quite a bit warmer and darker than LAN, and overall more laid-back in tuning. LAN is slightly better on the detail retrieval side, but Cadenza is more spacious due to its ample midbass. Cadenza is marginally better in vocal performance, while LAN is more enjoyable in instrumental tracks. Overall, I feel LAN edges Cadenza in technicalities department, but it is down to personal preferences in tuning direction and physical comfort. I personally find that Cadenza is easier to wear due to its lighter weight and smoother texture. However, sound-wise, I personally might be leaning slightly more towards LAN due to its better treble extension and resolution.

vs Moondrop Aria ($80):
I have to express my sadness towards Aria; it has been the crowd favourite for so long that there are so many manufacturers specifically targeting Aria, almost spawning an entire category of "Aria-killers". Even sadder, Moondrop itself attempted to kill Aria with the releases of Chu and Aria SE, and now with its biggest killing blow, the LAN. Tuning-wise, they are very similar, with the Aria leaning slightly warmer and overall more relaxed. Technicalities are largely on par. Build quality is arguably better with LAN, especially with the lack of potential paint-chipping issues. Overall, I think LAN just did to Aria what Aria did to Starfield.

Conclusion​

The competition in sub-$50 range is very tough, and no doubt LAN is facing some serious competitors that are often dangerously below its price point. I do wonder that LAN might have arrived too late; a year ago, this would have been a budget-defining IEM. Alas, Moondrop LAN did stick its landing perfectly with its easy-to-like tuning, premium build quality, good set of accessories, and great technicalities for its price. As a whole package, I can recommend LAN for those who are looking for an all-rounder budget performer with a great build quality.

Disclaimer: ShenzhenAudio provided me with a review unit. However, all thoughts and opinions are my own. Unaffiliated product link.

Introduction​

Truthear Hola is Truthear's latest IEM entry at $18.99. It features a 11mm PU+LCP diaphragm with 28Ω impedance. As for its naming scheme, I'm also quite unsure of its significance (parts of the box actually say "HALO" instead of Hola). Regardless, it's a certainly aggressive "Hello" from Truthear into the recently super-competitive sub-$20 market.

Packaging and Build Quality​

Hola came in a very small, economical packaging. Inside the packaging, there are some documentations, the IEM itself inside a carrying pouch, and a large selection of eartips.





Hola's housing is made with 3D-printed matte resin by HeyGears, similar to the one featured in the Hexa (and also many Moondrop products like the Variations). But that's where the build similarity ends; Hola is lighter and therefore feels a bit cheaper with a flat backplate design, especially when compared to its older Truthear brothers, Zero and Hexa. I personally prefer a more raised or textured backplate. Within similar price range, I feel that Tangzu Wan'er looks and feel more polished. However, if minor design issues are the tradeoff to achieve this level of sonic performance, I'd take that tradeoff any day.

The cable is really nice and solid, very little microphonics, and there isn't any complaint about its impact on sound quality. It is currently my favourite stock cable among the other sub-$20 rivals.



The carrying pouch is a tad too small to contain the IEM, bulges noticeably when the eartips are installed. The leather material feels quite cheap, as well as its clunky metal clasp. Not a big issue to me, at least Hola does come with a case when others around this price point do not even include one.

Sound Impressions​

Sources: Fiio M11S, Questyle M15, VE Avani (all in single-ended)
Tips and Cables: KBear KB07 L size, stock cable
Music Sources: Apple Music, Tidal, local FLAC files

All measurements are courtesy of Ian Fann.



Truthear Hola is yet another entry into excellent single DD lineups, and with yet another familiar tuning. The overall sound signature can trace its DNA from its distant ancestor, the Moondrop Aria. Tastefully elevated bass that cuts smoothly into a very clean mids, transitioning into treble with appropriately-placed pinna gain before rolling off into the air region; somewhat of a mild-V tuning. That same description can also easily be said to other LCP-based driver IEMs like Tinhifi T3+, C2, and C3, with the C2 being the closest in price. So, yeah... We've seen this tuning many times before.

What separates these similar-sounding IEMs is usually technicalities, but alas, Hola's technicalities are still comparable to its competitors at its price range. Detail retrieval is decent, doesn't really scale with source either. Soundstage and imaging are also great for the price, although you can definitely overwhelm the driver if you try pushing complex tracks. While Hola isn't a miracle worker that does magical things, it is an extremely hard worker and would give the maximum worth for the money you spend on it.

Bass: Snappy and impactful, but not very textured
Mids: Very clean, great vocals
Treble: Non-sibilant, decent extension (for the price)

Comparisons​

vs Tangzu Wan'er ($20):
I feel that tuning-wise, these two are quite close, with Hola having a bit more bass and slightly more forward mids. I do hear more textured bass with Wan'er and a slightly airier treble. Technicalities-wise, they're trading blows very well, so it is quite difficult to pick one over the other. Soundstage is a tad better with Hola, but Wan'er edges Hola slightly on details retrieval. Your choice would be largely dependent on what you prioritize in sound. If you want a smoother experience, go with Hola. If you want something more shimmery with texture, go with Wan'er. Also, while personally I prefer the aesthetics of Wan'er, I like Hola better because of the standard 0.78mm jack and better cable.


vs 7Hz Salnotes Zero ($20):
The Zero is a very balanced set with a nearly-reference tuning and amazing technicalities for the price. While some people might find Zero's reference-style tuning not exciting enough, that's probably the way to extract every bit of technicalities from its driver. So, in terms of technicalities (soundstage, imaging, detail retrieval), Zero edges Hola quite handily. However, Hola's more fun and laid-back tuning is easier to personally enjoy and recommend to everyone. So, in the end, between Zero and Hola, it is largely the matter of preferences and personal sound direction. For technicalities, go with Zero. For fun tuning, go with Hola. Or just get both for variety.

Conclusion​

Truthear Hola is an example that technology does trickle down from the high end into entry level. Its driver technology, tuning direction, build construction can all trace its roots from a more expensive models, and it's not that far either from them. Truthear Hola and the other sub-$20 killers have moved the goalposts, and higher-end IEMs need to work harder to justify their higher prices. With the quality accessories and great sonic performance at this price point, it's really hard not to recommend this highly enough. Anyone looking into jumping into hifi for the first time or audiophiles looking for last-minute gift ideas for non-audiophiles friends should really consider Truthear Hola.