Reviews by kesobie

WATCH FULL REVIEW HERE:​

PROS:​

• Follows the JM-1 Target
• Very well-balanced and versatile on different genres
• Safe and inoffensive tuning
• Rich and warm tone
• Superb extension on both ends
• Good coherency with minimal metallic timbre
• Good fit and accessories

CONS:​

• Might be too safe for some
• Not the most technical sounding IEM for the price
• Bass can sound too smooth
• Can sound too warm
• Treble energy can be lacking

WHO THIS SET IS FOR:​

• Measurebators
• People who like a safe and versatile tuning
• People who want good and stable fit
• People who like a coherent and consistent sound

WHO THIS SET ISN’T FOR:​

• People who want a fun and engaging set
• People who want a tactile and nuanced low end
• People who want an open sounding midrange
• People who want a dynamic listening experience

RECOMMENDED GENRES:​

• All genres minus mezzo-soprano female vocals

SHORT REVIEW:​

Meta means optimal, and the KE4 is probably the most optimal sounding IEM. Superb tonal balance, phenomenal end to end extension and a tuning that will sound great with most genres. However, it’s biggest strength is also its biggest weakness as it lacks the excitement that I usually get from more V-Shaped sounding sets. Regardless, the KE4 and the JM-1 to an extent proves that audio has not stagnated quite yet. RECOMMENDED!

FULL REVIEW​

Meta. Mainly used in video games, now being used for headphones? What’s happening? Well, to tell a long story short that I will also tell again later in this review, the recent advancement of headphone measurements lead to the creation of update preference targets and compensation that brought about the most “scientific” way to tune headphones today.

But this only fuels the flames for the war between the “trust your ears” clan and “measurebator” clan to further discuss what it is exactly is the best way to evaluate headphones. So let me give my two cents, along with a comprehensive review of one of the better IEMs to follow the infamous JM-1 target.

DISCLAIMER: The KE4 was sent in exchange for my honest thoughts. I was not paid or compensated to say anything about the product.

ONE TIME FOR THE MEASUREBATORS, ONE TIME FOR THE FR BROS​

Normally, I talk about the history of the brand in this section. However, I want to add a bit of context to that entire intro discussion on “preference bounds” . First, let’s talk about Kiwi Ears.

This is my second rodeo with Kiwi Ears, which is also my second rodeo for their isobaric 2DD tech that they seem to enjoy doing. My first experience with them, the Kiwi Ears Quartet was less than desirable. I enjoyed how it looked, I enjoyed how it fit, I did not enjoy how it sounded. Tonal issues, coherency issues and QC issues plagued that set that lead me to give it a rather lukewarm review. I didn’t think it was unbearably bad, but it could have been better.

Well, Kiwi Ears may have just made something better with the KE4. Same isobaric configuration but a hell lot better coherency. But arguably its selling point is that it follows the infamous JM-1 target (specifically the 10db tilt version). But what the hell is the JM-1, what are preference bounds? What even are all these fancy terms? Well, let me give you a very brief explanation to all of this.

Before I continue, I would like to preface this by saying that I will be talking about some rather nerdy crap and you can completely skip this entire part if you’re not interested. However, I highly recommend you read this as it provides good context of my conclusion on the KE4 later.

Also, I will be linking a couple of articles and videos to thoroughly explain the many topics I will cover in this review as I oversimplified a lot of information for the sake of time and sanity. Check it out at the very bottom if you’re interested.

Gentlemen, A Short View Back To The Past​

The evolution of audio products have been a slow, steady but progressive path from speakers to headphones. However, headphones in particular have only had a couple of decades of thorough research done and even shorter for in-ears. Heck, the first few “good” in-ears only appeared in the later part of the 20th century and many of you have probably been born longer than the development of in-ears.

This means that the technology to properly evaluate audio gears such as headphones (I will put headphones and in-ear in the same category for redundancy’s sake) have been less than ideal. Free-field was the generally accepted measurement standard back in the day, but this proved to be problematic by a couple of people. This lead to the creation of the Diffuse Field Head Related Transfer (also known as the DF HRTF)



To explain an EXTREMELY complex term, the DF HRTF was not made as a preference target like the many targets you might find on squig.link, but is made to calibrate the measuring rig to be as accurate as possible. I HIGHLY encourage you to read up on the articles and documents explaining these concepts if you want to have a better understanding and appreciation for why headphones sound the way that they do now.



Despite the DF HRTF being basically the most accurate way to calibrate a microphone to measure as accurately as it could, the desire for a point of reference that is actually listenable was yearned for. Harman lead this development with their famous research that has now become an adjective to describe headphones. You’ll probably see a lot of reviewers and casual people call something “Harman-ish” to describe headphones and that’s for a good reason.

The measurement standard that we have been using has been based on the Harman research and 711 (which are based on the IEC60318-4 standard). While this has been the tried and tested standard for a good couple of decades now, companies like B&K have been developing more accurate simulations of the head and torso with the likes of the B&K 5128-C.

A lot of funny words and terms here, but all you need to know is that measurements are evolving and so the standards need to change.

With this change, a new way of evaluating headphones also needs to evolve. This is where the good people at Headphones.com come into play as they have been hard at work developing a pretty solid way to evaluate headphones. With the use of the Harman research and their funky B&K 5128, they’ve developed a “preference bound” that is scientifically, objectively and statistically the most “accurate” measurements that is available right now.

In-ear monitors specifically, the evolution has moved towards the JM-1. The meta tuning. This is based on the same DF HRTF used on headphones, but removing the influence of the parts of the ears that aren’t being affected by in-ears (aka that big flappy thing on the side of your heads) and compensated to the average ear.



I’m not gonna explain how the JM-1 target works or why it’s currently the most accurate target to follow the preference bound as I feel like I’m not the right person to talk about it (hint hint, links at the bottom). But the JM-1 is the closest we have to objective evaluation of neutral tuning for in-ears.

So in short, headphone measurements not good. People do research to find best way to measure headphone, people make headphone target as preference bounds, JM-1 exist for in-ears. That’s the scientific and research side of audio and they aim to make audio evaluation more accurate.

Why Do You Even Need Accurate Evaluation?​

If you’re on the clan against frequency response graphs, you might be wondering why you need this if you can just find headphones that sound good to you and know absolutely nothing about how it measures. Well, measurements exist so that we have a general understanding of what is “good”. Good is subjective, but how we can get good can be measured. That’s what the research is for in the first place and even your favorite headphones exist thanks to the evolution of objective evaluation for all audio equipment over the years.

Now that I’ve talked in depth about the whole measurement rabbit hole, let’s talk about the KE4 on its own.

UNBOXING​

To make a rather simple unboxing short, the Kiwi Ears KE4 features the usual Kiwi Ears illustration (some of the best in the market) with basic information in the back.

Here’s a full list of the accessories:

• KE4 IEMs
• 4 Core Cable
• 3 pairs of Kiwi Ears Flex Eartips
• Replacement Filters
• Carrying Case

I’m slightly disappointed with the unboxing experience of the KE4, fundamentally because of how spartan it is. While you do get Kiwi Ears Flex eartips along with a nice case, this is not a $200 unboxing experience. You ONLY get the flex eartips and the case is the same one that comes with their budget IEMs.

BUILD & FIT​

The build and fit situation of the KE4 is near identical to all their previous resin-based in-ears in terms of both the quality and the comfort. Least to say, this is probably the best large fitting in-ear that I’ve ever worn.

But let’s tackle the elephant in the room first: isobaric 2DD + 2BA hybrid with a 3-way passive crossover and 3 independent sound tubes. Once again, Kiwi Ears attempts the isobaric configuration, and this time I’d argue they succeeded.

Before I continue, I want to address that this is Kiwi Ears’ first non-music related naming. I may be incorrect and that KE4 is actually a musical notation for something (or Kiwi Ears have released a product that doesn’t have musical references) but to my knowledge, this is their first.



Externally, the aesthetics resemble the Kiwi Ears Quintet with the dark inner shell and silver faceplate. Contrary to what many people have said about the Quintet’s “boring” look, I’d argue that a silver faceplate like the one in the KE4 looks very clean and handsome. I’m not going to give it the award for the best looking IEM, but it’s simple and looks good in and out of the ear.



But arguably the issue that most people will have with the KE4 is its size. This thing is an absolute chonker and people will smaller ears will not have a great time. However, the shape is akin to their cheaper sets like the Quartet which means this thing fits in my ear like a glove. Not as well as the smaller Quartet, but certainly well enough to keep me from complaining about the fit.



The problem I had with it was the long term comfort will vary depending how you fit it in your ear. If you have the wings digging into your ear in an uncomfortable angle, it will hurt after a couple of hours. However, this can often be remedied by adjusting it before hand.



Another issue I had was the driver flex. No air pressure build up is always nice, but the driver flex may be a bit uncomfortable during first wear. I didn’t really experience any long term problems because of this, but this is something to note if you’re sensitive to the crinkling of the driver.



As for the cable, this is a very aesthetically pleasing and comfortable cable with very premium interface. I want to say this is one of, if not, my favorite 4 core cable on the thinner side, but more companies have been providing really good quality cables that I can comfortably say that the KE4’s stock cable can live amongst the greats. Maybe a modular termination would’ve made this even better, but I don’t think it needs modularity with how easy it is to drive (more on that later).

SOUND​

Sound Signature​

Here we go, the sound signature of the KE4 is what people would call nowadays, “Meta”. But what does that mean? In short, it falls within the preference bound that I mentioned early in the review based on the B&K 5128 DF HRTF and the JM-1 compensation HRTF. What this means is that it has a well balanced, well-extended and consistent sound that is made for all-rounded listening sessions. The KE4’s nuanced characteristic is its low end focus, particularly in the lower mids with a slight hump that you can hear when listening to tracks with a prominent lower to mid vocal presentation. Timbre consistency is surprisingly good, considering their last isobaric hybrid was admittedly a mess in terms of coherency. But let’s get deeper into that in a bit

Source Pairing​

The KE4 is arguably one of the most versatile sets when pairing with whatever source I plug it into. From my cheap dongles to my all-powerful SK02, the KE4 ranges from sounding good to sound great. It’s also very easy to drive as I never had any problems with volume at all, but a more powerful or cleaner source will net you better sound (duh)

Volume Levels​

I was personally expecting the KE4 to be a volume scaling monster, but that lower midrange emphasis feels so out of place the higher the volume is and forces me to go mid listening volume to keep tonal integrity and an enjoyable listening experience. It could also be attributed to the rather late eargain, but I’d argue that also plays a part with the lower midrange preventing me from going higher

Bass​

The KE4’s bass is what you might expect a “meta” bass sounds like. Clean, subbass oriented with good extension, rumble and kick without much bleed into the mids. This theoretically makes it a very ideal level of bass for whatever songs you’re listening to and to a point, I would whole heartedly agree. However, the problem with is is the smoother than tactile midbass presentation that ends up making the bass sound more linear than dynamic. It’s not the worst I’ve heard, far from it. I’d argue that the KE4 is one of the best to balance that subbass and midbass tuning. But whether it’d be the isobaric configuration just not giving enough nuance or the quality of the driver just lacking in refinement, the KE4 is closer to having a “slow” presentation than a snappy one to my ears. It’s not that slow to make it incoherent with the speed of the rest of the frequency, but it certainly affects it.

Mids​

This is the region where I’m most divisive on the KE4. While I am aware and can appreciate the “neutralness” of the midrange, I also find that the combination of a boosted lower midrange and toned down upper midrange with a late eargain makes this a very relaxed and not very engaging listening experience. On a positive not, male vocals, electric guitars and instruments that want a lot of lower midrange energy sounds perfect on this. A specific example would be the song Blue by Amateurish. Most IEMs present the overall sound in a rather thin and pale manner that sounds lifeless. The KE4 is able to give the song much needed body and lower midrange while keeping the overall tonal presentation relatively uncolored. However, the problem rises when you throw this into tracks with thicker female vocals that get drowned out by the lower midrange. Take for instance Laufey and Samara Joy. I did NOT have a satisfying listening experience with either of them on the KE4 whereas other sets, particularly leaner ones, do.

This is where the conversation of the “meta” tuning comes into play, to which I’d defend this kind of tuning for being one of the few kinds of tuning that can provide good note weight without total coloration. The aforementioned song Blue is the best example for this and older pop tracks like Earth, Wind & Fire, Fleetwood Mac and even the Japanese fusion band Casiopea sounds great on the KE4. The problem rises when you throw in vibrant upper midrange focused tracks that also have lower midrange emphasis and you start to hear why the KE4 wasn’t my cup of tea at the start. My usual test tracks included Laufey and Samara Joy and they did not sound great. But throwing this into older tracks and now we’re talking.

Treble​

Similar to the bass presentation, the treble is arguably the best thing about the KE4 in terms of neutrality. To my ears, the KE4 follows such a beautiful glide from the lower treble to the upper treble with a fatigue free but nuanced treble presentation. I honestly don’t mind that it’s not as bright or vibrant as my usual preferences as a bit of relaxation is in order if I want to keep my hearing, but the KE4 stands out by having such a refined and consistent sounding treble that I don’t usually find in hybrids, let alone an isobaric hybrid IEM from Kiwi Ears. The extension and air is fantastic, the details are present but not overbearing and the overall energy level is just right. Obviously I’d want more, especially considering that the treble sounds the way it does mainly because of how thick the low end is, but I don’t mind the treble if the lower mids sounded a little bit thinner and the bass more midbass focused than subbass focused.

Technicalities​

Technically speaking, the KE4 sits right around what you might expect from the $200 mark. Good separation, superb dynamic and transients, solid resolving ability and good headstage. But arguably the best thing about the KE4 is coherency. Considering that this is Kiwi Ears second (correct me if I’m wrong) isobaric DD + BA hybrid, the KE4 is a home run in terms of tonal coherency. I did not feel like the bass lagged behind the mids or the treble, albeit there is still a little bit of a metallic tone in some songs. Dynamics and transients are decent, although definitely not the best that I’ve heard. Overall, good technical chops for the price but nothing too fantastic.

COMPARISONS​

vs Kiwi Ears Quartet​

I first want to compare the KE4 to its isobaric predecessor at half the price, the Quartet. I was not very impressed with the coherency and driver quality of the Quartet and thought that if it didn’t have that annoying metallic timbre up top, it would honestly be a pretty solid v-shaped set that sets itself apart by being as smooth as it is. The KE4 is a complete contrast with refinement being the name of the game and arguably dynamic and transient response. Raw tuning, I find the Quartet more fun and engaging. But that;s by design. The KE4 is neutral warm with a slight airiness while the Quartet is pure V-Shaped with big bass, scooped mids and big treble (spike). In short, the KE4 is not necessarily an upgrade to the vibrant and chaotic Quartet, but instead a more neutral-warm option that also features that isobaric DD hybrid configuration that Kiwi Ears flexed in the Quartet

vs Dunu Davinci​

Arguably the closest relative to the KE4 in configuration and tuning Philosophy, the Da Vinci is the KE4’s warmer, bassier and more fun cousin with a more engaging, punchier and deeper presentation that I personally preferred over the KE4. However, the KE4 is admittedly the more “balanced” option out of the two due to the rather big bass boost of the Da Vinci over the KE4. Coherency is similar on the two but the Da Vinci is certainly the more fun option to listen to between the two. The KE4 is you in the office and the Da Vinci is you on the beach. Same, well-rounded tuning with one of them letting loose and being a little bit more fun.

vs Simgot Supermix 4​

From isobaric to quadratic, the Supermix 4 imbues the previous tuning standard of the Harman 2019 compared to the JM-1 infused KE4. Flairs out of the way, the Supermix 4 is distinctly thinner and more vocal forward than the KE4 which is warmer and more relaxed. You could almost say they’re the exact opposite in terms of tonal balance, but the Supermix 4 is toned down from the usual Simgot tuning. Technically, the Supermix 4 has a cleaner sound out of the bat but the KE4 has a more consistent tone throughout the sound thanks to its flatter presentation. I’d say that both sets aren’t really my cup of tea (Supermix 4 having poor bass dynamics and KE4 having too much lower mids) but both sets occupy the opposite sides of the same nerdy coin.

vs Yanyin Canon II​

My favorite midrange fun hybrid still reigns supreme on what I find to be the ideal tuning for in-ears. While the KE4 offers a more relaxed and “neutral” tone, the Canon II offers a more engaging, more open and more detailed listening experience that would make perfect sense considering this is almost twice this price of the KE4. Giving the KE4 the benefit of the doubt, it is a generally smoother listening experienced compared to the Canon II. The Canon II suffers from a bit of a distinctly metallic and rougher treble presentation that both aids and affects its tonal presentation to not be the most neutral. But then again, that’s not why the Canon II exists in the first place and provides a more fun listening experience compared to the KE4’s more relaxed tone.

CONCLUSION​

Now, it all boils down to the burning questions. Does an IEM tuned to JM-1 sound good and what does this new HRTF spell for the future of in-ear monitors?

Let’s first talk about the KE4. Theoretically, the KE4 is the “safest” IEM to get under $200. The combination of a consistent tonal balance with good extensions on both ends, rich midrange, good details and technical ability. There’s technically nothing major to fault about the KE4 in a technical point of view. However, my preferences lie outside what the KE4 delivers. First, I like my midbass thick and meaty with the mids slightly scooped. The KE4 is the exact opposite with a very clean low end presentation and a borderline thick midrange presentation. Pair that with the upper midrange that lacks energy to my ears and sounds occasionally drowned in the lower midrange and you get a set that I’d only be picking up when I want to listen to retro pop and rock tracks that NEED that body. Not necessarily my “all-rounder” listening choice.

But that’s the thing about the KE4. Despite my personal comments on it, I still believe that this is an IEM that most people would probably thoroughly enjoy. Not only from my personal experience with talking to people and their preferences, but also the data gathered to create the JM-1 that the KE4 uses as a point of reference. Obviously, I don’t know if they actually did use the JM-1. But with how closely it follows the said tuning, you can’t deny that they are at least aware of what direction IEM tuning will go from this day onwards.

I believe that the JM-1 and to an extent, the KE4 is the right step to the evolution of IEM tuning. It may not be to my preference, but it’s certainly better than what we had before. This is less offensive and more balanced than the standard we’ve set for ourselves prior.

However, I also think it’s important that we understand that the JM1 is not a preference target to follow 1:1, but a preference boundary that we can modify depending on our own preferences. I may not like the JM1, but I know I like the Simgot EA500’s tuning and I can look at the frequency response graph to understand where the EA500 lands within the preference bounds. And the same can be said for every single IEM to come in the future that will use the JM1 as a point of reference to create their ideal IEM.

Thank you for reading my review on the Kiwi Ears KE4. If you would like to order one, consider using the non-affiliated link below: https://www.linsoul.com/products/kiwi-ears-ke4

RESOURCES:
Diffuse Field: https://headphones.com/blogs/features/diffuse-field
Understanding Headphones.com IEM measurements: https://forum.headphones.com/t/understanding-the-headphones-com-iem-measurements/23607
On the Standardization of the Frequency Response
of High-Quality Studio Headphones: https://hauptmikrofon.de/theile/1986-3_Standardization-of-studio-headphones_JAES-1986.pdf
The New IEM Meta Explained:

HiBy Digital Xeno Review: IS THIS THE FUTURE OF AUDIO?​

WATCH FULL REVIEW HERE:​

PROS:​

• One of the most EQ capable IEMs
• Superb transient response
• Versatile controls
• Good volume levels
• Dedicated EQ app
• Lightweight build
• Spec and feature rich

CONS:​

• Complex EQ app
• Not the most refined tuning
• Cheap build quality
• Not the best fit and seal (subjective)

WHO THIS SET IS FOR:​

• People who like new tech
• EQ lovers
• People who like an earphone with versatile controls
• People who like lightweight earphones

WHO THIS SET ISN’T FOR:​

• People who want a refined product
• People who want detachable cable
• People who want a simple product
• People who want a sturdy build

RECOMMENDED GENRES:​

• Pop

SHORT REVIEW:​

The Xeno is a good look at what the future might bare for audio. A primarily digital device with built-in EQ, versatile inline controls, powerful DAC/AMP and a streamlined process that allows for a truly personal listening experience. Unfortunately, it suffers from the downfalls of a first gen product with a lot of rough edges from tuning to the built. Additionally, the EQ is completely contradictory to HiBy Digital’s target demographic of the casual listener. Nonetheless, HiBy Digital can comfortably say they’re one of the pioneers of the future of audio. RECOMMENDED WITH CAVEATS.

If you were to ask me how wireless audio tech could be improved, I can tell you a million things I want changed and improved. But if you were to ask me how wired audio could be improved, it’s a little harder to think of something that doesn’t require literal magic to do.

This is why when I found out about the xMems technology, I was quite baffled that audio tech could be improved this way. Obviously, there’s too much complicated tech to explain on what xMems is and what it does, so let me share you my experience with the HiBy Digital Xeno!

NOTE:
The HiBy Xeno has a Kickstarter for those who want to support the development of the product and also get to experience what the future of portable audio may be. Stay tuned for the link!

Big thanks to HiBy for sending over the Xeno in exchange for my honest thoughts.

THE XENO FILES​

Let’s tackle what makes the Xeno such a special set in the first place. There are 2 modern audio tech jammed into the Xeno’s self; xMems and DSP.

DSP has been with us for a very long time, but only surfaced in portable audio recently due to the loss of the headphone jack. Another complicated tech that I like to simply see as “built-in EQ and DAC”. It’s more than that, of course. But most people wouldn’t really care what it is more than what it does for them. We’ll talk more about this very soon as it plays a very important part to the identity of the Xeno.

Next, we have the xMems. This tech has been out for quite a while, but my personal experience with xMems prior was on in-line microphones. I never understood why some cables had better microphones than others until I discovered some of them were using xMems tech. Now, xMems have evolved to be used for speakers which can apparently improve the sound quality due to its higher efficiency, all-silicone construction and small size. Quite frankly, I don’t know much about xMems to tell you how much technological advancement this is. But any advancement is great as long as it actually improves on the existing tech. But does it?

BUILD & FIT​

If there’s one thing I know I don’t like about the Xeno, it’s the build and fit. Granted, the Xeno is from HiBy’s lifestyle brand, HiBy Digital. They don’t specialize in “audiophile” or “enthusiast” needs, moreso casual and general purpose. This means that the Xeno is catered to the casual people who happen to also like new tech.

However, this is not for those who are people like me who put fit and build pretty high up in priority. First and foremost, the fit itself is horrendous. It barely seals in my ear and the shape really does not help with this. I understand this is a self issue, but I also know that a lot of people will probably find the shape of the Xeno to be pretty bad.



While I don’t really think the all-plastic design is bad as it does make the Xeno rather lightweight and easy on the ears, the cable isn’t really the best cable in the world. Granted, it was explained to me as well as other wired xMems IEMs that the cable used is specifically used for the drivers. This means it can’t be detachable (yet) and the quality is fixed to how it is.

But how is the quality? Not very good, I’m afraid. Very tangle prone and pretty cheap feeling. The material is a sort of cloth-like with a soft and supple feel that is a little makes my face itch whenever it rubs on it.

I will give HiBy some props for the rather innovative center console of the Xeno. I have not seen an IEM with this big of a middle console that acts like a more advanced version of those that come with cables with microphones.



This allows to you to change the volume, pause, play and skip tracks and act as a microphone as well. But most importantly, this allows you to change the tuning on the dot. You can do this by pressing the circle button and you’ll see the LED at the center change color. This plays a VERY big part on the next section which will be the EQ and DSP part.



But before we talk about that, I should also mention that the center console features the DAC as opposed to be on the type C end. This features a CS43131 and ES9018C2M.

FEATURES​

If there’s one thing I can appreciate HiBy Digital doing for Xeno, it’d be how jam packed this thing is.

I should first reiterate that the Xeno isn’t necessarily an “audiophile” product. Despite this, the audiophile features of this thing are honestly pretty insane.

First, we have the usual stuff you find in earphones. Inline microphone with controls (that is more versatile than your usual in-line controls), type C connection and DSP connection.

Where the Xeno diverts from the crowd is what it does with all that tech. First, you get PCM 384kHz and DSD128. Not an audiophile product, but with audiophile grade specs. Next, you also get exclusive mode (on specific applications that support it like the HiBy app) for bit-perfect listening. This also means that it bypasses the SRC of the device you’re listening to depending on the application.

But arguably the most fascinating thing about the Xeno is the application that allows you to play around with and save EQs in the DAC itself. Think of it as a built-in wired Quedelix 5K in an earphone.



I should note first that the EQ I used was for the PC and is something that only hardcore EQ nerds can use. It is NOT for casual listeners as the application is made for people who do mixing, professionals and the like. But I was also told that there will be a mobile app and you can use to set-up your own EQ. You can also just use HiBy’s own music application to EQ, but any device can do that as long as you have access to the app.

I mentioned that this was a game changer because of the xMems and the supplementary DD. Something I noticed with xMems drivers, whether it’d be TWS like the Creative Aurvana Ace 2 or the Xeno is how well it responds to EQ. Moving the EQ variables on the Xeno is so distinct and varied that, if you had the knowhow, you can tune this to whatever IEM and it’d sound really damn good. I created my own EQ setting for the 0.8 firmware and I loved that thing to death.

But on the topic of sound, how does this thing ACTUALLY sound?

SOUND​

One of the things that early adaptors usually suffer from is not having the best implementation. This isn’t even exclusive to audio as the likes of folding phones had problems during their early adoption.

This is unfortunately the case with the xMems of the Xeno as, while it may provide fast transients, great details and rich bass, a lot of tonal quirks make it a rather peculiar set to listen to.

First, I should note that the Xeno was electronically tuned and not physically. This means that the tuning is digital through the DSP paired with the xMems and the other components. I’m not entirely sure of the DD was also tuned that way, but one can speculate.

As for my personal listening experience, I found the Xeno to be somewhat mediocre stock. The bass is a little too bloated and boomy, the mids are colored and recessed and the treble is genuinely all over the place. I can’t really pinpoint what exactly it is that felt so odd about the treble, but it was almost like there are very specific spikes in the tuning that genuinely make it so odd to listen to.

Usage wise, music listening wasn’t really something that I looked forward to in stock tuning and media consumption was just about average. Pair that with the poor fit and it really makes it hard to justify the stock tuning.

But this is where the EQ comes into play and why the Xeno is something that EQ nerds will absolutely love.

One of the benefits of being in the same company as the brand that provides one of the most useful EQ tools is that your product that is almost made to be EQ responds VERY well to this. I first experienced this with the PEQ app that was provided to me by HiBy and ran on my Windows PC. I did the ol’ EQ and measure trick to get my ideal tuning during the 0.8 firmware. And I’m not kidding, this thing sounded amazing. The bass was near perfect and the midrange was silky smooth with great details. The treble was also quite detailed, but was still somewhat barred due to the rather odd dip post 10k. But that was small considering how good the overall tonal balance of this way.

Then I also tried using MSEB and the global PEQ on HiBy apps and, while not as good as the built-in EQ, I was able to nicely adjust the tuning to suit a more casual and considerably easier EQ experience.

The Xeno is fundamentally a casual device in terms of its tuning with the rather unrefined tonality, but can become so much more with the provided EQ apps and the likes

This makes me feel like HiBy Digital wanted to create a blank canvas for casual listeners and so, created an IEM that responds really well to EQ and provided a supplementary app to it

MY PROBLEMS​

Unfortunately, I do still have some problems with the device that might cause some people to experience difficulties with the device.

First, the whole process of updating the firmware is almost exclusively PC only right now. I’m not going to bank on saying that this is going to be the only method as HiBy has shown that updates can happen OTA or online, so a mobile phone update may be possible. But I had quite the issue when setting up the update app and getting it to update properly.

I’d also mention the bugs, but they often get squished per firmware and currently, I haven't experienced any bugs outside of not knowing how to EQ (aka getting pretty nasty distortion).

But probably my biggest problem, right now, is the EQ app for the PC. It’s so convoluted and complicated that I doubt any casual listener would want to try it or not. Maybe the mobile app will be better, but we won’t really know until it comes. And that’s what I’m waiting for right now. Otherwise, the fundamental existence of the Xeno seems to be hanging on the way side with a complex usage to make it good for a casual device.

WHAT THE FUTURE HOLDS FOR XMEMS​

Including the future of audio with DSP, I think there’s a lot for this tech to be properly implemented. The best part about it? It’s probably one firmware update away. The benefit of having a device as digitally reliant as the Xeno, you get to make realistic changes to improve the device through firmware updates.

Whether this would be the stock tuning, bug fixes, efficiency or the likes, the Xeno is probably the best platform to push this new audio tech to the masses.

Adding unto that is the xMems driver. I’m not going to deny that this new driver tech might not be totally ready for the masses, but the potential is there. The EQ versatility and the speed of the driver make it probably the most efficient not only for powering it but also for external factors like device battery life, latency and other quality of life improvements.

There are many things to improve, but these are all things that I know can be polished like a continuously update game. And for that, the Xeno could really be the future of audio.

Thank you for reading my full review on the HiBy Digital Xeno. The Xeno is currently in kickstarter and you can support the development here: https://www.kickstarter.com/project...s-hybrid-iems-with-dual-dac-digital-crossover

#hiby #hiby digital #xeno

Fosi SK02 Review: THE BEST UNDER $100​

WATCH FULL REVIEW HERE:​

PROS​

• One of the best desktop sources under $100
• Very high power output for the price
• 4.4mm Balanced Output for sub $100 desktop amp
• 1100mW on 4.4mm balanced
• Clean, neutral tone with no coloration
• Improves transients and dynamics drastically
• Immersive headstage and imaging performance
• Perfect headroom for most gear
• Solid build quality
• Very informative LED presentation
• Solid features
• Interesting form factor
• High quality interface
• Intuitive layout

CONS​

• Phone compatibility
• No RCA input
• Non-traditional shape (nitpick)

WHO THIS UNIT IS FOR​

• Anyone looking for a good quality desktop source
• People looking for a powerful, clean but affordable source
• People looking for neutral source that improves the best parts of your headphones
• People looking for a feature-rich source
• People looking for the best value source in the market

WHO THIS UNIT ISN’T FOR​

• People who want a portable source
• People who want a more colored source
• People who want a source with better phone compatibility
• People who want a more traditionally shaped source

SHORT REVIEW:
I cannot think of any major cons with the SK02 that bars it from being arguably the best desktop source to get in 2024. Insanely high output, rich features and a superb sound that enhances everything I plug into it with enough power to drive anything. Maybe you’ll take issue with its compatibility, the shape or the lack of RCA, but as someone who’s been searching for the one source I can use to not only review but listen to music, the SK02 lived up to my expectations and more. HIGHLY RECOMMENDED

FULL REVIEW


In the world of portable dongle DACs littering the market, it’s hard for desktop jockey's like myself to find a reliable all-in-one device to power everything that I have with enough driving force and a clean output at a reasonable price.

That was until Fosi came along and released the Fosi SK02. But what exactly makes the Fosi SK02 the best budget desktop DAC/AMP in the market today?

DISCLAIMER:
Big thanks to Fosi for sending over the SK02 in exchange for my honest thoughts.

CLEAN SOUND, AFFORDABLE PRICE​

As someone who has been searching for affordable, high quality and powerful sources, Fosi has always been under my radar for seemingly being the only brand that can offer all three in the market. Maybe it’s their marketing, but all other brands I’ve seen have fundamental flaws in the products I’ve tried that make it somewhat iffy to not only use but recommend to other people. Whether it’d be awkward volume shifts or an insanely inefficient and noisy sound, it’s a truly rare sight to see a brand come up with a fundamentally good source. So when I heard that Fosi was coming out with a combo DAC/AMP that can do 1100mW on 4.4mm Balanced for under $100, I just had to bite and taste what a package deal Fosi seems to be offering.

SPECIFICATIONS:​

Model SK02
Input USB/OPT
Output 3.5mm Headphone,4.4mm Headphone,3.5MM line out/OPT
Amp output maximum power 3.5MM：
High Gain: 280mW@32Ω, 130mW@64Ω, 40mW@250Ω, 30mW@300Ω
Low Gain: 90mW@32Ω, 50mW@64Ω, 15mW@250Ω, 10mW@300Ω

4.4MM：
High Gain: 1100mW@32Ω, 550mW@64Ω, 150mW@250Ω, 120mW@300Ω
Low Gain: 350mW@32Ω, 180mW@64Ω, 50mW@250Ω, 40mW@300Ω
Frequency Range 20Hz-20kHz (±0.02dB)
THD ≤0.001% @ 1kHz
SNR 3.5mm Headphone:
Low Gain:116dB
High Gain:120dB

4.4mm Headphone:
Low Gain:110dB
High Gain:115dB
Headphone matching impedance 16-300Ω
PC-USB Sampling Rate 32Bit/384KHz DSD256
OPT Sampling Rate 24Bit/192KHz
DAC Chip ES9038Q2M
Device Dimension 4.76*2*1.69inch (121*51*43mm)
Net Weight 0.84lb/380g
Power Supply 5V, USB Type-C

BUILD​

The SK02 is arguably the most unique desktop source that I’ve seen in a while due to it’s somewhat peculiar shape. While most sources are flatter and wider, the SK02 is taller and thinner with a somewhat brick-like shape.



Starting on top, you can find the bulk of the features of the SK02 with the Fosi logo up top, two buttons with the left changing gain modes and the right changing connection modes, the plethora of LEDs with the left side showing your current gain mode and your PCM decoding and on the right with the connection mode as well as your DSD decoding and power/volume status. At the very bottom is the massive infinite volume knob that also acts as a universal pause button by pressing down on the volume.



Moving down to the front side of the device, you can find the 3.5mm and 4.4mm jacks.



The sides are bare with just a solid aluminum panel wrapping them.



The bottom features the rubber stoppers.



On the back, you can find the inputs including the Type C, optical and AUX/Optical out.

While the build might not be so different from other desktop DAC/AMPs, the construction is sturdy and the interface is well-made. I don’t feel scared to wear out the jacks and the buttons feel tactile and satisfying. The knob infinitely spinning might be a problem for those who want a true analogue knob, but I’d say that it does the job really well and allows for a very fine level of volume adjustment. Plugging in jacks have a very satisfying click, especially on the 4.4mm which fills me with confidence that this won’t wear out quickly.

FEATURES​

One of the most surprising things about the SK02 is how much features this thing has for a sub $100 desktop amp.



Firstly, you get the aforementioned gain switch that allows you to change from low gain to high gain. The difference is VERY audible on both and can mean the difference between being able to drive something comfortably with good headroom and not having enough power.

This is thanks to the over 1100mW of power on high gain through the ES9038Q2M DAC and SGM8262 AMP and balance that makes the SK02 one of the best combo DAC/AMPs to drive high impedance and low sensitivity headphones. Besides dedicated amps, I don’t know other DAC/AMPs in this price range that has that high of an output.

You also get your usual mode switching from optical, USB or coaxial for those who would like to plug this into home theater setups.



But arguably one of the best features of the SK02 is how much information it provides on the top LED display. PCM decoding, gain mode, input mode, DSD decoding and power inputs are exactly the kind of information you wanna see while listening to music. This made me realize that MusicBee does NOT decode higher than 96kHz PCM on its own but Foobar with the SACD plug-in does. Being able to know what gain mode and connection mode are also very useful when troubleshooting or testing different gears. The argument could be made that they could’ve just made it more compact and just use different LED colors to indicate these things, but I’d argue this makes it easier for someone to know exactly what they’re playing.



You can also use the volume knob as a pause button that works surprisingly well for even applications that usually can’t get paused by the system. From foobar to MusicBee, if I pressed the volume button down, it will pause the music.

SOUND​

As someone who’s spent their time on portable dongle DACs as their main source for both mobile and PC and having only experienced a handful desktop options, the SK02 seriously impressed me with how much it opened out the sound of anything I plug into it. This is further compounded by the option to have a balanced output that makes this a seriously impressive source in both sound and power.

First off, the sound is properly neutral. I didn’t find this to color any of the headphones that I plugged into it. However, it does improve upon the strengths of whatever I plug into it. It opens up the sound and presents the soundscape in a cleaner, more transparent and nuanced way that is nothing like I’ve heard in any other source. I’ll explain more when I compare this to other sources, but I was ge nuinely impressed with the headroom I got with this and how much it improved everything I plugged into it.

Arguably the strongest sonic feature about the SK02 is how much it improves the dynamic range of the headphones I plug it on. The nuances in music, especially when listening to higher resolution files are evident with how the nuances are more prominent and the space in between instruments make music sound more immersive than other sources that I’ve tried.

This is further compounded when using the 4.4mm balanced as it opens up the sound further and gives you even more headroom and provides a very immersive listening experience unlike anything I’ve heard prior.

Pairing​

Normally, I have a favorite pairing for the sources I review. However, the SK02 is the one source that I found to pair with basically everything I throw at it. From the humble in-ears to my 500ohm beast of earbuds, the SK02 is more than capable of providing sufficient and clean power to give me a satisfying listening experience. I can pair almost anything with the SK02 with little to no issues, so pairing is very versatile.

Noise​

Despite outputting almost 1100mW, I never experience any issues when it comes to noise floor on even very sensitive IEMs on balanced output. I paired the SK02 with the Simgot EW200 with a balanced cable and I did not hear the noise floor.

USABILITY​

From the moment I set-up the device to the hours of listening I’ve put into it, the SK02 has given me a hassle-free and versatile experience as I often never have to think of anything after plugging whatever headphones and adjusting the volume accordingly. No complex instructions from the manual, no fumbling with the cables, buttons or connectors. Just the perfect definition of plug and play.

I really appreciate Fosi sticking purely with USB audio for both power and data as adding another power supply will just cause problems if you don’t have an outlet ready. Despite that, they were still capable of provide 1.1w of power in the measly 5V DC. At that point, it’s inexcusable how other companies can’t achieve that level of power and sound cleanliness in the budget segment.

The one thing that I will say that someone both impressed but bothered me was the form factor. While I do think that this form factor is great for those who want a slimmer footprint, the height forced me to place the SK02 elsewhere due to its height and not being able to fit into my desk without obstructing my monitor. I know it’s a niche problem, but it’s something to consider if you put your sources on your risers or in between areas.

Otherwise, I found 0 issues with the SK02 in my weeks of listening. I could not think of a single con of this product for the price and perfectly compliments everything I plug into it.

COMPARISONS​

First, let’s compare it to two of my other desktop options. The Topping DX1 Combo DAC/AMP and the combo of the NEOHIPO DC10 and Douk U3.

vs Topping DX1​

Prior to the SK02, the DX1 was my main desktop source. For the time, it was the best source I’ve ever had as it brought about the best in the IEMs and headphones I plugged into it with superb quality and headroom. This was when I realized that desktop sources were a completely different beast from the little dongle DACs I was used to.

Come today and I realized that the DX1 wasn’t even the best I could get in the budget. The SK02 provided a cleaner, more dynamic and more open listening experience compared to the DX1. The DX1 had a warmer tone that provided a more natural timbre and paired better with neutral bright headphones, but the SK02 was able to provide a more transparent listening experience while improving upon the dynamic presentation and cleaning up the transient response.

But arguably the biggest upgrade from the DX1 was raw functionality and features. The DX1 is just a DAC/AMP through and through. You get your analogue volume knob and a gain switch at the back, but that’s it. The SK02 has dedicated LED for decoding, gain modes and power all in the same side. No fiddling at the back to change gain modes. The DX1 does have RCA connection going for it, so you can use it as a DAC to pair with your headphones while the SK02 is limited to being used as a pre-amp through the AUX at the back.



On top of that, the SK02 features both a 3.5mm and a 4.4mm output that can do 280mW @ 32ohms on 3.5mm and 1100mW on 4.4mm Balanced. Compare that to the DX1 that only features 3.5mm and maxes out at 280mW, you start to see why the SK02 is just the superior source in general

While the DX1 has a place in my heart, I cannot deny that the SK02 is just the better device overall. More features and a more powerful sound at the same price makes the SK02 the clearly superior choice.

vs Neohipo DC10 + Douk U3​

This set-up is a newer set-up of mine as I wanted to get a really powerful source to pair with a nice pure DAC.

First things first, the SK02 wins in pure convenience. The amount of setting up you have to do to is something only enthusiasts would find enjoyable. You need to find a free outlet for the Douk U3, a decent RCA to connect the U3 to the DC10 and the USB that eventually plugs into the PC. The SK02 just needs you to plug and play. The space you need to setup both devices might also be a problem for some, but both devices are pretty small and you can stack them on top of each other to minimize the amount of space being taken.

As for features, the DC10 may have a very simple display but the tactile levers and straight forward dual LED indicators are perfectly adequate, albeit will require you to thoroughly read the manual to know what color is which. The U3 has an on and off switch at the back and an analogue volume knob. Unfortunately, this volume knob is borked as the sudden jump in volume means that this is practically unusable with in-ears.

The issue with the volume isn’t the only reason why this combo isn’t great for in-ears as the noise floor of the U3 really cannot pair with in-ears well. On less sensitive in ears, it’s perfectly adequate and actually enjoyable with the likes of the KZ PR3. But anything more sensitive than 105db and lower than 32ohms will just be a noisy mess. I understand the DC10 has basically nothing to do with that and I can use an op-amp to improve the noise problem a little bit, but the SK02 commits all those issues in a single, convenient package.



The only benefit to the U3 + DC10 combo is that you can essentially change either to improve your listening experience. Want a cleaner sounding amp to something cleaner, more powerful or has tubes? Replace the U3. Want a more feature rich DAC? Replace the DC10. But that means going out of the $100 budget that the combo asks for which goes higher without sales.

At that point, the SK02 is just the better device for those who just want a good source and nothing more. The combo source is great for those who like to DAC/AMP roll or want to think of the long term when one of the parts die and needs to be replaced. Versatility is also the strength of the combo, but at what cost? I’d personally just take the SK02 and call it a day, but I get the appeal of the combo and is still a viable choice for hobbyists.

CONCLUSION​

Whether you’re a casual listener or a power user, the SK02 might just fit into your set-up to have the best listening experience. A near seamless user experience paired with a very powerful output that rivals dedicated amplifiers that require a separate power supply isn’t something you see a lot, moreso under $100.

If we’re talking hard flaws, I really cannot think of anything that the SK02 is flaunting. Lack of mobile support? Get a dongle instead, there are many powerful portable dongles in the market today. Height? That’s justified, but it’s also slimmer than your usual desktop DAC/AMPs, so unless you have literally no more space anywhere else, the SK02 is genuinely the perfect budget reference desktop DAC/AMP you can get for under $100 today.

Thank you for reading my full review on the Fosi SK02. If you would like to order one, consider using the non-affiliated link below:
https://fosiaudio.com/products/fosi-audio-sk02-desktop-dac-headphone-amp

SIMGOT EW300 / DSP REVIEW: CONVENIENCE MEETS QUALITY​

Watch full review here:​

PRICE:​

• $69 (Standard 3.5mm ver.)
• $79 (DSP ver.)

PROS:​

• One of the most versatile and balanced tuning under $150
• Very refined sounding tribrid set-up
• Superb balance of musicality and technicalities
• Inoffensive yet well-detailed treble presentation
• Rich, deep-reaching and rumbly bass
• Good midrange note weight and nuance
• Effective tuning nozzles
• Option for DSP that cleans the lower mids and smoothens the treble
• Clean separation
• Precise imaging and layering
• L-Shaped jack for the DSP

CONS:​

• Slight metallic timbre
• Scratch and fingerprint prone finish (on base ver)
• Chip-prone finish (DSP ver.)
• Not the most snug or best sealing fit
• DSP cable is memory prone and stiff
• Packaging is lackluster

WHO THIS SET IS FOR:​

• People looking for the most versatile tuned set under $150
• People who want a good balance of musicality and technicalities
• People who want Simgot’s refined tuning
• People who want the option for a DSP cable and analogue cable
• People who like tuning nozzles that make a distinctive change

WHO THIS SET ISN’T FOR:​

• People who don’t like fingerprint/scratch/chip prone finishes
• People who want a perfectly natural timbre
• People who want a traditionally bright Simgot set
• People who are finicky about fit
• People who want a generous package

RECOMMENDED GENRES:​

• Most genres work with the EW300 and EW300 DSP

SHORT REVIEW:​

Simgot continues to push the boundary of how good an IEM could sound without draining your wallet. Versatile, technically-capable and insanely refined perfectly defines what makes the EW300 a near perfect set for anyone looking for an IEM in 2024. Pair that with the option for a DSP cable and you have yourself the best sounding and most convenient IEM that you can just plug and play. Some might take issue with the finish on both sets, the lackluster inclusion and the slight timbre issue, but you cannot find anything better than what the EW300 does for under $100. HIGHLY RECOMMENDED!

FULL REVIEW​

A couple of reviews back, I said that consistency is one of the hardest things to achieve for a company in a market as fast as audio. You either succumb to trends or die off like many companies that were the flavor of the month only to fall into obscurity.

Then you have brands like Simgot that, for almost 2 years at this point, have been releasing bangers upon bangers with every release. While not every single release have been as revolutionary as something like their golden goose, the EA500, you can’t deny that they’ve kept it consistent with their releases.

Except they didn’t stay consistent in every single way. On the contrary, they’ve evolved and adapted not only to market trends but also to their own identity. The one thing they kept consistent was the quality of their products.

Come 2024 and they’ve released the long awaited update to the EW200, the EW300. Plug in 2 more, different drivers and a detachable nozzle like their EA series, an option for a DSP cable and what have we got in our hands? A masterpiece? An abomination? Or a tribrid DSP revolution?

DISCLAIMER:
Thank you to Simgot and Linsoul for sending over the EW300 in exchange for my honest thoughts. Rest assured, all thoughts and opinions are my own and I was not compensated to say anything about the product.

AND THEN THERE WERE THREE​

The EW200 was arguably the best value Simgot IEM that Simgot has ever released. $40 worth of nearly $100+ sound quality. The only thing it couldn’t do was provide you a complete package like it’s competitors. But when it sounds that good, how can you complain?

The EA500, along with its successor the EA500LM, were both well-renowned for the same thing but also for popularizing the detachable nozzle trend that has taken the audio market by storm. So what happens when you combine these two amazing series and their recent love for multidriver systems and a DSP? You get the $69 - $79 EW300. Let’s starting with the unboxing.

UNBOXING:​

Let’s be real; Simgot has never been the best at unboxings and inclusions. Not their budget EW sets nor their flagship EA sets. The EW300 is no different

Here’s a full list of the accessories:

• Simgot EW300
• 6 pairs of eartips
• Detachable nozzles
• Nozzle foam
• O-Rings
• 3.5mm Cable (base)
• DSP Cable (DSP ver.)

Decent eartips, spacious case. If I were to go in depth with these again, I’d sound like a broken record and I’d break my head in.

BUILD & FIT​

One of the things I appreciate Simgot doing is keeping certain aspects of their existing sets and improving it to fit their modern standards.



Their fantastic build is one of the few things that I commended Simgot for normalizing at a low budget with the likes of the EW200 and the EW300 proves that you can keep this form factor while improving the different aspects of the set.

Firstly, the EW300 is rocking a 3 driver set-up. A single dynamic driver, 1 planar driver and 1 piezoelectric driver. This is a first for Simgot in terms of drivers, but not their first doing multidriver set-ups.



But the fact that they were able to fit this in essentially the same shell as the EW200 is just insane.



Pair that with the fact that they also gave the EW300 detachable nozzle makes this arguably the amalgamation of every Simgot set that has been released to date. Multi driver configuration? Check. Detachable nozzle? Check. Full metal build? Check. Shoddy fitting? Unfortunately, check.



While this is an improvement from the Simgot EW200 in terms of fitting, I still think that it suffers from the poor seal and stability that has plagued every single Simgot IEM I’ve tried to date. From their cheapest to the most expensive, you will experience one or two fit issues whether it’d be the seal of the external sounds which also affects the bass presentation or the stability which might cause your IEM to plop out your ear, the EW300 still has that to a degree. This at least guarantees that you won’t experience any driver flex or air pressure build up or even ear pressure, but that’s a tradeoff that you’ll want to think about if you’ve tried Simgot sets.



Another special thing they did was provide a very unique finish for their DSP version. Unlike the shiny and fingerprint magnet standard EW300, the DSP (and the HBB version) have a dark matte finish that make it more handsome but a little bit more terrifying to scratch as this kind of finish is the type to chip off if my experience from Moondrop sets have told me me anything.



Cable wise, you get basically the same cable that Simgot has paired with their IEMs since the EW200. Soft, supple, good quality and generally usable. It’s becoming my favorite kind of stock cable with just how good my experience with it has been.



The DSP version has a thinner, not as supple cable but is still good quality. The standout feature is that L-Plug Type C connector that I have not seen in any DSP IEMs and is arguably the best implementation of a DSP plug. It also comes with a mic for those who like to call in style.

SOUND​

NOTE: Because the EW300 has a detachable nozzle and a DSP option, I will be talking about the silver nozzle on 3.5mm and compare it to the pink nozzle later along with the DSP options.

Sound Signature​

The EW300 features a rather refreshing, warmer U-Shape sound signature that follows Simgot’s golden target first found in the EA1000. This is not your usual bright u-shaped Simgot as the low end is considerably warmer, richer and thicker while maintaining a very clean and open sounding midrange and the distinctly refined, crisp and energetic treble but toned down for a more generally versatile sounding set. Unfortunately, Simgot could not completely get rid of the somewhat metallic nature of the drivers used and can occasionally feature a metallic timbre on certain tracks. However, it is considerably more refined than its competitors in this regard.

Source Pairing​

The EW300 is a surprisingly consistent set in the sources I plugged it on with one minor point: using a higher quality source can considerably improve the bass dynamics compared to lower quality sources. You get the usual improved stage and layering with a better source, but dynamics is where the EW300 takes a hit if you skimp out on the sources. Using my Fosi SK02 brings out the best in the EW300 while weaker, more portable sources like the Jcally AP10 lacked the low end punch to really make the EW300 sound alive.

Volume Scaling​

Thanks to its warmer tone, the EW300 can be cranked quite high up in terms of volume compared to its bretheren. It’s still no dark basshead IEM that you’d need to bring the volume to headringing levels to bring out the rest of the sound, but this is the highest volume Simgot IEM my ears can handle. Medium to high listening volumes is ideal with the EW300

Bass​

One of my biggest issues with hybrid Simgot sets in the past is how they integrate their bass. It’s either sloppy or just straight up untextured despite having good quantity. Thankfully, the EW300 minimizes the issue as the dynamics are much closer to the likes of the EW200 with a more focused low end that likes to get a little punchy on certain tracks. Extension is pretty good and the tactility is decent. However, it still has to stretch its wings to compare with the EA series of IEMs, especially the EA1000 and EA2000 in terms of bass quality. Nonetheless, the quantity makes up for it and make the combination of the solid punchiness and extension make it a more versatile and better quality bass than those that came before, Still, EA500 cannot be beat in tactility.

Mids​

Never has Simgot midrange sounded this smooth and silky! While a certain level of thinness can be tolerated, the lushness of vocals in contrast to the overall sound signature is something to be adored by as Simgot seems to have finally found the perfect tonal balance to get open, nuanced midrange and a good note weight and engagement that doesn’t sound like the singers are congested. Granted, the EA500LM and the EW200 aren’t necessarily that bad in terms of their midrange presentation. However, I cannot deny that the EW300 is Simgot proving to everyone that they can do a non-shouty midrange while keeping the details.

Treble​

My tears shed for the fallen treblehead brethren who were expecting the EW300 to be another treble-centric Simgot because it really wasn’t. Granted, they did not skimp out on the quality of the treble and I believe this is the best quality treble that Simgot has released, barring the somewhat metallic tone. But what really got me falling in love with the treble of the EW300 is the fact that they were able to keep that Simgot magic of having such a refined treble presentation that is free from grain or roughness while keeping the insane level of details that you could really only find on more expensive hybrid sets. Granted, $69 is stretching the “budget” nature of the set, but it’s a far cry from other sets that do treble much worse at more expensive price points.

Technicalities​

While I believe the EW300 is a technically capable set, moreso than its competitors, I believe that it’s not far from the technical ability that the EA500LM has set almost a year prior. Do I think that the EW300 has a cleaner, more accurate layering and separation than the EA500LM? Yes, but not marginally. Where the EW300 really takes its technical ability down is the dynamics and transient ability being smoother than the usual Simgot sets that make those a technical wonder. This is further compounded when we talk about the DSP version.

PINK NOZZLE​

Ever felt like the EW300 was just a little bit too vocal forward or lacked bass quantity? Well, the pink ring nozzle is there to save the day! It brings the bass quantity up quite noticeably and tones down the upper midrange to not only bring the emphasis lower but further the ear gain to a 3.5k peak. This opens up the midrange to be more linear rather than vocal focused while still maintaining a solid vocal presence when the track needs it.

Granted, this does make the overall sound warmer and ever so slightly colors the midrange warmer, but I’d argue that it makes it more organic and natural sounding. Well, except for one aspect.

I want to call this the Conch peak because the Conch is one of the worst offenders of this. A clean and warm low end to upper midrange that is halted with a peak in the mid treble and dips in the upper treble brings a somewhat sudden contrast from bright to dark that, in certain IEMs, sounds horrendous (see TRN Conch). The EW300 doesn’t sound as bad with this peak as it still has a rather consistent level of brightness even on the pink ring nozzle, but it’s audible in poorly mixed tracks where there’s a sudden spike of sharpness in the T and S sounds. Thankfully, it’s masked pretty well with the warmth and that later peak aids in making the transition smoother than other sets that have this quirk.

DSP VERSION​

I’ve made a post about comparing the DSP and Analogue versions and seeing whether there was a difference. You can check the post here, but in short, the IEMs are virtually the same and the DSP is what makes the difference.



So what exactly does the DSP do? Take everything I said about the EW300 but lower the midbass, treble and smoothen the dynamics and transients further. I mentioned in the source pairing section that a higher quality source improves the dynamics of the EW300 and this is the perfect example. On my Fosi SK02, the EW300 sounds rich and dynamic on both pink and red nozzles. The DSP version takes that dynamic low end and smoothens it out while also smoothening the transients. This has the unfortunate effect of the IEM sound a bit more low res compared to the SK02 despite both listening to the same kind of file (both Spotify lossy and bitperfect FLAC).



This is perfect for those who still found the EW300 too edgy or sharp and wanted less midbass. Personally, I liked the EW300 in analogue mode in both sets, but I’d honestly get the DSP cable for the convenience and put in a 3.5mm or even 4.4mm cable of my own and enjoy a superbly dynamic and snappy EW300.

COMPARISONS​

vs Celest Phoenixcall​

One of the few Tribrid’s that I’ve tried so far, the EW300 presents itself as the more “normal” sounding set out of the two, masking it’s “tribrid” nature with a smooth and natural tone with the technical improvements that you might expect from a tribrid. The Phoenixcall on the other hand is unapologetically tribrid sounding. A big, warm and boomy bass, followed by an unexpectedly crisp and clean midrange and a very snappy and sharp treble that is all levels of incoherent but technically impressive and detailed sounding set. The EW300 is not as technical as the Phoenixcall, but is more natural sounding thanks to a more refined overall sound from implementation to tuning.

vs Simgot EW200​

Compared to its predecessor, the EW200 is a more dynamic, consistent but less technically capable sounding set to the EW300’s warmer yet more refined, cleaner separated and wider sound. The EW200 is not to be retired, however, as the overall presentation being more consistent and dynamic still carries to this day as one of the best single DD IEMs under $50 or even $100 you can get. But you really can’t beat the improvements in technical ability you get from a tribrid for $30 more.

vs Simgot EA500LM​

Telling a similar story to the EW200, the EA500LM is a more consistent and dynamic sounding set but refines the overall sound further. I don’t think the EW300 exists to replace the EA500LM in the price range, but rather as an option for someone who wants a warmer, more versatile and smoother sounding set with arguably more options with the likes of a DSP cable and an arguably prettier looking finish. Nonetheless, the EA500LM is still a more dynamic, punchier and more tactile set with a sharper focus on details compared to the EW300

vs Simgot Supermix4​

Compared to its slightly older multi driver hybrid sibling, the EW300 is a step down in terms of technical ability and refinement to the Supermix 4, but arguably a more versatile tuning thanks to the nozzles and the warmer overall tuning that makes songs sound a lot richer and more balanced compared to the pure Harman Supermix 4. Still, the Supermix 4 deserves to be called one of the most refined Simgot’s to be released in recent time as much as the EW300 does.

CONCLUSION​

Turns out, you can try new things and succeed as Simgot has proved with the EW300 amongst their other new releases. I genuinely think that the EW300 can confidently replace many of the sub $100 options with its very mature yet very technically capable tuning that gives you an option to either go for the usual Simgot vocal energetic sound or a warmer, almost HBB-like tuning.

Do I think you’ll like the EW300? Probably. Is the EW300 a proper successor to the EW200? Unfortunately, not. The EW300 loses the vibrant and energetic tone along with the punchy and dynamic sound that the EW200 had. However, it takes from what made Simgot popular and well-received and the trends of having warmer and more versatile tuning to make this insanity that is unlike anything that Simgot has released and one of the best to be released in 2024 by far.

Thank you for reading my review on the Simgot EW300. If you’d like to order one, consider using the non-affiliated link below:
Linsoul: https://www.linsoul.com/
SIMGOT EW300: https://www.linsoul.com/products/simgot-ew300

#Linsoul #Simgot

NICEHCK DB2 Review: MORE THAN JUST THE WAIFU?​

PRICE: $22​

PROS:​

• Unique W-Shape tuning
• Great presentation
• Good accessory inclusion
• Aesthetically pleasing design
• Well-built stock cable
• Great for waifu lovers
• Rich and smooth bass presentation
• Unique upper mid focused emphasis
• Relaxed treble

CONS:​

• Not the most natural tonality
• Bass lacks tactility
• Odd midrange timbre
• Treble can be a little uneven and dull at times
• Not the most technically capable set for the price

WHO THIS SET IS FOR:​

• People collecting waifu’s in IEM packaging
• People looking for an upper midrange focused set
• People who want a nostalgic, W-Shape tuned set in 2024
• People who are looking for a aesthetically pleasing and well-fitting IEM
• People looking for a warm and smooth low end

WHO THIS SET ISN’T FOR:​

• People who want the a natural sounding set
• People who want a tactile low end
• People who want a balanced midrange timbre
• People who want a well-extended and detailed treble
• People who want the most technically capable hybrid for the price

RECOMMENDED GENRES:​

• EDM
• HipHop
• Dubstep
• Specific vocal-centric tracks (not a genre but some vocals sound interesting on these)

SHORT REVIEW:​

In the world of Harman, it’s nice to come back to a time where people weren’t afraid to do odd tuning styles which the DB2 brings to the table. A W-Shape tuning with big bass, forward upper mids and a little peak in the treble for some sparkle is a sound that many sets nowadays just aren’t willing to try. Unfortunately, this also makes the DB2 a very niche set due to the said quirk. But waifu lovers are for sure gonna love this! RECOMMENDED WITH CAVEATS

FULL REVIEW​

In the large scheme of things, sound isn’t always the top priority of people buying audio products. Some people buy stuff for how they look, how they feel, how they wear and many other factors.

One particular demographic are those who buy IEMs with the goal to collect anime girls in the cover. Even the most popular audio YouTuber, Crinacle, made a video ranking all the “waifu’s” (as they are known colloquially). That concludes that there indeed is a market for these kinds of products.

But at the end of the day, it’s the sound that most people will base their opinions about a product on. And if something doesn’t sound good, then people won’t rave about it. So how can you balance good sound and effective marketing? Well, by being consistent of course! Let’s talk about a set that meets a very specific criteria for those who enjoy a sound signature like this, the $20 NiceHCK DB2!

DISCLAIMER: The DB2 was sent in exchange for my honest thoughts. I was not compensated in any way to say anything about the product and all my thoughts and opinions are my own.

THE WAIFU WAR WAGES!​

Amongst the many companies that has been releasing IEMs with waifu’s, you’ll be surprised to know that NiceHCK has been releasing products with them for quite a while. They’ve taken it a step further recently with almost all of their products like the NiceHCK EB2s, YDX, DB1 and the topic for today’s video, the DB2 including such.

But outside of that, NiceHCK is a brand many of you should be familiar with for releasing some of the nicest looking cables and popularizing the NX7 connector used in many beloved sets like the BLON IEMs, TFZ IEMs and, obviously, NiceHCK’s own IEMs. It’s not entirely clear if they developed it themselves, but they certainly popularized it to the point where their very own IEM is the name for the connector itself.

The DB2 is an IEM that follows a very familiar set-up with a single DD complemented by a single BA on the nozzle. It’s a comfortable and well-known set-up that many sets in the budget segment do to stand out from the competition. So how does the DB2 stand out? Let’s start with the unboxing experience.

UNBOXING​

As you might expect, the DB2’s unboxing experience is the highlight of the package. Featuring their waifu named “Tian Hui”, the packaging is sure to lure in those seeking to collect all the IEM waifu’s for their collection.

But that’s not the end of the DB2’s solid first impression. Opening the box and laying out the accessories, you realize that NiceHCK didn’t skimp out on offering a solid unboxing experience.

Here is a full list of the accessories:

• DB2 IEMs
• Cable
• 7 pair of eartips
• Photocard
• Pleather case
• Paperwork

I’m seriously impressed with NiceHCK’s effort of including a solid set of accessories with the DB2. The eartips are a mix of the basic silicone eartips and the 07 style of eartips that I personally swear by as the most reliable eartips in the market.



It also comes with a nice leather magnet pouch that, despite not really being a pouch to protect the IEMs from pressure, is more than enough to protect it from scratches and makes it very pocketable.



But the highlight is definitely that photocard. Even I, who isn't really fond of these illustrations as the other people might, thought that the card was really high quality and well-made. The printing had different finishes and textures to it to really sell the idea that they have the best waifu in the market.

BUILD & FIT​

Another aspect of the IEM where NiceHCK did not compromise in is the build and fit department. First, let’s talk internals.

The DB2 follows from the DB3’s hybrid set-up with a single 10mm titanium-plated graphene diaphragm and a single balanced armature inside the sound tube or nozzle. This is all housed in a PC cavity with a 0.78 2-pin NX7 connector. This is a very familiar set-up that many IEMs in the budget realm have used in the past.



Where the DB2 really stands out is with its aesthetics and form. Most in-ears in this price range has a rather predictable form, shape and aesthetic that usually try to balance cost with quality. The DB2 on the other hand looks and feels like a much more expensive IEM.



The faceplate is the first thing that stands out as it’s very reminiscent of their more expensive NX7 MK4 that also stood out for being a gorgeous IEM. The difference? DB2 costs $20 and NX7 MK4 costs over $100. Granted, I have not yet seen or tried the NX7 to say that they’re the same. But aesthetically, both sets are absolutely gorgeous.



Another aspect that stands out is the rather petite inner shell design. Most hybrid IEMs often have to sacrifice size to fit the internal components with enough breathing space. This is especially true in multi driver hybrids. The DB2 only has 2 drivers and doesn’t have to be oversized to accommodate for the drivercount, and NiceHCK knew this and made a respectably thin but aptly sized shell.



It’s very comfy and stable, despite not having any wings to dig into your ear. I found long listening sessions to be perfectly solemn on my ears and I am able to move around without the fear of the IEMs popping out of my ear.



And if you thought NiceHCK was done, then you haven’t seen the cable that the DB2 comes in. As you know, NiceHCK is known for their superb cable quality both stock and aftermarket. The DB2 is no exception and it perfectly complements the DB2’s aesthetics. Granted, I do not like budget braided cables from experience, but the DB2 is aesthetically pleasing and is pliable enough that I don’t have any major complaints about its construction.

SOUND​

Sound Signature​

The DB2 features a rather odd W shape sound signature with boosted bass, boosted upper mids and boosted mid treble. Now, W-Shape is a sound signature that was very popular back in the day but started to fall out of love when the Harman-style tuning became the norm. This makes the DB2 a rather nostalgic set in some regards, but with certain refinements for it to be more than just a relic piece. However, the timbre might be a little questionable due to this along with the metallic upper frequencies seeping into the overall sound on certain mixes.

Drivability​

With an impedance of 16ohms and sensitivity of 107dB, the DB2 is a relatively easy to drive IEM that sounds great on both lower powered, more inexpensive sources and more powerful and higher quality sources. I didn’t really find much issues when it comes to volume and the DB2 got plenty loud and sounded alright on all sources I plugged it in. This makes it great for those who are looking for an easy to drive set.

Volume​

With its peculiar W shape tuning, the DB2’s volume level will depend completely on your tolerance to each of the peaks of the DB2. The DB2 has a 10db+ bass, upper mids and mid treble that is emphasized due to the resonance peak which will mean it’s less emphasized. If you can handle 10db+ ear gain at 1.75khz, then you can crank the volume of the DB2 pretty high. Otherwise, you’ll be forced to listen to a lower volume. On higher volumes, the bass depth is emphasized and the vocals are pushed forward with a lot of energy while keeping the treble surprisingly clean. Lower listening volumes keep the upper midrange energy and the subbass, but cleans up the midrange a little bit more at the cost of sounding a little recessed.

Bass​

A surprisingly competent bass presentation that extends really well into the subbass with a lot of midbass energy. This kind of bass presentation reminds me of the older, thicker and more midbass centric kind of tuning that was all the rage a few years ago. The DB2 cleans up the bass and extends the bass to go deeper which makes it a considerably more mature sounding bass presentation. However, there is a very clear lack of midbass tactility, nuance and tightness that makes the overall presentation sound a little slow.

Mids​

W-Shaped enthusiasts will have a field day with the DB2s midrange as the energy in the upper midrange is unlike anything I’ve heard before. It somewhat reminds me of flathead earbuds with how engaging and in your face the vocals on the DB2. However, due to the bass energy paired with the elevated upper midrange, the lower mids tend to get drowned in the mix and pushed back in more complex tracks. The upper midrange being boosted with a peak at 1.8khz will also affect the overall timbre and make certain mixes sound shouty and odd. This kind of tuning is for those who want a very focused upper midrange but don't really care about it sounding natural.

Treble​

The DB2 flexes the single balanced armature on the nozzle by putting it front and center in the treble region. This means that there’s a very distinct sound that you just know is coming from a balanced armature with the mixture of decent detail retrieval and a rather choked upper treble. The metallic timbre is very prominent in this region and causes a little bit of incoherency in the slower low end and brings out a good bit of airiness. It’s not very well-extended and the details are admittedly a little bit surface level, but it does its job to give the single DD much needed upper frequency energy without taking over the entire frequency.

Technicalities​

The technical ability of the DB2 is average overall. Separation is great in the upper frequencies but hindered in the lower frequencies due to the slower overall speed of the driver making it struggle in more complex tracks. Imaging is surprisingly good on the other hand and I am able to pinpoint instruments in a semi-holographic way that is somewhat immersive on some tracks. Dynamics and resolution is quite lacking, unfortunately.

COMPARISONS​

vs KBEar Flash​

These two sets have a lot more in common than meets the eye. Besides both sets featuring a single DD + single BA set-up, both sets also feature a similar W-Shaped tuning that, on first listen, will sound eerily close to each other. However, the differences start to show the more you listen to it as the flash is the warmer, more relaxed but somehow more tonally accurate set between the two. The DB2 is the more technically capable and better extended set, but the upper midrange being pushed sooner on the DB2 causes the DB2 to sound more forward and in your face compared to the Flash’s more relaxed and more lush overall sound. The DB2 captures a more unique but potentially weirder sound while the Flash follows a more relaxed version of the tried and tested W-Shape tuning from yesteryears.

vs KZ ZSN Pro 2​

This is where KZ’s evolution over the years proves them to know just how to make a sequel to a beloved set. The ZSN Pro 2 takes the single DD + single BA formula into 2024 with a more refined tuning compared to its competition. This is the same case against the DB2 as the tuning of the ZSN Pro 2 is generally more natural and tamer compared to the DB2 while also being more technically capable. The DB2 does feature a more upper midrange forward and punchier bass presentation but lacks the refinement and technical ability of the ZSN Pro 2.

vs ND Nice​

The ND Nice is another single DD + single BA with a more traditional v-shaped tuning, but instead features the warmer and “newer” tuning style that preceded the current Harman-esque tuning trends. While both sets are the more aggressive style of v-shaped tuning, the DB2 has a more relaxed but more midcentric sound that makes it better for those who enjoy their vocals being in their face. The Nice prioritizes both the bass and the treble more with a more “fun” sound compared to the DB2. Both sets have a similar level of technicalities, but the DB2 has a more precise imaging compared to the Nice while the Nice has better details and cleaner separation.

vs EPZ K1​

Telling a similar story to the Nice, the K1 has a rather aggressive v-shaped tuning but refines every aspect to a level that justifies it’s almost 3 times asking price. My thoughts are essentially the same for the K1 as I did with the Nice, but the K1 improves upon the technicalities and smoothness of the sound for a hybrid IEM. If it’s any consolation, however, the DB2 has a truly unique sound that not even the K1 can replicate, so the DB2 still has a valid use case

CONCLUSION​

The DB2 presents itself a nostalgic, unique and well-presented IEM that caters to specific demographics both sonically and aesthetically. I initially found the DB2 to be quite odd until I started to explore the unique presentation that it provided. This W-shaped tuning is something that I know some people really enjoy as there’s a very clear separation between bass, upper mids and treble.

Is this an IEM I can comfortably recommend to everyone? Probably not. The oddity in its tuning is something that many would call “outdated” in today’s standards and despite being presented really well, the DB2 caters to a very specific demographic that more people would find a little immature or tasteless if you’re harsh.

Nonetheless, the DB2 is a uniquely presented budget hybrid set with good presentation that’s perfect for enthusiasts in this kind of sound and aesthetic.

Thank you for reading my full review on the NiceHCK DB2. If you would like to order one, consider using the non-affiliated link below: https://www.aliexpress.us/item/3256..._id=202407300808307167752777711120000760629_1

NF AUDIO NM2+ Review: Easy, Energetic, Monitoring?​

PRICE: $169 (PHP. 8,000.00)​

PROS:​

• Very energetic and vocal forward sound
• Easy to drive
• Well-built (despite using a protruding 0.78 pin
• Clean but punchy bass with good extension
• Open and energetic midrange
• Sparkly, detailed and well-extended treble
• Great technical ability for the price

CONS:​

• Prone to shout and fatigue over long listening sessions
• Lacks impact and slam
• Not the best fit
• Cable is thin and tangle prone
• Thin note weight
• A little edgy and grainy at times

WHO THIS SET IS FOR:​

• People who want a very energetic sounding set
• People who like a lot of vocal energy
• People who want a technically capable bright neutral set
• People who monitor instruments and vocals in the upper midrange

WHO THIS SET ISN’T FOR​

• Shout and treble sensitive people
• People who want the most natural timbre
• People who want a lush and warm listening experience
• People who want a musical sounding set

RECOMMENDED GENRES:​

• Jazz
• Folk
• Classical
• Instrumentals
• Vocal Pop

SHORT REVIEW:​

While the tuning might seem unfitting for a monitor, the NM2+ is a set that is so focused that those looking for a set to monitor a very specific range will adore this kind of sound. But don’t let the naming fool you as this set is still quite a treat when analyzing the music you listen to. This energy might come across “too much” for some and is definitely not for those who want an all-rounded set, but it’s a set with a very specific use case and a very specific tuning that I know some people will enjoy. RECOMMENDED WITH CAVEATS!

FULL REVIEW​

There’s a misconception towards what monitoring in-ears are supposed to be like in the audiophile community. Many people attribute a flat, reference-like tuning to be the only reliable kind of monitoring in-ears. However, having both experienced and talked to a couple of musicians, the requirements of a good monitoring in-ear isn’t quite cut and dry. Today, we’re going to be taking a close look at the NF Audio NM2+, an in-ear “monitor” from NF Audio and is one of their most beloved sets from the past years. Is it really a worthy monitor and does it excel at uses outside of monitoring?

DISCLAIMER: The NM2+ was sent by NF Audio in exchange for my honest thoughts. I was not paid or compensated in any way to say anything about the product.

A BLAST FROM THE PAST, PART 2​

I previously reviewed the NF Audio NA2+, another NF Audio set that I found to be a very nostalgic and unique set in today’s market filled with formulaic sets. The NM2+ on paper seems to be very similar to the NA2+, but I’d argue that there are fundamental differences between the two sets. The NA2+ is part of their music series while the NM2+ is a part of their monitor or professional series. As a professional What exactly are the differences? How does the NM2+ stand out on its own? Let’s start with the unboxing!

UNBOXING​

The unboxing experience of the NM2+ is very satisfying and clean, which is to be expected from NF Audio. You can find a large glossy NM2+ and professional series on one side and an illustration of the NM2+ on the other which looks fantastic on the gray background.

Removing the outer sleeve reveals a sandwich style box that, when opened, reveals the IEM itself sitting in a circular cardboard platform and the rest of the accessories neatly placed.

Here is the full list of the accessories:

• NM2+ IEMs
• 6 pair of eartips
• Carrying pouch
• 2 Pin cable
• Paperwork

For something that came out around 3 years ago, I have to admit that NF Audio killed it in the accessories department. A plethora of eartips and a decent case was more than you could ask for back then. Of course, times have changed and this isn’t the best value accessory list that you can get, but the presentation is still top notch!

BUILD & FIT​

Arguably the highlight of the second generation Nx2+ series of IEMs, the build quality and aesthetics of the NM2+ is beyond fantastic!

First, the NM2+ uses their patented MC2L-10 II single dynamic driver with an integrated tuning circuit, tesla level dual magnetic circuit, a dual cavity design and a high polymer composite diaphragm. This is all housed in a 5-axis aluminum CNC machined shell with a protruding 0.78mm connector.



I want to first talk about that 0.78 connector. On one hand, it looks a lot like QDC which is worrying not only for me but for a lot of people. However, I will say that the quality of the connector is pretty high quality for something that resembles the kind of connector that I despise. Despite being 0.78 2-pin, C-Type cables are compatible with the NM2+.



As for the build itself, it features a matte gray finish with smooth and rounded stylings that is reminiscent of the NA2+ but in a different color way. It’s stylish, it’s clean and it feels very premium.



Unfortunately, fit is not as stellar as the aesthetics and build as I struggled to find the right tips for the NM2+. I eventually ended up with the TRI Clarion which offered the best seal and stability, but I know a lot of people will opt for something that tames the low end more. Unfortunately, most tips, including the ones that came in the package, just didn’t work out for me.



This fit issue might cause for issues as the NM2+ is advertised as a professional IEM which means the ideal use case is for studio and stage monitoring and poor fitting is not something you want to experience while doing professional work. However, it still depends on each person’s ear anatomy and the overall shape is quite stable with the right eartips.



Another issue I have with is the cable. While it is a very lightweight and good quality cable, I find it to feel a little stiff, memory prone and tangle prone. It’s a perfectly usable cable with a high quality interface, including the very effective chin-cinch. But unfortunately, I’m not that big of a fan of these kinds of braided cables anymore.

SOUND​

Sound Signature​

The NM2+ features a bright neutral sound signature. The bass is linear but well extended, the mids are clean and open with a lot of upper midrange emphasis and a well-extended, detailed and crisp treble. Due to its single DD nature, the timbre of the NM2+ remains very consistent, albeit on the analytical side. This is a far cry from the “meta” tuning of today and is very unique in today’s landscape of Harman-tuned in-ears.

Drivability​

This is the major differentiator between the NA2+ and NM2+. The NA2+ was surprisingly difficult to drive and requires close to planar in-ear levels of power from your source. The NM2+ is the exact opposite and is ridiculously easy to drive. I realized this as I was using my HiBy W3 II and found a situation where I couldn’t find the perfect volume as ticking it down was too soft and ticking it up was too loud. This isn’t an issue with my other sources and instead forces me to go down in volume more than I usually do. This means using a lower powered source is ideal for the NM2+ to get the right volume, but it also means that it doesn’t scale as well as the NA2+. The benefit of this is that the sound is consistent through sources compared to the NA2+ where certain sources will make the NA2+ sound better or worse.

Volume​

Due to its neutral bright nature, low to medium is the ideal listening level for the NM2+. Cranking the volume too high brings up the upper midrange way too much and might cause fatigue, especially for those sensitive to shout and upper midrange energy. The nice thing about the NM2+ is that the details are maintained even in low listening volumes and make the overall sound very clean and detailed.

Bass​

The bass response of the NM2+ is very clean, tight and linear but with great low end extension. It’s the kind of bass that perfectly fits neutral bright sets as compared to Harman tuned sets, the NM2+ maintains a very consistent level of bass from subbass to midbass which extends to the lower mids. It’s definitely not a basshead set as it lacks low end impact, but the punchiness and texture impressed me with how well-done and well-defined bass notes were.

Tracks like Wake Up by SOS or Hey Barbara by IV of Spades perfectly compliments the linear bass response of the NM2+ with the midbass emphasized mixing of the tracks. Bass details are very well-defined from the start while providing superb extension and rumble whenever it calls for it. It doesn’t boost it unnecessarily which ensures that the midrange remains uncolored but well-defined.

Mids​

Those that enjoy a neutral bright sound signature would absolutely adore the midrange of the NM2+. It’s clean, it’s open and VERY detailed. It’s definitely biased towards the upper midrange, but the lower mids have superb note definition that I can completely forgive the somewhat thin note weight. That being said, this is definitely not a set for those who want a linear midrange as the lower mids lack note weight and engagement and makes instruments sound a little thin. It doesn’t sound distant whatsoever, but it’s definitely not as focused as the upper midrange. Speaking of, the upper mids of the NM2+ is very forward, energetic and detailed. This is definitely not like the pinna shy sets of today as the energy here is so focused and crisp that it brings all your attention to the upper mids. Shout lovers will have a field day while shout sensitives will cower in fear with the NM2+. As you might guess, I had a field day with this set as the energy is unlike anything I’ve heard in recent times.


My usual vocal test tracks of Samara Joy and Laufey played perfectly with the NM2+, more so than any set I’ve heard and reviewed recently. The upper midrange energy paired with the lower mids to bass give their contralto vocals the perfect amount of energy and note weight. Unfortunately, the same cannot be said for male vocals as they’re on the thinner side. They’re still well-defined, but they lack the body to make the vocals sound satisfying. Instruments tell a similar story with bassier instruments lacking the note weight but maintains good note definition. The perfect example of this is the song Blue by Amateurish as the track sounds a little thin in the low end but very well-defined and detailed all throughout. If you wanna dissect tracks without care for musicality, the NM2+ absolutely perfect.

Treble​

The treble of the NM2+ follows the energy from the upper midrange by keeping a superb level of detail and crispness that will make a treble head cry. I will say that it’s a generous amount of treble that doesn’t get distractingly sparkly and perfectly complements the upper midrange energy. One of the issues that I have with a lot of these older bright neutral sets is the over emphasis in the air region that makes it distracting and fatiguing over long listening sessions in exchange for a very crisp and airy presentation. Thankfully, this is not present in the NM2+ and maintains a good level of extension. Brighter learning tracks will sound even brighter with the NM2+ which makes it perfect for darker-mixed tracks. This also means poorly mixed tracks will be severely emphasized and will not sound good at all which makes it a true analytical monster.

Jazz artists like Samara Joy and Norah Jones sound extra crisp and detailed on the NM2+ and emphasizes the wonderful mixing that their tracks have. I especially love the NM2+ on the track “Can’t Get Out of This Mood” by Samara Joy as the crispness in the treble is often very linear and the NM2+ gives it the much needed sparkle and energy that matches Samara’s Lush vocals. The opposite is true, however, for tracks like Swallow by CASIOPEA which is an older track with a more emphasized treble mixing that is admittedly a little sibilant at times. I wouldn’t say it’s poor mixing, more so than it is just the older style of Japanese mixing that stays true even today.

Technicalities​

One of the things that aged amazingly on the Nx2+ series of IEMs is technicalities. The driver they used still exhibits a very clean level of separation and layering while maintaining a very accurate sense of imaging and tall staging. Stage width is unfortunately a little narrow due to the upper midrange energy and lack of bass, but the height is fantastic as you can get a rather tall sense of imaging on the track. Dynamics and resolution is also very well-done and still quite competent even today. I will admit that it is not the cleanest or most refined sounding set that you can find today, but it still keeps up pretty well.

COMPARISONS​

vs NF Audio NA2+​

I’ve been comparing the NA2+ with the NM2+ quite a bit in the review so far, but I’d like to go in depth in this section. This is due to the very similar FR graphs that lead many people to think that they’re the same IEM in a different shell. However, the way that the NM2+ does the bright neutral sound signature is an “edgier” and more defined way compared to the NA2+’s smoother and more open sound. This doesn’t mean the NM2+ is inferior to the NA2+, but the NM2+ is made for lower powered devices and presents sound in a more emphasized way that fits its “professional” label. Obviously it’s not something that can only be used for professional use as listeners who want a more energetic and easier to drive set that fits a more portable use case.

vs Moondrop SSR​

The SSR came out in a similar period to the NM2+ and many claimed that the NM2+ is the upgrade to the SSR. 4 years later, I whole heartedly agree that the NM2+ is the perfect upgrade to the SSR as it improves basically everything that the SSR does well. Unlike the SSR, the NM2+ is still being produced which is great for those who are still looking for that SSR tuning that Moondrop abandoned. Both sets have a bright neutral tuning with a linear bass, a lot of upper midrange energy and superb detail and technicalities at the cost of tonality. The NM2+ is more refined, more technical and cleaner overall.

vs Simgot EA1000​

Compared to the current bright single DD goat, the EA1000 shows the evolution of “single DD” IEMs in the last few years. The level of refinement of the EA1000 compared to the NM2+ is quite distinct with the EA1000 providing better details, technicalities and dynamics while remaining clean and fatigue free. Obviously, the NM2+ is the edgier set between the two and offers more energy compared to the EA1000, but the EA1000 has better tonality while staying detailed and technical.

vs Simgot EA500LM​

Compared to the EA1000’s little brother, the LM is another set that showcases the level of refinement that single DD IEMs have had in the last few years. In the EA500LM’s case, it was able to reach a similar level of detail and improved upon the cleanliness of the overall sound. The difference is that the NM2+ is still the more technically capable set as the separation and stage height is still better on the older set which goes to show how well the NM2+ aged.

CONCLUSION​

One of the things I realized about the NM2+ as I spent a couple of weeks with it is the growth that single DD IEMs have had in the last few years and how the tuning philosophy has changed over the years. Despite this, the tuning of the NM2+ is still relevant for those looking for a very energetic, upper midrange focused kind of sound. This is not only applicable for music listening but also monitoring specific instruments.

A misconception that people have is that monitoring headphones always have to just be flat and neutral. But after talking to a couple of musician friends, specific tuning like the NM2+ aids in emphasizing specific instruments and vocals that the artist might want emphasized.

Between the NM2+ and NA2+, the NM2+ is also clearly more fitting for monitoring purposes due to the easier to drive nature of the NM2+ making it perfect for lower powered sources that might be used on stage or in a studio.

These are factors that do make a set applicable for “professional use”, but the NM2+ is still fundamentally a music device. And when you sell a device to the public, you have to know that people will buy it expecting to listen to it in a musical sense and not always monitoring. Thankfully, the NM2+ has enough musical chops to make it sound good with music, but only a very specific kind of music that likes a lot of upper misd and doesn’t mind not having a lot of bass. And if you like this energetic, bright neutral sound then the NM2+ is a unique set that you is really hard to find in 2024.

Thank you for reading my full review on the NF Audio NM2+. If you would like to order one, consider using the non-affiliated link below: https://hifigo.com/products/nf-audio-nm2

SIVGA ROBIN (SV021) REVIEW: Beauty Made Fun​

PRICE: $150 (PHP. 7,000.00)​

PROS:​

• Amazing build quality and aesthetics
• Very comfortable fitting
• Fun, versatile sound
• Good imaging and gaming performance
• Surprisingly wide for closed back headphones
• Good bass punch and impact
• Good detail retrieval
• Very easy to drive

CONS:​

• Slightly unusual timbre
• Can get harsh on sibilant prone tracks
• Bass lacks nuance
• Mids is recessed and occasionally distant sounding

WHO THIS SET IS FOR:​

• People who want a premium looking headphone without the premium price
• People who want a very comfortable closed back headphone
• People looking for a fun, all-rounder and casual pair of headphones
• People looking for a pair of headphones for gaming
• People who want a pair of headphones with good details under $200

WHO THIS SET ISN’T FOR:​

• People looking for a neutral sounding headphone
• People looking for a more open sounding headphone
• Treble sensitive people
• People who want a more nuanced listening experience
• People who want a deeper reaching bass

GENRES:​

• Pop
• Rock
• HipHop
• R&B
• Soul

SHORT REVIEW:​

For my first pair of headphones, the Robin impressed me with its superb build quality, comfort and fun sound. Having been an in-ear enthusiast for most of my audiophile life, the immersiveness of headphones still cannot be beat. However, I can also acknowledge the flaws of the Robin like the recessed midrange, slightly boomy bass and occasionally sibilant treble. However, this kind of sound is perfect for casual listening thanks to its versatile and fun but quirky tuning. RECOMMENDED WITH CAVEATS!

FULL REVIEW​

There are usually two sides to buying headphones from people who have a little bit of money; it either looks good or sounds good. Most casual listeners end up on the former as most of them usually don’t care much for sound as long as it works. Audiophiles like you and me would fall on the latter as most of us don’t even care about how our headphones look.

But what if I told you that you could get both? And only for $150? Well, you wouldn’t believe me of course! But let me introduce you to the Sivga Robin and how this wood-fi set from 2021 is still a very compelling choice for those who are looking for an attractive and well-rounded set that has one trick up its sleeve that makes me feel compelled to suggest this to specific individuals.

DISCLAIMER:
The Robin was sent in exchange for my honest thoughts by Sivga. Rest assured, all my thoughts and opinions are my own and I was not compensated in any way to say anything about the product.

SIV-GOT THE PHONES!​

Sivga is a brand that those who have been in the hobby for a while should be very familiar with. They’re a professional hifi brand known for providing some of the most premium looking and feeling headphones without the premium price tag. You have sets like the Phoenix, the Luan and their planar P-II. They also have a subbrand called Sendy which focuses more on planar magnetic headphones which contrasts the dynamic-focused Sivga.

The SV021, also known as the Robin, is a set released back in 2021 to high acclaim. A set under $200 with some of the most premium feeling and looking build and a well-rounded sound was not something you could find back then. But how does it compare now almost 4 years later? Let’s start with the unboxing.

UNBOXING​

There’s not a lot to talk about the unboxing besides the very clean and linear unboxing process and inclusions. You get the rather large, textured box with the Robin’s illustration on one side and the words “Crafted with Craftsman Spirit” on the other along with specifications and contact details.

Here are the full list of inclusions:

• Sivga Robin Headphones
• Cloth Pouch
• 2.5mm to 3.5mm cable
• 3.5mm to 6.35mm adaptor

I honestly don’t have a lot to complain about the accessories, despite knowing in-ears provide much more than this. The carrying pouch is more to protect it from scratches than protecting it in any other way and the inclusions of a thick jack (6.35mm) adaptor is a nice inclusion for those who use it on home studios or music production studios.

INTERNALS, BUILD & FIT​

Starting with the internals, the Robin uses a self-developed 50mm dynamic driver by Sivga themselves. This goes to show their confidence in their products to be able to source their own drivers from their own manufacturing. This also allows for more versatility in the construction, tuning and overall quality of the product when the brand itself makes the drivers.



The driver itself is made from an ultra thin diaphragm made of polycarbonate and fiber material and a 3mm thick high performance magnet. It also features a coil made of special copper clad aluminum wire. They claim these all ensure that the Robin produces a high dynamic performance that is transparent and bright with high sensitivity to be driven out of lower powered devices. Highlighting good dynamic performance with high sensitivity is honestly one of the most important features for a pair of headphones to have as it allows them to sound great even through laptop or smartphone AMPs.



As for the design and construction, the Robin features dark wooden cups with a smooth matte finish and the SIVGA logo engraved into the cups.



You can also find the two 2.5mm inputs on the bottom of each cup.



The cups itself are made five axis CNC carving with multiple processes to reach the exquisite look. And I’d argue that exquisite is an understatement for this price range as this thing feels considerably more expensive than how much it really costs. If you’ve seen or felt the Meze 99 classics, this feels just as premium as that for nearly half the price.



This is all topped off with some of the most comfy leather earpads ever, a sturdy aluminum band and a protein leather headband.



Comfort wise, the Robin was one that I had low expectations when I first unboxed it. One of the most important things for a pair of headphones for me is for the cups to swivel. When the earcups don’t swivel, it usually causes discomfort due to one side of the cup putting more pressure than the other and causing unnecessary imbalance in the seal.



But my goodness, the cups on these essentially make up for the lack of swivel as it’s so thick yet so plush that any discomfort from the lack of swivel is completely negated.



The cups are so deep that I never experience my pinna feeling any pressure from touching the driver inside of the cup. This could often be found only with the use of aftermarket earcups, but this experience comes stock with the Robin. The lack of pressure from under the ears is also welcomed as I dislike it when headphones clamp under your ears.



While not using my favorite style of headbands (which is the tension-style headband), the Robin’s headband is comfortable and supports the top of my head without any discomfort even in long listening sessions.



Due to being closed back, the isolation of the Robin is expectedly good. It’s not as good as some closed back headphones with active noise cancellation that I’ve tested, but they’re good enough to block most background noises. You’ll still be able to hear loud sounds and air hitting the headphones themselves, but they’re minimized to the point where you probably won’t even hear it if you’re listening to music.



As for the cable itself. it’s a thin and lightweight cable that does the job just right. It’s long enough for my desk and for use when walking around my house, but I wouldn’t say it’s a heavy duty cable. It’s also a little tangle prone and feels cheap overall. I’d personally opt for an aftermarket cable if I really wanted to get the most secure listening experience, but the stock cable is more than enough.

SOUND​

Sound Signature​

The Sivga Robin features a bright V-Shaped sound signature. It’s a very fun, energetic and well-rounded sound signature that fits most genres you throw it at, but more at an acceptable level rather than the optimal level. This has the benefit of making the Robin a set you can just pick up and listen to any time, anywhere without worrying about the perfect song or genre synergy. Timbre-wise, however, it’s definitely not the first in line I’d call to be “neutral”. There is a recess in the midrange that causes vocals to sound a little distant and the bass and treble energy colors the music in a way that you’ll just know this isn’t the most “accurate" sounding pair of headphones. But that’s not a bad thing, I’d argue! I’ll talk more about the intricacies of each section soon.

Drivability​

The Sivga Robin is a very easy to drive pair of headphones with an impedance of 32ohms and 105db of sensitivity. From my old dinky laptop to my topping DX1, the Robin sounded fantastic and I did not have any issues with power or sound. Using a better source will improve the sound, but not by a lot. The DX1 made the sound more dynamic and better separated, but you won’t lose much by using a less powerful or cheaper source.

Volume​

The Robin is a comfortable mid volume listening set. It does decently on both low and high listening volumes, but mid volume is where it shines. It combines the tight but thick sound in the low end with the sparkly and energetic treble without inducing harshness whatsoever. You do sacrifice on some low end tactility and top end details, but that’s a worthy sacrifice for the tonal balance of the Robin.

Bass​

I was certainly impressed with the bass performance of the Robin when I first heard it. Since I’m usually used to leaner or open back headphones, I found myself impressed with how enveloping the sound of the Robin was. It was thick, rich but surprisingly tight. I didn’t find it to sound loose or woofy and gave the overall sound a rich but mature presentation. Obviously, it’s far from neutral and it’s not even the bassiest pair of headphones I’ve ever tried. But I’d argue that the bass presentation of this is perfect for people who just want a fun but well-balanced bass that gets the job done without getting fussy over the track. My main gripe about it would be the smoother presentation which is mostly a me thing as I like tactile bass as well as the extension feeling like it could go deeper.

Mids​

This is where I feel a little bit more torn as the midrange of the Robin is a mixed bag. On one end, the vocal energy of this is very forward and gives both female vocals as well as air instruments a very energetic and in your face sound. It’s also surprisingly detailed for a pair of headphones in this price range and with this much bass. Unfortunately, the dip in the lower mids and the sudden rise to the upper mids mess up its tonality a little bit too much that I would not recommend these for people who want a clean midrange. Upper mids is definitely the focus on this set and if you like energetic sounding instruments and vocals, this is a great set to get.

Treble​

Depending on your listening levels, this is the part where the Robin truly shines or is something you’d drop instantly. The treble of the Robin is sparkly, detailed and very well extended. I was genuinely surprised with how detailed the Robin was despite its warmth and I became addicted to listening to jazz instrumentals with this set. However, jacking the volume too high or listening to poorly mixed tracks will rear is fangs as the sibilance starts to show up and starts to sound harsh on poorly mixed tracks. This isn’t a major turn of for me as I do like brighter leaning headphones, but I also cannot deny that this is a little bit too much for most people. The benefit of this is the solid detail retrieval of the Robin and the excellent extension that make it stand out from all the headphones I’ve tried under $200.

Technicalities​

I was quite impressed with the technical performance of the Robin for a closed back headphone with this kind of tuning. Despite having a lot of bass and treble, the separation and imaging of this is very impressive. Even in more complex tracks, it’s able to separate the small details from instruments, vocals and even ambience. Stage is less impressive, but still great for a pair of closed back headphones. Dynamics could be improved, but resolving ability and detail retrieval is very impressive for the price.

REAL WORLD USAGE​

Arguably the biggest selling point of the Robin is the superb comfort that it provides for real world usage. Like I’ve mentioned in the comfort section, the Robin’s lack of cup swivel is negated by the extremely soft earpad cushion that is unlike anything I’ve tried before. And while it’s not the lightest on the ear, it’s definitely the most comfortable with a good amount of clamp. This is something I took issue with when I was using the Philips SHP9500 where its comfort was great but the stability was not. The Robin does not have such issues and maintains good stability over even erratic movements.

But the best use case for the Robin, which I had 0 expectations that it’d be good at, is gaming.

Gaming​

Playing both competitive and immersive games showed why headphones are still a completely different beast to in-ears. The level of wideness and immersion while still being able to pinpoint all the important elements and sound cues is insanely good on the Robin and is one of the best I’ve heard in this price range. This could be due to the emphasized low end providing the necessary thickness on some scenarios while still sounding clean all-throughout. But whatever it is, I was genuinely impressed with the gaming performance of the Sivga Robin. So much so that I completely ditched my in-ears that caused the occlusion effect and discomfort over long gaming periods in place of the Robin’s that I ended up going for hours without any problems. Well, except for one.

Heat and Sweat​

If you live in a humid country like the Philippines, you’re probably aware of the pain of wearing headphones during summer. And if you’re not running on AC 24/7, you know the suffering even more as you either have the stinkiest pair of headphones, or you never even get to use them. Unfortunately, due to the leather material of the pads and closed back nature of the headphones, you need to expect sweat dripping from your head when using the Robin during peak summer days.

COMPARISONS​

As I’m rather new to “reviewing” headphones, I’d like to compare the headphones that I’ve spent the most time with rather than the ones that “make sense” to compare. This also brings the interesting conversation of openback and closed back headphones and their differences.

vs Samson SR850​

The cheapest pair of headphones in my collection (and the very first “hifi” gear I’ve ever owned), the SR850 is a considerably brighter but more neutral set between the two. However, the Sivga Robins exhibits the fundamental differences of a cheaper driver compared to a higher quality driver as the overall presentation is more refined, cleaner and more technical on the Robin, despite having worse tonality. Expectedly, stage is much wider on the SR850 and somehow sound better separated than the Robin, but the Robin has a cleaner way of presenting instruments, albeit in a less natural way.

Ergonomically speaking, the SR850 is 3 steps down from the Sivga Robin as the former has a very cheap feeling build quality that speaks true of its price. The Robin improves upon everything from the quality of the pads and headbands all the way to the comfort which exhibits a massive difference.

vs Philips SHP9500​

One of the most famous budget headphones in the market, the SHP9500 excels at being one of the best “gaming” headphones thanks to its very wide stage and pinpoint imaging. However, music listening is a little lackluster due to the lack subbass extension and exaggerated treble. The Robin on paper may seem brighter and harsher, but the midbass contrasts the energy in the treble enough to make the Robin a more musical listening experience than the SHP9500. One of the biggest complaints about the SHP9500 is the lackluster resolution despite the wide stage. This is where the Robin’s superior and more refined driver shines as the resolving ability is considerably better than the SHP9500. This is to be expected, however, as the price difference is almost half. Tuning might still be more “normal” on the SHP9500, though.


I will admit that the SHP9500 does sit on my head more comfortably, but the Robin’s pads are so comfy that I forget that the cups don’t swivel on the later. The build and construction on the Robin is expectedly better than the almost full plastic and cheap feeling SHP9500.

vs Audio Technica ATH AVA500​

Telling a similar story to the previous sets, the AVA500 has a more open, cleaner sounding and more “neutral” tuned listening experience compared to the Robin, but the Robin is a considerably more fun listening experience thanks to its more emphasized bass and more energetic treble. Timbre, once again, is expectedly better on the AVA500 compared to the Robin, but the Robin is more lively sounding overall. Technically speaking, the AVA has cleaner sounding separation but the Robin has better details, resolving ability and a more pinpoint imaging.

Just like the previous sets, the AVA500’s build quality pales in comparison to the Robin. Unlike the SHP9500, the Robin is also insanely more comfortable than the AVA500 which is odd considering the AVA is the one made for professional use between the two sets.

Compared to Open Backs Summary​

Despite the seemingly obvious conclusion that open backs will always sound wider and close back headphones sound more claustrophobic, the Robin proved itself rather competent in the stage and imaging department. One of the things to note is that the price difference between all the sets is rather steep with most, if not, all my open backs being priced under $100 and the Robin at $149. I’ve tried enough high end headphones to know that those budget open back headphones aren’t exactly breaking any records when it comes to technicalities. But the fact that they were at least able to compete in some levels in terms of sound goes to show that the fundamental differences between open back and closed back headphones can give the impression of a “better’ sounding headphone overall. But nothing beats the fun, engagement and impact of a closed back headphone!

CONCLUSION​

Who said good looking headphones can’t be good and be affordable? Sivga proved themselves in 2021 to be capable of creating a pair of wooden headphones with superb comfort and a fun sound that can still keep up in 2024. It’s a fun sounding pair of headphones perfect for casual listening that has made my music listening experience enjoyable with all the factors combined.

But I also understand that the Robin isn’t a perfect pair of headphones. The tuning is largely the reason for this as it’s an aggressive v-shaped sound signature that dips the midrange and can be a bit too much on both ends. This makes it a fundamentally casual and fun sounding headphone rather than the conventionally neutral “audiophile” headphones. I don’t think this is a bad thing, however, as the beauty of the current headphone market is that the market isn’t as big as in-ears and tuning is still largely varied depending on the brand. Companies have their distinct house sounds or have completely varied tuning on each of their sets entirely. That’s where I appreciate the existence of the Robin as proof that a fun sound can exist even without flaunting that you followed a specific target closely.

In the end, the Robin is something that most casual listeners would enjoy. Big bass, energetic treble and a solid build for just $150 is a solid value for people looking for that kind of headphone. It makes me wonder how the SV023 evolves from the SV021!

Thank you so much for reading my review on the Sivga Robin. If you would like to order one, consider using the non-affiliated link below: https://www.sivgaaudio.com/product_d?id=11

NF AUDIO NA2+ Review: Relic or Legend?​

PRICE: $169 (PHP. 8,000.00)​

PROS:​

• Unique bright neutral sound signature
• Superb detail retreival
• Great build quality
• Good unboxing experience
• Clean, neutral but well-extended and well-defined bass
• Open and clean sounding midrange
• Very energetic, detailed and well-extended treble
• Clean separation

CONS:​

• Not for shout sensitive people
• Cable is thin and tangle prone
• Bass lacks impact and depth
• Lacking note weight
• Needs a bit of power to sound its best
• Not the best fit

WHO THIS SET IS FOR:​

• People who want a proper neutral bright set
• People who want a lot of upper midrange and treble energy
• People who like to dissect the music that they’re listening to
• People who want a clean but well-defined bass
• People who want an older style of tuning

WHO THIS SET ISN’T FOR:​

• People who are sensitive to shout
• People who want a more musical listening experience
• People who want something non-fatiguing
• People who want an engaging listening experience
• People who want the most refined sounding set

RECOMMENDED GENRES:​

• Jazz
• Folk
• Classical
• Instrumentals
• Vocal Pop

SHORT REVIEW:​

In the grand scheme of things, the NA2+ is a set that aged well in terms of technical ability and a surprisingly mature bright neutral sound signature that you can’t find anymore in the market today. The energy of this set is unlike anything I’ve heard, which also means that this is not for those sensitive to such energy. It’s backed up with superb technical detailings with a relatively neutral low end that makes this a set for the brave and the bright. RECOMMENDED WITH CAVEATS

FULL REVIEW​

One of the most important thing for a pair of headphones to achieve is to be able to maintain a timeless kind of sound that people would be able to enjoy from years to come. This isn’t necessarily “future-proofing”, moreso the saying “good audio stays good”

Obviously this can’t be guaranteed as preferences change and some trends exist for the better. So what makes a pair of headphones, or in this case, in-ear monitor “timeless”? Let’s talk about one such IEM that, depending on your tastes, is still one of the most compelling, engaging and crisp sounding single DD sets you can get under $200.

DISCLAIMER:
The NM2+ was sent in exchange for my honest thoughts. I was not paid or compensated in any way to say anything about the product.

BLAST TO THE PAST PT.1​

If you’re new to the audio hobby, NF Audio may seem like a relic of the past with their (in)famous NM2 and NA2 series of in-ears. But they’re more than just those sets as they’ve been in the professional HiFi Portable Audio game since 2014.

On top of their budget options like the NA/NM and RA series of IEMs, they’ve also dipped their toes in the high end audio market with the NE and NF series of IEMs. Today, we’re talking about the NA2+, priced at $149 and is the “music” series of in-ears that compliments the NM2 series that is the monitoring series.

How does the NA2+ stack up in today’s very competitive but also formulaic market of somewhat predictable tuning? Let’s find out starting with the unboxing!

UNBOXING​

One of the things I love about NF Audio in general is how good their branding is. From the external packaging that perfectly showcases what you might expect from the product all the way to how the accessories and inclusions are presented in the package, NF Audio does it really well.

Here’s a full list of the accessories:

• NA92+ IEMs
• 6 pair of eartips
• Carrying pouch
• 2 Pin cable
• Paperwork

For $150, the inclusions of the NA2+ is adequate. For a set released a couple years ago, this would’ve been a really good level of accessories. Today, there are much better (and worse) accessory inclusions for the price.



The eartips are varied with a narrow and wide bored and the case is very compact. Neither of the eartips worked for me and I ended up using aftermarket eartips which I’ll talk more about in the fit section. The case itself is a little too small, but it’s big enough to fit the IEMs and extra eartips and is quite pocketable.

Build & Fit​

One of the best things about the NA2+ is the build quality. A full aluminum CNC shell that feels premium but very lightweight paired with a high quality 0.78 2-pin connector. While it may look like a QDC connector with it’s sleeved and protruding design, I was told that the NA2+ uses a 0.78 2-pin connector. C-Pin (or QDC cables) are compatible with the NA2+.



It’s also very aesthetically pleasing with a distinct yet very clean motif that exudes “NF Audio” at first glance.

What I don’t like about the NA2+ as much is the fit. Despite looking ergonomic with its generous wings and overall shape, I found myself struggling to find the right tips to get the best seal and comfort. None of the stock tips fit my ear and even my tried and tested Clarion’s weren’t the most snug. I tried other eartips like Divinus Velvet and Dunu Candy but I found it to still be a little unstable and does not seal very well.



Long term listening sessions did not induce any fatigue and I did not experience any air pressure build up or driver flex which is always a plus for me.



Unfortunately, the cable is not big of a plus as I found it to be a little bit too thin and cheap feeling. This isn’t the worst stock cable I’ve ever seen, but I’m really not a fan of how thin it cheap it feels. The best aspect about it is, in terms of comfort pairing, the cable compliments the weight and shape of the NA2+. The interface doesn’t feel cheap and the chin cinch stays really well.

SOUND​

Sound Signature​

The NA2+ features a somewhat traditional bright neutral sound signature with a very flat and linear bass to midrange and a forward, energetic and sparkly treble presentation. For a bright neutral set, the timbre is still maintained to sound coherent without any weird changes in tonal balance. This could be due to the single DD nature, but that also goes to show the quality of the driver they used.

Drivability​

One of the most interest things about the NA2+ is how difficult it is to drive. This is more interesting when you realize that the NM2+, its monitor cousin, has a very similar frequency graph while also being considerably easier to drive. The NA2+ wants a cleaner, more neutral and more powerful source to sound its best and a warmer source will give it the much needed low end tactility that some people might find lacking

Volume​

Due to its bright neutral nature, the NA2+ prefers a lower to medium listening level as cranking the volume too high will induce harshness in the upper mids to treble. High listening volumes bring out the punchiness of the sound at the cost of fatigue.

Bass​

The bass of NA2+ is by nature very clean, tight and high quality. It’s linear which means bass details and notes are very well-defined and clean while maintaining a good level of punchiness. Rumble only exists in the bassiest of tracks and is more generous in terms of midbass emphasis. It doesn’t bleed into the midrange at all but offers a decent level of warmth. An issue some people might have with the NA2+ bass is the lack of bodied impact. It’s a little too clean on some tracks and make some songs sound stale in comparisons.

The best case scenario for the NA2+ is tracks with a lot of midbass to boot. Think Hey Barbara by IV of Spades or Wake Up by SOS. Both tracks are very thick and punchy and matches the bass tuning of the NA2+ really well. Where it doesn’t shine as well is in R&B tracks with a low of low end thickness. The opposite is true however with a track like Blue by Amateurish. The lack of low end impact makes the track sound a little thin, especially when it comes to the guitars having more bite than impact.

Mids​

This is the part where some people might feel torn about the NA2+. One one hand, the NA2+ has such clean, crisp and detailed midrange that bring out the nuances in the midrange really well. This brings out female vocals and upper frequency instruments in a very energetic and lively way. However, it might also be too much energy for some people as the contrast from the upper mids to the upper mids is quite drastic. 15db of eargain at 4khz to be specific. Some people like this very aggressive and bright sound, but this is definitely for those with brave ears that can handle this much energy. Thankfully, I never found it to sound too shouty and was just aptly bright, but I also know I have a lot of upper midrange tolerance and that it extends into the lower to mid treble. There’s a bias towards upper frequency notes but the lower mids doesn’t sound as lean or thin sounding as I was expecting it to be.

Playback of contralto female vocals like Laufey and Samara Joy is some of the best I’ve heard under $200. The balance of note weight and vocal forwardness and clarity is honestly insanely good when listening to vocal jazz. Jazz in general is perfect as the bass to midrange tuning compliments the often chill but very nuanced instrumentation of jazzy tracks. However, male vocals on tracks like That’s What I Like by Bruno Mars is not only severely lacking but due to the poor mixing of the track also induces harshness in the overall mix.

Treble​

Keeping from the energy established in the upper mids, the treble presentation of the NA2+ is very energetic and very sparkly. There’s a solid level of details and the extension, while not the airiest sounding that I’ve heard, extends in a very satisfying way without sounding dull or rolled off. There’s still a level of harshness and peakiness on poorly mixed tracks, but it’s generally well-contained and very refined sounding for something that came out a couple of years ago. It might not be the cleanest sounding treble in the market, but it’s a very sparkly listening experience that you almost never get to hear in today’s tamer market.

Going back to Samara Joy, the track Can’t Get Out Of This Mood, the treble sounds very crisp and energetic without any hints of sibilance or sharpness in both the instruments and the vocals. The same cannot be said however with the track Swallow by CASIOPEA which combines the much older and much brighter late 70s mixing and the distinctively energetic treble of the entire self titled album.

Technicalities​

Technically speaking, the NA2+ is an odd balance of average techs for $150 and a superb level of detail and resolving ability. First, the stage of the NA2+ is somehow quite narrow for something that is meant to bring out the most immersive listening experience. Imaging is much better in return and presents instruments in a surprisingly holographic way despite the narrow stage. Instrument positioning is genuinely impressive and is one of the best in the price I’ve heard. Another thing I found to be impressive for the price is the detail retrieval and resolving ability which is top class for a single DD at this price point.

COMPARISONS​

vs HZSound Heart Mirror​

While an odd comparison due to the price difference, I want to highlight the similarities these two sets have and why I think that the NA2+ might be a good upgrade for 2 IEMs that I will be comparing it to. Both sets feature a neutral bright sound signature with the Heart Mirror being the “flatter” sounding set and the NA2+ being the more energetic set. The increased bass in the measurements is counteracted by the increase in the upper midrange of the NA2+. Technically speaking, the NA2+ is superior but I found the Heart Mirror to be the more tonally balanced set overall. It’s a great upgrade for those looking for more energy and improved technicalities from the Heart Mirror.

vs Moondrop SSR​

If the NA2+ is a good upgrade from the Heart Mirror, the SSR is an even more perfect upgrade path into the NA2+. Both sets are known to be “shouty” with really good detail and separation and the NA2+ takes everything good about the SSR and improves upon every aspect. Better separation, better details, better resolving ability and a cleaner sounding midrange. The only thing that the SSR does better is the fitting as the SSR’s tiny 6mm driver perfectly fits in my ear compared to the NA2+

vs Simgot EA1000​

The EA1000 marks the evolution of bright in-ears after the popularity of frequency response graphs and following existing targets. However, that does not mean it’s predictable or too safe as the EA1000 is a more technical, more detailed and more dynamic sounding set compared to the NA2+. Tonality is also better on the EA1000 by a lot due to the tamer upper midrange and boosted bass. However, the NA2+ excels at providing a more energetic vocal presentation that the EA1000 presents in a more balanced and neutral way. This definitely ends up being a preference diff as you might prefer the extra energy of the NA2+ over the more neutral EA1000.

vs Simgot EA500LM​

Telling a similar story to the EA1000, the EA500LM also follows the recent trends of IEMs but to a more aggressive degree that is somewhat similar to what the NA2+ offers. It’s not as aggressive of course, but it’s energetic enough to be compared. On first listen, you can immediately tell the growth of in-ear driver technology as for nearly half the price, the EA500LM can output a similar level of technicalities to the NA2+ while also having better tonality. However, the NA2+ still sounds cleaner and more energetic than the NA2+ due to the more elevated upper midrange.

vs NF Audio NM2+​

While it may not look like much difference from the initial graphs, the NM2+ is the more “consumer friendly” set as it’s easier to drive and doesn’t require a beefy source to be driven properly. This also works against it as the NA2+ sounds more refined and scales better than the NM2+ which improves its technical ability by a small margin. The NA2+ also has a tamer upper midrange compared to the NM2+ which makes the NA2+ the more “musical” set while the NM2+ is the more analytical sounding set.

CONCLUSION​

In the grand scheme of things, the NA2+ is a set that aged well for those who enjoy a nice and bright listening experience. The neutral bass tuning paired with the upper midrange energy and topped off with a generous amount of treble makes this set truly one for the trebleheads. The vocal energy of this is unlike anything I’ve listened to and it’s a treat to listen to jazz and vocal pop songs. Pair that with a driver that aged pretty well and you got yourself an awesome bright neutral set for under $200.

However, I cannot in good heart say that this is the safest recommendation out there. The energy is more than what most people could handle and if you’re looking for raw technical ability, the NA2+ isn’t the set for you.

But in today’s market filled with safely tuned and consumer oriented in-ears, it’s nice to know that a set from a couple of years ago known for having an aggressively energetic sound is still one of the most unique listening experiences you can get!

Thank you for reading my full review on the NF Audio NA2+. If you would like to buy one, consider using the non-affiliated link below: https://hifigo.com/products/nf-audio-na2-iem

DUNU TITAN S2 REVIEW: THE PERFECT BUDGET IEM​

WATCH FULL REVIEW HERE:​

PRICE: $79 (PHP. 4,300)​

PROS:​

• One of the best value IEMs in the market
• Great accessory inclusions
• Superb build quality
• Bold and edgy aesthetics
• Well-done U-Shaped sound signature
• Great midrange timbre
• Good note weight
• Punchy bass
• Well-detailed but sibilant-free treble

CONS​

• Not the most technical sounding set for the price
• Bass extension is lackluster
• Might be too warm for some people
• Upper midrange might be too much energy on the upper mids to treble
• Not the most comfy fit

WHO THIS SET IS FOR​

• People who want the best value package under $100
• People who want a safe but fun sounding IEM
• People who want a bold and edgy aesthetic
• People who want great timbre

WHO THIS SET ISN’T FOR​

• People looking for the most technical sounding IEM
• People who want a more subtle looking IEM
• People who want the most snug fitting IEM
• People who want a more engaging and deep bass presentation

RECOMMENDED GENRES​

• Pop
• R&B
• Funk
• Jazz

SHORT REVIEW:​

The Titan S2 is arguably one of the best value budget sets to recommend right now. With it’s insanely good value accessorization, safe but fun tuning and an good level of technicalities, there’s much to love about the successor to the legendary Titan S. While it may not have entirely upgraded the sound of the Titan S and acts more like a different flavor, the S2 offers a different enough experience to show people the over 22 years of experience than Dunu has had in knowing what the market wants. HIGHLY RECOMMENDED!

FULL REVIEW:​

How do you do sequels correctly? In movies and media, it’s when you expand the world, explore existing concepts, improve upon the characters and introduce new and compelling ideas.

It’s not so different with in-ear monitors. You ensure you don’t alienate your audience while improving upon the shortcomings of the previous set and providing a fresh but improved experience. So why then do a lot of companies seem to not grasp how to do the “sequels” to IEMs?

Today, I wanna talk about an IEM that improves upon its predecessor in some ways, but shifts the experience in a way that may alienate those that loved the original. We’ll also be talking about what makes an IEM stand out from the extremely competitive portable audio market in 2024. Let’s talk about the Dunu Titan S2

DISCLAIMER: The Titan S2 was sent over by Dunu in exchange for my honest thoughts. All my thoughts and opinions are my own and I was not paid or compensated to say anything about the product.

THE TITAN RISES AGAIN!​

Dunu is a brand that many of you should be familiar with. As one of the oldest brands being established 2002, they’ve come out with many established sets over the years. One of these sets also happen to be one of the cheapest, named the Titan S. What makes the Titan S special is the fact that this came out during the peak of the Aria craze. Everyone and their mother wanted a piece of the pie. Some being successful while others fell into irrelevancy. Dunu’s Titan S was one of the sets that stood out for the reason that it shifted the focus on the upper frequencies and was even technically better than the Aria at the time. Personally, the Titan S was also my favorite out of the Aria clones and is arguably the only set to remain competitive at under $100 ‘til this day. This is a very high bar for the $79 Titan S2 to hurdle, so let’s talk about it!

UNBOXING​

One of the biggest upgrades from the Titan S is the unboxing experience. You get a rather reminiscent box from the one that came in the Falcon Ultra and DaVinci with the same unboxing experience



Here is a full list of the inclusions:

• Dunu Titan S2
• Sleeved 2-pin modular cable
• 3 Pairs of Dunu Candy eartips
• 3 Pairs of Olive Grey Eartips
• 3 Pairs of Basic Red Silicone EArtips
• 5 pairs of Dunu S&S
• 4.4mm Modular Jack
• Carrying pouch
• Paperwork

Ladies and gentlemen, this is the best value IEM you can get in the market right now. That’s a big claim that I’m willing to bet my bottom dollar on because where can you find a $79 with a $30 cable and eartips worth almost $30. That’s $60 on the accessory department which leaves $40 for the IEM itself. If that’s not insanely good value, then I don’t know what is.



It’s ain’t no cheap accessories either. These feature both the Dunu Candy and S&S tips which are both $12 each. And they’re expensive for a reason. The S&S is arguably one of the most versatile eartips in the market and the Candy offers superb stability, seal and a balanced sound. This is on top of the basic eartips, adaptor and large carrying case that are to be expected with Dunu’s offerings and you have yourself one of the best accessorized packages in the market today.

Build & Fit​

If you thought they did all that to cheap out on the build quality, that’s where you’re mistaken. The Dunu Titan S2 features a single high-rigidity dome with flexible suspension composite diaphragm, dual magnetic circuits and dual-chamber single dynamic driver housed in a high-dense chrome-plated alloy.



Quite the mouthful, but all that might as well have been left unsaid as the Titan S2 keeps the superb build quality of the original but spices up the design cues quite a bit. From the cyberpunk-esque smooth build to an edgy, expressive and shining finish that exudes the word “cool”. It’s a bolder look compared to its predecessor, but this is exactly what I meant when I said that it improves from the older set. The Titan S2 looks more distinct, more vibrant and extravagant in every sense of the word. A little similar to Acoustune IEMs, but distinct enough.



However, one thing that was not improved was the fit. Just like the older Titan S, the Titan S2 has a comfortable but not-so-snug nor good sealing fit in the ear. Using the S&S tips offered the best sound and comfort, which is a great thing as it comes with it, but the stock tips and all the other tips don’t really compliment the S2’s overall fit. I didn’t have any issues with discomfort, but it slid off my ears more times than I’d like.




Another highlight of the Titan S2 is the cable. This bares close resemblance to their aftermarket Lyre Mini but switches it . This has got to be one of the best sleeved cables that I’ve ever tried. Most, if not, all sleeved cables I’ve tried prior were too heavy or too stiff to actually be used. This forces me to cable roll or to live with the discomfort of such a cable. I did not experience any of that with the stock cable as the sleeved section is lightweight and soft while the braided section is your usual cable material. And how can we not talk about the Q-Lock mini. Out of all the modular systems that I’ve tried, this is the best one. It combines stability by providing a screw lock while also being lightweight, sturdy and good looking. My only gripe with the cable is the braided section feels exactly like the kind of cable that gets stiff over a couple of months. I cannot confirm or deny this, but I am speaking from experience and experience tells me this material does not like oily faces.

SOUND​

Sound Signature​

The Dunu Titan S2 features a warm U-Shaped sound signature with an almost equal distribution of the brightness and the warmth. You could almost call this V-Shaped if it wasn’t for the generous glide on both ends that doesn’t scoop out the mids like other V-Shaped sets. The highlight of this set is certainly the balance of good timbre and good clarity that is surprisingly difficult to find under $100 with this kind of tuning.

Drivability​

The Titan S2 is a relatively easy to drive set as per most in-ears, but benefits a lot from a cleaner and higher quality source. This could be due to the warmer nature of the Titan S2 allowing it to open up to better sources, but it scales really well regardless. The TItan S2 prefers a more neutral source, but I personally enjoyed a warmer source to have a really contrasting experience.

Volume​

One of the things I really appreciate about the Titan S2 is how well it also scales with volume. On lower volumes, it brings out the midrange in a really clean and open manner while keeping apt note weight and clarity. On medium to higher listening volumes, the bass tactility is improved without inducing too much upper midrange energy. This is further improved with a cleaner source as it smoothens treble sharpness while keeping the details and tightens the bass.

Bass​

One of the things that separated the Titan S from the competition was the tight and clean bass presentation that many just weren’t able to compete with. This had the effect of making the Titan S one of the best Aria-clone for those who want a leaner bass presentation from the competition. The Titan S2 on the other hand goes the opposite direction and brings the bass up to the levels of the competition. Maybe this was done in response to the criticisms of the Titan S being too bass shy for some people, but this undoubtedly made the Titan S2 a more versatile set in return. The bass presentation is more midbass over subbass which makes it a punchier, richer and more rounded listening experience. However, this warmth is also it’s biggest weakness as the bass isn’t as nuanced or tactile as I’d like. There’s a decent level of punchiness but the small intricacies in the midbass is a little too smooth for my liking. Thankfully there is no major bloat or mud, although it’s getting there and will sound as such with the wrong eartip/source combo. You could attribute this to being “too slow” which is understandable, but I also think that they could’ve just boosted the subbass a little bit to really lean into the bassier sound.

The track that really highlights the major difference between the OG and the sequel is the track Swallow by CASIOPEA. The entire self titled album had a near perfect playback with the Titan S2 due to the superb balance of warmth and brightness that plays really well with the tracklist. However, Swallow in particular highlights the thick midbass that brings out the lower licks of the basslines of the track. However, the same track also highlights the lack of nuances as during the same licks and just doesn’t sound are immersive and satisfying as I’d like. This is especially evident from 1:17 onwards with that crazy complex bass lick that goes low and high in short succession.

Mids​

I want to say that this is the highlight of the set, but that would be undermining the thick but clean bass presentation and the crisp, detailed and well extended treble. Nonetheless, the midrange of the Titan S2 is great. Right out of the bat, you’ll notice that the Titan S2 has a slightly colored lower midrange that might come across a little too warm for some people, but I personally found that it perfectly complemented the energetic upper midrange that still kept the midrange from sounding distant. There’s a nice level of thickness in the note weight while keeping an open, clean and nuanced midrange that is impressive considering the tuning of the Titan S2. However, the warmth and energy in the upper midrange takes its tool on more complex or bassier tracks as the lower mids tends to get left behind and lacks detail and nuances. It’s not a problem if you listen to simpler and cleaner tracks, but something that you might find problematic for rock and metal. The upper midrange energy might also be problematic for some, but should feel right at home for those who has had the opportunity to use the Titan S. It’s not as focused on the upper midrange as the Titan S, but there’s a lot of energy to bring out the nuances and details in this region.

The perfect showcase of the superb midrange timbre is on the track “Love Moves in Mysterious Ways” by Nina with the life-like presentation of each instrument. The smoothness of the bass also aids in making the song a very smooth and soothing listen along with Nina’s clean vocals. However, the warmth takes over on some parts of the track “Through The Fire” by Chakra Khan where bass guitar to the lower octave instruments thicken the overall sound and makes some notes a little bit soft in definition and makes the overall listen more lush than nuanced.

Treble​

Once the highlight of the OG, now plays the complimentary part. And play the part it did. The treble of the Titan S2 keeps the bright, energetic and snappy sound while refining it to a level where it compliments the mids and the bass really well. It perfectly transitions from the upper mids with near perfect harmony while rounding it off with a solid level of extension in the upper treble. My only gripe would be that, due to the warmth, there are instances where the detailed are veiled and smoothened out too much. The extension also feels a little forced on some tracks, but is generally acceptable for most tracks. Like in the upper mids, there’s a lot of energy in this are that people sensitive to this region might find a little problematic. It’s not sharp or sibilant in any way, but it can get a little too hot on some tracks.

The track Get Lucky by Daft Punk is another really good track (and so is the entire RAM album) to playback with the Titan S, but I want to specifically highlight the crisp treble that perfectly compliments the warmth and gives the much needed upper midrange and treble energy from the thick and rich low end of this track. It balances it in such a way that it doesn’t overly emphasize the upper frequencies to compliment, but provides just the right amount of energy. However, people who prefer a lot of details and sharpness in the treble might find that the TItan S2 lost the energy that the OG TItan S provided. It’s still a respectable amount of brightness, but toned down thanks to the emphasis in the low end.

Technicalities​

This is the least impressive aspect of the TItan S2 which is understandable but is also one of my biggest critiques about it. While all-in-all it’s a technically competent set without any major flaws, there are far more technical sets in this price range that achieves what the Titan S2 does. First, separation and layering is somewhat hampered by the amount of warmth in the low end. This gives it a smooth and lush listening experience but struggles on more complex tracks. Imaging and headstage were also decent, but they were more in your head and less holographic than I’d wish. And lastly, both dynamics and resolving ability is perfectly average overall. I don’t think the TItan S2 not being as technical as other stand out sets is necessarily a massive concern, but $79 is a rather steep price in today’s market and those who are looking for a technically capable set may have to look elsewhere.

COMPARISONS​

vs Dunu Titan S​

One of the most important question that people have is whether the Titan S2 is an improvement from the Titan S. The answer is unfortunately not so black and white. While some aspects of the Titan S were outright improved like the package, the lack of low end impact and the potentially fatiguing upper frequencies, the Titan S2 isn’t a direct upgrade as it presents the sound in a completely different way. From a somewhat DF-style Harman-neutral tuning to something closer to those that it fought against with a warmer, bassier and tamer sound. It’s also not more technical and in some cases is even less technical than the original Titan S due to the added warmth. If you were to ask me, it’s not made for those who are looking for a refined version of the original Titan S, but for those who wanted more low end and more accessories.

vs Simgot EA500LM​

Arguably one of the most appropriate comparisons as the reputation of the Titan S seemed to preceded the EA500LM, the Titan S2 shifts the focus from being a technical marvel to a musical master. This, in turn, leaves the EA500LM the more technical, more energetic and cleaner sounding set overall. The Dunu Titan S2 has better timbre and a less fatiguing overall sound, but arguably the biggest reason to opt for one is whether inclusions matter to you or not. The EA500LM has a very barebones package while the Titan S2 is class leading.

vs Kefine Delci​

Two seemingly similar sets in idea but with contrasting results. The Delci is a bassier, warmer, deeper and thicker sounding IEM compared to the Titan S2 but the Titan S2s upper midrange to treble presentation sounds considerably smoother, cleaner and more consistent than the Delci. The mids are similar on the two, but the Delci somehow sounds cleaner while the Titan S2 has a thicker and richer sounding midrange. If we’re talking coherency alone, the Titan S2 has it in the bag. However, the Delci’s bass is really what takes the cake between the two sets as the Delci’s has a deep reaching, impactful and punchy bass with a lot of tactility. This is where the two separate and where I think the choice ends up being about whether you want a tactile, deep and rich listening experience or a well-balanced and coherent listening experience.

vs Letshuoer D13​

While initially an odd comparison, this goes to show the one trick pony that the D13 is and how it still dominates for one particular reason. Firstly, the Titan S2 has a considerably better tonal balance than the D13 while also having a cleaner and smoother overall sound. The mids sound more natural on the D13 and the treble has better details while remaining smooth and well extended. However, the D13 still has the considerably better bass extension, tactility, impact and balance from subbass to midbass. Up to this day, I haven’t found a set that could compete bass wise to the D13 and the closest has been the previously mentioned Kefine Delci. But regardless, the Titan S2 is still the better overall set in my opinion.

vs Oriveti Dynabird​

While it may be a newer release, the Dynabird screams old-school with it’s aggressive v-shaped tuning, particularly on the upper mids. This makes the Titan S2 the better set in terms of tonal balance. The Titan S2 also has a smoother treble and a richer and more natural sounding midrange overall. The Dynabird on the other hand has better extension and impact and has better separation and details, particularly in the treble. The Dynabird is a complete contrast to the warmer, more tonally balanced Titan S2 and acts as a antithesis of the fun and balanced of the later.

vs Simgot EW200​

I was debating between the Q5 and the EW200 to compare with the Titan S2, but the warmer nature of the EW200 lead me to choose that instead. Surprisingly, the EW200 is the more technical set between the two with a cleaner, better defined and more dynamic sounding set altogether. The Titan S2 on the other hand has a more relaxed and less “offensive” overall sound that makes the Titan S2 potentially the better option for people sensitive to an aggressively technical sound. But for nearly half the price, that’s an impressive feat from the EW200.

vs Dunu Falcon Ultra​

To top it all off, let’s compare it to the IEM that I said that if you didn’t have the money for to get the TItan S2 instead. And while it’s true to a certain extent, I also want to clarify that the Titan S2 is not a direct replacement to the Falcon Ultra. The Falcon Ultra is still the superior set in almost every single way due to the considerably more refined sound that is both more technical and cleaner sounding overall. However, the two share a resemblance in terms of its tonality and I can’t deny the fact that the Titan S2 can be a budget solution for those who enjoyed the sound of the Falcon Ultra and want something cheaper for their daily travels.

CONCLUSION​

So, did Dunu make the right decision to shift the tuning philosophy of the Titan S2? Did they make the perfect sequel from the legendary Titan S? I’d say yes and no.

Fundamentally speaking, the Titan S2 is a very safe and generally appealing set from Dunu that stays true to many of their sets. The Falcon Ultra, the DaVinci, even the SA6 MKII were all sets that were exceptionally good but were fundamentally safe sets that doesn’t really aim to break the market. The SA6 MKII would be the closest to do that and arguably did break the market with its insane value proposition, but it stayed true to the SA6 identity of being the peak of modern Dunu and they had to do something to stand out.

What the Titan S2 is not is a stand out set. Well, maybe besides the accessories as this is arguably the best accessorized budget IEM by far. TRN Conch and Zhulinniao Qingluan Z4 were both well-accessorized, but not as good as this. You’re essentially paying for $30 worth of accessories which leaves you with $50 for the IEM itself. That’s an insane proposition.

But that’s also where the problem lies, in my opinion. The Titan S2 doesn’t really do much for the market in terms of its sound. It’s the safe, Harman-neutral style with good bass energy, clean and smooth mids and an energetic but safe treble presentation. Safe isn’t bad, but $79 has become a steep price for sets to just be safe. You have sets like the Simgot family of EA and EW IEMs as well EPZs recent offerings breaking the meaning of good sound value.

But I still think the Dunu Titan S2 exists for a good reason. In the past, I struggled thinking of the perfect starter or safe IEM to recommend. Most sets are either too edgy or tonally borked to recommend comfortably or just offers way to little for the end user. The Titan S2 is an entire package. Great eartips, great cases, solid build quality from IEM to cable and a very safe and enjoyable sound for most if not all people to enjoy for only $79. And that’s where I raise the glass to Dunu for creating the perfect budget IEM.

Thank you for reading my full review on the Dunu Titan S2. If you would like to order one, you may use the non-affiliated link below: https://www.dunu-topsound.com/product-page/titan-s2

SIMGOT SUPERMIX 4 REVIEW: DO YOU FEEL THE MAGIC IN THE AIR?​

WATCH FULL REVIEW HERE:​

PRICE: $149​

PROS:​

• Well-done Harman/U-Shaped tuning
• Very refined sounding set overall
• Clean and neutral midrange
• Deep reaching, rumbly but unobtrusive bass
• Sparkly, detailed, well-extended but non-fatiguing treble
• Superb technical ability
• Good fitting

CONS:​

• Slight metallic timbre on brighter tracks
• Bass is a little slow
• Cheap-feeling build quality
• Barebones inclusions

WHO THIS UNIT IS FOR​

• People who want a very refined sounding set
• People who want a fun but clean sounding set
• People who like really deep subbass but clean midrange
• People who want a very technically capable set
• People who want to try a good budget quadbrid set

WHO THIS UNIT IS FOR​

• People who want a more tactile low end
• People who want more body in the midrange
• People who want a Simgot-like bright treble
• People who want a premium feeling build
• People who want a bountiful accessory inclusions

RECOMMENDED GENRES​

• Most genres work with the Supermix 4

SHORT REVIEW​

Simgot takes a back seat from their usual bright and sparkly tuning for a more mature, more neutral and more versatile sounding set. Bringing the most subbass out of any Simgot IEM, the Supermix 4 marks itself as a first not only when it comes to drivers but also tuning. But Simgot does not sacrifice this new tech for show as the level of refinement and technical ability of this set is not like anything I’ve heard under $200. RECOMMENDED!

FULL REVIEW​

Why do you buy from the brands that you buy from? Is it the hype and status of owning that kind of product? Maybe it’s because of your favorite influencer promoting the product and wanting to feel like you’re a little closer with them knowing you’re using the same product. Me? I buy from companies I know I can trust. Companies that have proven to release products that are consistent with their identity and that I’ll know won’t fail me.

It’s the same thing in audio, but the difference lies with the niche that your follow. You could be a Harman stan or maybe enjoy really weird but beautiful headphones. But one brand has proven themselves as the choice if you want to have the most refined sounding in-ears in the portable HiFi market. Let’s see if they can keep the streak of consistency or falter with their first quadbrid set

DISCLAIMER:
The Simgot SuperMix 4 was sent over by Simgot in exchange for my honest thoughts. I was not paid or compensated in any way to say anything about the product and all my thoughts and opinions are mine.

SMOOTH OPERATORS!​

Simgot is a brand that everyone should know by now. From their meteoric rise since the EA500 to their consistent releases following such, Simgot has stayed in people’s minds, hearts and wallets more than other companies do. This could be attributed to the very consistent level of sound quality that they’ve been offering the last few years or their insane value proposition for every release. Regardless, Simgot isn’t done cooking up crazy things for us.

Meet the Simgot Supermix 4, a 4-driver quadbrid in-ear monitor priced at $149 which falls perfectly under Simgot’s crazy value proposition for products. This is their first quadbrid IEM and aims to essentially beat the competition in numbers. But is the Supermix 4 just all numbers and no brawn? Or did Simgot make something that breaks the market once again. Let’s start with the unboxing/

UNBOXING​

If there is one thing that I know Simgot really isn’t the most spectacular at, it’s unboxing. Don’t get me wrong, the boxes are often beautiful. However, the inclusions usually leave a lot to be desired which is a shame but a relief as you know they put all their money into what actually matters.

Nonetheless, the box looks kinda ugly with the green shade with the Supermix 4’s exploded view up front. Not really the most creative nor the most good looking box but that’s a personal gripe as first impressions matter to me a lot.

Opening the box, you’re met with the usual Simgot accessory presentation which include the following:

• Supermix 4 IEMs
• Cable
• Eartips (3x)
• Paperwork

Oh Simgot, bless your hearts for providing the bare minimum but I really hope you guys try to step it up a little bit. The carrying case is arguably a worse version of the ones that came with the EA500/LM and EM6L which is insane considering the only change is the rather rough gold zipper and nothing else.



The eartips are rather basic but effective as they’re 07 style and fit my ear fine. I know a lot of people disagree with this, though.

BUILD & FIT​

The Supermix 4 has a quadbrid internal set-up with a single DD, single BA, single microplanar and single piezo driver all bunched in a surprisingly compact but cheap feeling shell.



I have to give Simgot some credit for essentially doing what the EM6L tried to achieve by jamming a bunch of drivers into a small resin shell without compromising the 2-pin integrity and using QDC. I hate QDC so much and I’m so glad they did not go with the QDC with the Supermix 4.



I also have to give them credit for essentially making the best fitting Simgot IEM by far. The inner shell being slightly contoured and winged made it a more snug fit than every single Simgot IEM I’ve tried so far. This also aided in having a considerably better seal and stability which is always a plus. Speaking of pluses, there’s also no driver flex or air pressure build up. Yay!

But let’s talk about the elephant in the room. Yes, this is a resin shell and yes, it feels cheap. It’s very similar to the build of the EM6L but opting for the 2-pin instead of QDC. Compared to Simgot’s other IEMs, this feels like a toy and would be mistaken for a $20 IEM in line with their legendary EW100P. But I understand why they did this and I respect them for once again investing more in the internals than the externals. It doesn’t feel flimsy or poorly constructed and just feels cheap on the hand.



Simgot does make up for it by providing one of the best stock cables that I’ve ever seen in an IEM in this price range. It’s a very aesthetically pleasing and well-built cable that fits the Simgot aesthetic perfectly. The interface feels very sturdy and premium and the material of the cable itself does not irritate my sensitive skin. I wish this had interchangeable terminations, but it’s a damn good cable as is.

SOUND​

Sound Signature​

The Simgot Supermix 4 has a Harman u-shaped sound signature with extra emphasis in the low end, flat midrange and a well extended, sparkly but usually fatigue free treble. What I was really impressed with is how coherent the entire thing sounds.

For having 4 drivers, I only occasionally found the Supermix 4 to sound a little metallic which is something I’ve already expected coming into the Supermix 4. But somehow, Simgot puts some magic into the Supermix 4 and mixed a harmonious sounding set. You don’t hear the transition between each driver (minus the bass in a way) and every driver sound like they’re working with each other rather than against.

The level of refinement that each driver provided in the mix is crazy considering this is Simgot’s first quadbrid, but that just goes to show how consistent Simgot’s releases are.

Drivability​

Despite being a quadbrid, the Supermix 4 isn’t very hard to driver. This is due to the 7.2ohms impedance and 120db sensitivity that allows it to be so easy to drive, but not the easier in my experience. The low impedance and high sensitivity doesn’t really translate 1:1 in my listening experience as I found it to need to be cranked a little higher than something like the EW200. However, the Supermix 4 is one of the most source sensitive IEMs that I’ve tried so far. Listening to this on lower powered or cheaper source often brings out the sharpness and metallicness of the treble while smoothing the low end and losing all texture. I highly recommend using at least a decent dongle DAC to drive the Supermix 4 as it really wants a clean source to sound its best

Volume​

A surprise to me was that the Supermix 4 excelled in mid to high volume listening. Never in my years of being a Simpgot have I ever had an IEM from their company that allowed me to crank the volume up higher than mid and yet the Supermix 4 marks as the first of its kind. The bass is extra thick and deep and is borderline basshead on higher volumes, but the upper frequencies are also emphasized in exchange. The beauty of the Supermix 4 is that the treble never sounds harsh unless thrown into a very poorly mixed or deliberated bright track which is not common from my listening experience. That’s the Simgot magic for you!

Bass​

When I first heard the bass of the Supermix 4, I had 2 main reactions. One was how crazy deep it sounded with the rumble being present when it needs to and giving the perfect amount of sub depth in songs that needed it. It was baffling, especially with how most Simgot sets are rather shy in the bass region barring the EM6L. But listening to the bass more, I realized that there was one crucial element that was missing in the Supermix 4; midbass texture. The one quality I look for in every single in-ear or headphones I try is unfortunately missing. This is potentially due to its Harman nature, but the midbass sounds clean but lacking that oomph and punch that I usually look for in the midbass. Granted, this also makes the bass of the Supermix 4 surprisingly clean, but the bass on some tracks do have the tendency to mush up the details in the low end so I wouldn’t necessarily call it tight.

The depth is perfectly presented in the song Whiskey in My Coffee by Ric Wilson et.al. Each deep reaching bass line sounds so thick and rich that I felt like I had subwoofers in my ears. It never sounds muddy or overly boomy, however, and still keeps a clean lower midrange to keep the mids sounding open. However, the same can also be said for the track Get Lucky by Daft Punk with the iconic bassline at the start lacking the tactility of each note and loses out on that nuance that I love to hear when listening to that track. It’s not overly smoothened or completely absent, but definitely much less than I want.

Mids​

This flows rather predictably in the midrange with a very open, clean and Harman sounding midrange. However, I would like to highlight the fact that compared to other Harman sets I’ve tried, the Supermix 4’s lower mids don’t sound overly thin or dry. This was a big surprise to me, but a welcome one at that. It’s still on the leaner and lighter side, but it keeps a decent amount of body to not make lower octave instruments and vocals sound anemic.Note definition is good, but texture and nuance could be improved. Upper mids fair much better and make the Supermix 4 a rather competitive upper midrange centric set. It perfectly balances sounding detailed and nuanced without an odd timbre or shout. I honestly have very little to complain about in the upper midrange of the Supermix 4 besides the fact that some people might find it a little forward. But honestly, this is a very well-done upper midrange that straddles the line of being too forward and too recessed.

The perfect example of this would be the usual culprits of Laufey and Samara Joy. As they’re both contraltos, they excel when playing through leaner sounding in-ears as it cuts down the warmth in their vocals. Obviously nothing too dry, but something like the Supermix 4 perfectly presents the vocal in a natural yet still distinct manner. Male vocals fair thinner, but still sound quite decent. Something like Get Down by Flu sounds perfectly fine with the Supermix 4 despite being on the thinner side and I would say gave the vocals the much needed brilliance from the upper mids. I do prefer a little bit more body, though

Treble​

Usually the highlight of Simgot sets, the Supermix 4 presents the treble in a generous yet perfectly complimentary manner to the rest of the frequency range. While it may not be your usual bright and sharp Simgot treble, it’s a generous amount that most people would probably be fine with. One of the best things about it, along with other Simgot sets, is the level of refinement in the treble. It never once sounded sibilant or edgy but still maintained the brilliance and airiness that you might look for in a Simgot set. The treble extension of the Supermix 4 is, well, super as it’s very airy without sounding forced. Detail retrieval is also fantastic due to the smoothness providing a consistent level of clarity without and sudden spikes or dips. However, it should be noted that there is definitely a level of metallic timbre that is present on certain, brighter tracks that could be attributed to the rather complex hybrid network of drivers (or just the tuning leaning towards this trend)

A track like the Hell Freezes Over version of Hotel California is a perfect example of providing good detail without harshness or unevenness. The percussive instruments sound so crisp and sharp but never piercing. Flu’s Get Down was the track I kind of started hearing the metallic nature of the treble, but still maintains that smooth, refined but well-detailed treble presentation that is unlike anything I’ve seen in a hybrid in this price range. Obviously, throwing this into a brighter track like Can’t Hide Love by Earth, Wind & Fire will bring out the sharpness and dryness of the mix, but that’s mostly due to the lack of lower mids to contrast the sharper upper frequencies.

Technicalities​

A highlight of the Supermix 4 that is in-line with other Simgot sets is the superb technical ability. This is the kind of refinement and resolving ability that you could really only find in $250+ IEMs which makes sense when you start thinking about the Supermix 4’s driver configuration. Throw in as much drivers, tune them to perfection and bring out the most in music. Separation and layering are phenomenal for the price and allows you to pick apart complex and very busy compositions like August Burns Red or even Fall Out Boy. The only problem is both these artists usually crank the treble pretty high and the Supermix 4 will emphasize that. Imaging, headstage and stage depth are also good as I found both stage width as well as the expansiveness of the stage depth to be both very immersive. The imaging ability isn’t the craziest, but it tops of the near perfect technical detailing. Dynamics is the one aspect that I really wish was improved upon from their older sets as the low end tactility is severely lacking in my opinion.

REAL WORLD USAGE:​

Casual Use​

The combination of a very clean sound and comfortable fit makes the Supermix 4 an absolute treat for consuming media both stationary and on the go. The fit is the best Simgot has ever made and allows me to move around and about with no issues. The tuning is also great as the low end allows for a decent level of passive noise cancelling and is still audible in noisier environments. The tuning is also perfect for movies, shows and watching YouTube due to the superb balance. Keep note however that you still want to drive this through something clean and nice as you want to maintain the cleanliness of the treble and the tactility of the low end.

Gaming Use​

This is arguably one of the best sets for me when it comes to gaming. Yes, you heard that right. This Harman-tuned IEM sounds great for gaming for 3 reasons. Great tuning, great fit and great technicalities. Need I say more?

COMPARISONS​

vs CCA Hydro​

Compared to the CCA Hydro, the Hydro is a more v-shaped sounding set with a bigger, boomier bass, more scooped mids and brighter, more energetic treble. The Supermix 4 on the other hand is a more neutral, cleaner and more refined set overall. The Supermix 4 is ahead of the Hydro in terms of technical ability by a small margin, but the Supermix 4 exhibits better refinement over the Hydro’s traditionally hybrid sound. If you want a more fun set, you’d go for the Hydro. But if you wanted something cleaner and more neutral, you’d go for the Supermix 4

vs Celest Phoenixcall​

This is honestly the closest set that I can compare with the Supermix 4 in terms of driver configuration as every other hybrid set that I’ve tried only consists of 2 driveres at most. Sound-wise, the Phoenixcall is a complete contrast to the Supermix 4. The Phoenixcall is warm, colored and sounds like it’s trying to exhibit every single driver that it has. The Supermix 4 on the other hand blends every single driver into one harmonious, bass boosted u-shaped that

vs Simgot EM6L​

Compared to their last hybrid set, the EM6L is essentially a warmer, more musical and smoother set while the Supermix 4 is the more neutral, technical and built superior set. The EM6L acts as a solid reference point of Simgot’s entry into the hybrid series and the Supermix 4 is a fantastic upgrade, albeit changing the focus of the tuning from a bright but refined treble to a well-balanced bass boosted sound. One thing they both have in common is that the bass lacks punch and texture. This lead me to theorize that they used the same dynamic driver, but that’s just speculation. In short, the Supermix 4 is an improvement in every way while changing the flavor a bit

vs Simgot EA1000​

The EA1000 is the definition of the Simgot magic with its superbly technical and energetic sound. The Supermix 4 is the antithesis of the EA1000 by playing it very safe with a generous low end boost, neutral mids and inoffensive treble. The magic was not lost, however, as the Supermix 4 still exhibited superb refinement like the EA1000. The EA1000 is still ahead in the macro sense with better dynamics, sharper and better defined transients and a more technical overall sound. I’d argue that the Supermix 4 is the safer set between the two, though.

CONCLUSIONS​

Simgot hit it out of the ballpark again by providing one of the most insane hybrids under $200. A very technical, well-balanced and well-fitting IEM that does the Harman tuning better than other hybrids in the price range. There’s so many things to love about the Supermix 4 and I ended up falling in-love with it the more listened to it.

Sure, I was a little thrown off with the rather loose and lacking textured bass and the timbre might get a little metallic at times, but these are small downsides to the many upsides that the Supermix 4 offers at $149. The accessories might be a bigger issue for some and the build might not promote confidence, but I think Simgot just wanted to invest in the thing that actually matters when making an IEM

And this is what sets Simgot apart from the competition, in my opinion. They focus on what matter rather than what might be “trendy. I don’t think lacking accessories and having a cheap build is always a bad thing, especially if they make up for it in the sound department. And in my opinion, the Supermix 4 perfectly justifies both of those by being one of the most refined sounding hybrids that I’ve heard in a while.

Thank you for reading my review on the Supermix 4. If you would like to order one, consider using the non-affiliated link below: https://www.linsoul.com/products/simgot-supermix-4

EPZ Q1 Pro Review: CONSISTENCY IS KING!​

WATCH REVIEW HERE:​

PROS:​

• Beautiful faceplate
• One of the most comfortable IEMs under $100
• Very clean Harman-tuned sound
• Clean, tight but deep-reaching bass
• Clean and open vocals
• Very energetic and nuanced vocals
• Well-extended and detailed treble
• Clean instrument separation

CONS:​

• Shout tendencies
• Thin lower mids
• Not the most technical sounding set
• Lacking bass tactility and impact

WHO THIS SET IS FOR​

• Harman lovers
• People who want a clean and open sounding set
• People who want a upper midrange vocal centric set
• People who want a very comfortable and stable fit

WHO THIS SET ISN’T FOR​

• Shout sensitive people
• People who want a thicker and richer sound
• People who a more engaging sound
• People who want the most technical sounding set

RECOMMENDED GENRES​

• Vocal Pop
• Instrumentals
• Warm funk

SHORT REVIEW:​

The Q1 Pro is a very consistent IEM from EPZ repertoire with a familiar Harman tone that sounds clean and energetic. Harman lovers will adore this style of IEM, but those who complain about the Harmanification of IEMs today will find this IEM rather unoriginal. The fit and aesthetics arguably save the Q1 Pro and make it a rather comfy recommendations under $50. RECOMMENDED WITH CAVEATS!

FULL REVIEW:​

Consistency is one of the most important things for any kind of company to achieve. This means that their audience would feel confident that whatever product they release, they’ll follow a standard that they can trust. But is consistency always a good thing? Can a product that follows the general guideline that the company has set work against the way the company is perceived?

This is a very common occurrence in audio. The infamous “house sound” is something that many attribute to certain brands. Whether that’d be Moondrop’s VSDF or Simgot’s Classic Target, there are those that critique brands for following a target for most of their sets and sounding “samey”. EPZ has recently been criticized for the same thing, but is it really a bad thing? Let’s find out in today’s review of the EPZ Q1 Pro!

DISCLAIMER:
The Q1 Pro was sent over by EPZ in exchange for my honest thoughts. Rest assured all my thoughts and opinions are my own and I was not compensated or paid to say anything about the product.

THE Q FACTOR!​

EPZ is well known for their solid value IEMs with rather beautiful looking shells. Their Q series is one of their most well-received product line-up with the Q5 leading the charge. The Q1 Pro is an update to the Q1 and shifts the tonality completely from its predecessor. And for $40, these keep the status quo of good value and good sound. Or does it? Let’s start with the unboxing!

UNBOXING​

The unboxing of the Q1 Pro is pretty basic overall. It comes in a very boxy black box that is easy to open and discover all the treasures deep within.

Here is the full list of accessories:

• EPZ Q1 Pro
• 3.5mm 2-pin cable
• 3 pairs of eartips
• Paperwork

The accessory list reminds me of the EW200 a LOT. Basic cloth pouch and some decent tips on top of the IEMs and cable. Not a lot to talk about since the cloth pouch provides very basic protection and the tips are 07 style ear tips.

BUILD & FIT​

The Q1 Pro, hands down, is one of the best fitting IEMs I’ve ever worn. No, not under $50, not under $100. Ever. The fit is GENUINELY so perfect in my ear even with the stock tips and gets even better when using better eartips. Stability is virtually perfect, seal is fantastic and the size is just right to give it a snug but fatigue free fit.



This is aesthetically one of the better looking IEMs in this price. It doesn’t really try to do anything new or weird but it achieves such a simple design with finesse and beauty. The shade of blue genuinely looks like the sky on a good day and it just feels so refreshing to look at. Of course, you wouldn’t expect this to be the most premium feeling set in the world. But as a reason build, it is well-built.



Internally, it doesn’t complicate things either. Using a single LCP+PU 10mm Dynamic Driver, it stays true to the tried and tested configuration that many have used before.



The cable is also very impressive for the price, but not a cable I’d personally use on a daily. It’s braided nicely and looks very pretty, but it’s quite stiff and very tangle prone. The cable is also not behave which makes these an absolute pain in the butt to take photos of. Despite looking more premium, I’d honestly take the Q5 cable over this.

SOUND​

Sound Signature​

The Q1 Pro features a bright U-shaped sound signature with extra upper midrange energy. This is basically the bog standard Harman sound, all the way to the upper treble rolling off in a smooth way.

Source Pairing​

The Q1 Pro is a relatively easy-to-drive IEM that sounds good even through cheaper sources. It gets marginally better with better sources, but it’s perfectly enjoyable on my Huawei Nova 7 SE. The Q1 Pro favors warmer sources over neutral or brighter sources.

Bass:​

Probably the most unremarkable part of the Q1 Pro, the bass is lean, and clean and extends well but lacks impact and life in most tracks. It does provide a sufficient amount of rumble and low end when the tracks call for it, but it sounds tame and light by default. This has the benefit of the bass sounding very tight and does not color the midrange at all.

Listening to tracks with heavier midbass by default like Hey Barbara by IV of Spades sounds very clean on the Q1 Pro at provides a better balance in the overall mix. Each note is cleaner and better defined with the Q1 Pro.

Mids​

As you might expect from a Harman mids, the lower mids are basically pushed back to the point of sounding a little thin and distant. Thankfully, the treble complements the mids to not sound too thin or distant and somehow keeps the midrange sounding well defined, albeit lacking body. It’s an odd mix of thin yet nuanced that most sets are not able to do. This does however make the lower mids unengaging and occasionally lifeless. The upper mids on the other hand bear the mark of the Harman by being forward, engaging and very nuanced. Vocals sound very well defined with superb crispiness and clarity without sounding overly skewed to the upper mids and sounding unnatural. Shout sensitives beware as this definitely has the tendency to be a tad bit too forward in some tracks, especially poorly mixed ones.

This sounds perfect on Laufey. One of the best sets under $50 to do so as it keeps the lowest of lows present but cleans up the mids to make Laufey’s vocals sound a little cleaner and more nuanced. Listening to a track like Dreamer on the Q1 Pro feels like a dream with how clean and dreamy Laufey’s vocals sounded.

Treble​

The Q1 Pro’s treble is surprisingly tame despite what its overall sound signature may show it to be. The energy in the upper midrange tones down when it reaches the lower treble and keeps it consistent. There is a very distinct sparkle that provides a lot of energy in the upper frequencies that make cymbals, air instruments, and sopranos sound very energetic and lively. It does occasionally sound a little grainy and edgy at times, but I never found it to sound sibilant or stabbing in my ears. The air, while not the most extended, perfectly tops of the treble with a natural sense of extension that doesn’t sound overly airy or choked.

Listening to tracks from An Evening with Silk Sonic with the rather soft attack on the percussive and air instruments, the Q1 Pro can give extra life in the top end without pushing back the rest of the mix. I found the warmer mix of the album to sound perfect with the tuning of the Q1 Pro, similar to how I felt when listening to Laufey and Samara Joy’s tracks with their warmer tone giving their vocals much-needed airiness.

Technicalities​

Technically speaking, the Q1 Pro is average overall. Nothing stands out besides a decently clean separation. Imaging, headstage, dynamics and resolving ability were all average, especially for the price. It doesn’t stand out like the Q5 which is $10 more or the EW200 which is the same price. But for what it does well, it does quite well. Separation of instruments sound very clean with very little to muddy the overall mix.

REAL WORLD USAGE​

Casual Use​

The Q1 Pro tells two stories when it comes to real world usage. It’s perfect in some ways but undesirable in others. Starting with the fit, this has got to be one of the most comfortable IEMs to wear on long listening periods and when going out for walks. The fit is both comfy and stable and it ticks everything I want in an IEM when it comes to comfort. However, I’m not a big fan of its sound when consuming media. It’s a little too thin on most content and the midrange can get quite shouty when there are a lot of midrange presence. This is its Achilles’ Heel as it’s a wonderfully fitting and comfortable set barred by a rather thin tuning

Gaming Use​

The same can be said for gaming. It’s very comfortable for long gaming sessions but the tuning might fatigue you over time, especially when there are a lot of things happening in the upper mids section like in action games. Valorant is the exception to this rule as you bring out a lot of the minute details quite well due to the shout, but the lack of midbass makes it quite hard to hear the footsteps and the like.

COMPARISONS​

vs Simgot EW200​

Both sets follow the Harman target quite faithfully, but the EW200 does it just a little bit better in everything. The bass is more tactile, engaging and impactful, the mids doesn’t sound as thin, the treble has cleaner details and better extension and the EW200 is the more technical set overall. The only reason I’d pick the Q1 Pro is if I’m specifically listening to Laufey or Samara Joy and I want a VERY well fitting IEM. Otherwise, I’d take the EW200

vs EPZ Q5​

The older and more expensive brother still remains as the better set between the two for the main reason that the Q5 has a cleaner yet more technical sound that has more bass to make the overall sound more engaging. The Q1 Pro, however, has better and more secure fitting with an objectively better cable than the Q5.

vs Zhulinniao Qingluan Z4​

Two sets that have a similar, vocal sound signature and technical ability, the Q1 Pro is the more fun and engaging set overall but also has a thinner sounding midrange compared to the Z4. The Z4 is considerably more bass shy and lacks the low end engagement than the Q1 Pro has just a little bit more of to make it a better all-rounder set. However, the Z4 features the better overall value due to the build being metal and features interchangable nozzles, a better case and better tips

vs Simgot EW100P​

An odd comparison considering the EW100P being half the price, but a valid one because I think the EW100P is 95% of what the Q1 Pro is. That 5% is the very slight improvement in the overall refinement of sound that the Q1 Pro has that the EW100P doesn’t, but everything else is basically the same.

CONCLUSION​

The Q1 Pro is a very consistent IEM in EPZ’s lineup of Harman-based releases which can be seen both in a good and bad way. Consistency is great when you can maintain a level of quality in your releases that allows your buyers to know that their next purchase from your brand will be as good as they expect it to be. The Q1 Pro achieves that expectation, no problem.

However, it’s also consistency where a brand starts to stagnate and forces them to try something different or die off. I don’t doubt that EPZ is unaware of this issue as I know they’ve been releasing sets that vary in turning. However, the Q1 Pro is positioned at a very unfortunate positioning of being $10 cheaper than a set that can compete with sub $100 sets but itself compete at its own price. That guarantees this won’t be a bad set to get, especially if you care about fit and comfort like I do, but if you wanted something that performs like the most expensive Q5, this set is not for you.

The Q1 Pro is a Harman-based set with bass that hits when needed to but remains tame to keep the rest of the soundscape clean and snappy without overblowing the treble at the cost of being a little thin and shouty on some tracks. It’s a very comfortable set that many would absolutely adore, but a set that specifically looks for those who puts the Harman sound to heart and want something safe to get in that regard.

Thank you for reading my review on the EPZ Q1 Pro. If you would like to order one, consider using the non-affiliated link below:
https://www.aliexpress.us/item/3256806280784069.html?gatewayAdapt=glo2usa4itemAdapt

KEFINE DELCI REVIEW: WARMTH MASTERCLASS​

WATCH FULL REVIEW HERE:​

PRICE: $75​

PROS:​

• Superb warm u-shaped tuning
• Deep, rich and tactile bass
• Balanced, clean but well-bodied midrange
• Snappy and well-detailed treble
• Natural vocal timbre
• Great stage depth
• Comfortable, small fit
• Aesthetically pleasing cable

CONS:​

• Occasional sibilance on higher volumes
• Not the most technical or resolving sounding set
• Not the most refined sounding set

WHO THIS SET IS FOR​

• Warm heads
• People who want a deep, engaging but tight bass presentation
• People who want a fun but natural sound
• People who want a well-balanced lower and upper midrange presentation

WHO THIS SET ISN’T FOR:​

• People who want a smooth and warm set
• People who want a more technical sound
• People who want a wider sound
• People who want the most refined-sounding set

RECOMMENDED GENRES:​

• R&B
• Soul
• HipHop
• Rock

SHORT REVIEW:​

The Kefine Delci is a masterclass of how a fun but clean warm U-shaped IEM should sound like. The superb bass tuning is both rich and tight with the well-balanced midrange that makes both the lower and upper midrange sound exceptional and a sufficiently bright and detailed treble to top it all off. The potential issues come at the treble with the odd peak that gets emphasized on some tracks. But besides that along with the average technical detailing, the Kefine Delci stands as a top contender for a rich listening experience in the budget realm. RECOMMENDED WITH CAVEATS

FULL REVIEW:​

When you think of audio trends, you might think of driver configurations or quirky tuning filters that blow up for a couple of months and either become the norm or get completely benched. But a trend people often miss is the tuning that many of the big brands follow that is the effect of one brand blowing up with that kind of tuning.

V-shaped sets were all the craze in the years before 2020, then the Aria came in and every single brand started releasing their own renditions. Then it tilts to the brighter side with the Simgot domination until 2024 when the likes of the Tangzu Xuan NV, Dunu DaVinci, and the likes made warmth the ideal tuning.

Today, we’ll be taking an in depth look at one such warmer-leaning IEM from a VERY new company that subtly entered the market and has begun to make the waves in the community. Is this set worth being talked about, or is it just another flavor of the month?

DISCLAIMER:
The Delci was sent in exchange for my honest thoughts. I was not paid or compensated in any way to say anything about the product.

DELICIOUSLY WARM!​

Kefine is one of the newest brands on the block with only 2 products in their catalogue so far. The Klanar turned heads early in 2024 with what seemed to be the Letshuoer S12 but warmer and considerably cheaper. This value notion got people talking about Klanar as a brand with a lot of potential. The Delci marks as their second product to date and boasts a rather familiar DLC + PU setup for $75. With a setup that isn’t necessarily a stand-out, how can the Delci stand out in a market filled with giants with years to develop their reputation?

UNBOXING​

The unboxing experience of the Kefine Delci is quite basic but very cleanly done. It’s a minimalist box with the Delci’s photo up front and the specs and contact at the box.


Opening the box, you’re met with the following inclusions:

• Kefine Delci IEMs
• 3.5mm 2-pin cable
• 6 pairs of eartips
• Leather carrying case
• Paperwork

The accessories included with the Delci may not be the best that you can find for the price, but the quality is more than acceptable in my opinion. The case, while smaller than the usual carrying pouch, feels well built and is large enough for the Delci, some eartips and a cleaning tool.



The eartips on the other hand are your basic ear tips that may or may not work for you but come included with 3 sets of semi-wide bore and 3 sets of narrow bored eartips for your choosing

BUILD & FIT​

The Delci features a single DLC+PU diaphragm dynamic driver housed in a CNC-machined aluminum alloy with a 0.78mm 2-pin connector.



The design of the Delci is minimal but tasteful with its very round and smooth curves that showcase the excellent machining of the IEM. It’s rather small, so small ears gang would have a field day with the Delci.



The build quality of the Delci is quite nice and balances feeling premium and being lightweight. I had no issues with fatigue or discomfort with this IEM whatsoever.



While I do find Delci’s design to not really stand out (especially compared to the shinier, more colorful, or weirder IEMs that I’ve been reviewing recently), the fit is where Delci really stands out. I think Delci’s fit is one of the best amongst the smaller in-ears like the EW200, Chu and the like.



The cable is nice but a little tangled and memory-prone. It’s an aesthetically pleasing pairing with the brown and black cable and grey shell, but I’m not fond of this kind of cable when actually using it and not just displaying it. The interface feels quite premium which is a plus for me.

SOUND​

Sound Signature:​

The Kefine Delci has a warm U-shaped sound signature with an emphasis on the low end, a slightly pulled-back midrange, and a generous amount of top-end energy. The Decli’s overall coherency is fantastic with a very slight hiccup in the mid treble region on certain tracks.

Source Pairing:​

One of the best things about the Delci is how well it responds to sources. Even in cheaper or lower-powered sources, I found the Delci to still retain all the positive qualities that make it a solid set. The experience is improved with better sources with better bass texture, cleaner mids and treble.

Volume:​

The Delci is primarily a mid to high-level listening set due to the warmth balancing the frequency really well and the treble being quite safe in general. Low-volume listening sounds adequate but is hampered by the rather soft transient response. However, pushing the volume higher might cause issues for some people which I’ll talk more about in its own section.

Bass​

Arguably the highlight of the Delci, the bass walks the fine line of sounding very thick and impactful but tight and nuanced. It has a solid sub bass and midbass balance that makes both really deep subfrequencies audible but also makes the midbass sound very punchy and adequately tactile. This makes it perfect for heavier tracks that emphasize bass like electronic music but without totally coloring or making the midrange muddy or lacking. I honestly have very little issues with the bass of the Delci besides being a little bit too thick and bassy on some bassier and losing tactility, but that’s a very small nitpick that even I can’t justify as that’s just the kind of sound Delci wants to present.

Once again, we have the usual culprits that fit this kind of sound really well. Daniel Caeasar’s thick and punchy bass lines, D’Angelo’s deep licks and riffs, and Remi’s expertly crafted low-end tunes. But I want to highlight one particular artist that does surprisingly well with the Delci and that is Chappell Roan. She has been a recent obsession of mine and the way she does low-end synths on the track Super Graphic Ultra Modern Girl is absolutely wonderful on the Delci. It just sounds so raw and impactful while going VERY deep to provide such an engaging low-end.

Mids​

As a result of the rather thick low end, the mids of the Delci sound smooth and rich but surprisingly clean. The emphasis on the bass was just enough to keep the music from sounding lean and thin while keeping the midrange thick and weighty. The lower mids in particular were quite the treat as they were nuanced to bring out small tactile details while having solid note definition on top of having solid note weight. The upper mids on the other hand was quite generous in terms of emphasis as it brought out vocals and instruments nicely but free from sounding shouty or overly forward. It’s perfect for shout-sensitive people, but it doesn’t skimp out on the upper midrange as it balances and contrasts the lower mids pretty well.

One of my favorite things about the Delci is how well it does both male and female vocals. Obviously the warmth leads male vocals to sound better, but female vocals still sound clean and crisp. The perfect example of this is on the track In Too Deep by Jacob Collier and Tori Kelly. It has the perfect balance of low, thick, and lush vocals and brighter, more energetic, and airier vocals. I will note that female vocals have a very slight issue when it comes to S and T sounds which I’ll talk more about soon, but it sounds generally well-balanced throughout the entire midrange and provides a very soothing and natural vocal presentation. Instruments follow a very similar trend with brassier instruments like bass guitars, cellos, and some synths sounding complementary with the violins, pianos, flutes, and higher frequency instruments.

Treble​

This is arguably the weakest part of the Delci and might cause issues for some people. To start, the treble follows the upper mids with a rather generous, fatigue-free but nicely detailed presentation. The lower treble in particular sounds clean with the attack of higher frequency instruments and vocals sounding energetic without any harshness or sibilance. However, a rather odd peak in the mid-treble followed by a dip in the upper treble energy makes S and T sounds a little sharp. It’s even more emphasized on poorly mixed tracks that bring out these artifacts that makes the treble presentation a little rough and unrefined sounding. The air region would’ve sounded a lot better if it wasn’t for that peak as the sudden peak and drop had the effect of making some tracks sound a little low-res. This affects treble timbre quite considerably on poorly mixed tracks and reveals the less appealing factors more than it should. However, this is thankfully on isolated tracks and when listening to at the highest volumes and sounds quite snappy on mid to lower listening volumes. This can also give the impression that sounds more detailed on lower volumes, but harsher and less natural on higher volumes.

This is especially evident during my listening session with Chappell Roan as, despite having a very clean low end, the sharpness of the treble was also emphasized in many of her tracks in “The Fall of the Midwest Princess”. Bringing this into a brighter track like Earth, Wind & Fire also brings out the harshness that songs like Fantasy hide, especially when pumping the volume high up. This is a very odd peak that completely contrasts the smooth and warm low end. This could be to compensate for the warmer sound and to emphasize top-end details more, but it ended up making the treble sound a little rough and edgy on some tracks rather than bringing a consistent level of detail. However, I will say that it does add much-needed energy from the low-frequencies as Fantasy does not sound as anemic and dry as it usually is on most neutral or brighter sets in this price range.

Technicalities​

As for technicalities, the Delci is just about average. This is by design as the Delci has a clear focus on musicality over technicality and it’s further emphasized in this price point where you’re forced to go down the musical route if you want the most success. However, bass depth was quite impressive on the Delci as the subbass goes VERY deep and provides a very expansive listening experience in the low end. Separation and layering are quite adequate, along with headstage and imaging. Dynamics are quite impressive in the low end, but the transients are a little bit sharp, especially in the aforementioned mid-treble peak that gets a little harsh.

REAL WORLD USAGE​

Casual Use​

One of the things I really appreciate the Delci is the combination of a small and comfortable fit with a warmer but clean sound. This makes consuming not only content but just going about in life a rather musical and soothing experience. Oddly, that peak isn’t as emphasized when just listening casually to videos and podcasts. It starts to rear its ugly head with movies, particularly large setpieces, but so does the amazing stage depth that the Delci provides. Essentially, it’s a back and forth of the sharpness and the deepness of the sound that makes it a rather exciting, albeit a little scary experience.

Gaming Use​

On one end, the warmth definitely brings out the low-end nuances like footsteps and other environmental sounds that usually get forced out by the upper mids. But you’ll be surprised as the upper midrange presentation of this can still bring out the important details in the upper frequencies. Once again, that treble peak may make certain sounds a little harsh and unbearable (especially when gaming at high volumes), but is very well balanced in general. If it wasn’t for that peak, I would say this is the best gaming IEM you can get today.

COMPARISONS​

vs Letshuoer D13​

In short, the D13 is the Delci with better bass but a worse timbre and peak in the mid-treble. Both exhibit a warmer and richer sound that is occasionally barred with the odd peak and dip in the treble. The main difference is that the Delci maintains superb timbre by pushing the vocals a little further and not having as drastic of a peak and dip as the D13. The D13 is still better in terms of tactility and bass tightness, but it’s hard to justify the D13’s one-trick pony status over the Delci’s well-rounded sound.

vs Simgot EA500LM​

Both sets feature a similar U-Shaped presentation with the main difference being where their emphasis on the sound is. The Delci focuses on the bass and warmth while the EA500LM focuses on clarity and the treble. It’s honestly a perfect contrast between the two and you can comfortably get either depending on your preferences or get both to have a solid hot and cold kind of set. Technicalities are definitely better on the EA500LM, but the Delci is a more natural, soothing, and richer sounding set. I will say that the EA500LM is the more consistent set between the two due to the peak of the Delci

vs Truthear Zero: RED​

Compared to the neutral reference set under $100, the Red has a less engaging overall sound with more focus on the upper mids and keeping everything neutral. The Delci is more musical, deeper (compared to stock Red), and richer sounding overall. However, the peak of the Delci makes the Red the more consistent set if you’re pitting each of them on timbre. In short, Delci is the more fun and engaging set between the two while the Red is more consistent and has better timbre

vs Simgot EW200​

Going down in price a little bit, the EW200 is the more technical, energetic, and detailed set while the Delci provides better bass tactility, richness, bass depth, and tactility. The main selling point of either sets are, just like the EA500LM, on both ends and picking either one will depend on what you’re looking for. You have to give it to the EW200 to still be able to compete with the Delci for being almost twice the price.

vs Tangzu Xuan NV​

Two seemingly similar sets on paper but sounds quite different. While both sets focus on warmth and lushness, the Xuan NV is considerably smoother overall with focus on sounding very relaxed without sounding dark. The Delci on the other hand has more energy on both sides and sounds more U-Shaped with a deeper, more engaging, and more impactful bass and a brighter, snappier but also harsher treble. So your choice ends up coming down to whether you want something more neutral or something more fun. Both sets have superb timbre, but like the EA500LM, the Xuan NV is more consistent due to the peak of the Delci.

CONCLUSIONS​

Warmer-leaning IEMs are honestly underrated and the Delci is a step in the right direction when it comes to warm IEMs in the budget realm. It may not be the most technical nor the most refined, but I have had fun listening to this set more than other sets today.

The combination of a thick, deep, and impactful low end with the clean, well-balanced midrange with superb timbre makes this an instant buy for warm and timbre heads. The small but comfortable form factor and admittedly solid cable make it a rather aesthetic and comfort pick for me as well.

However, that peak might be an issue for some people especially those sensitive to mid treble peaks. It also had the added effect of emphasizing the imperfections of a poorly mixed track which has to do more with how uneven the treble of the Delci is. It’s also not your technical beast for $75 as more technical sets exist at almost half the price of the Delci

But all of that honestly doesn’t matter personally as the personal enjoyment I had with this set is unlike anything I’ve heard in a while. This is such an addicting set to listen to with my current library and this has been my go-to set since I got these and will most likely stay in my rotations for a long time.

Thank you for reading my review on the Kefine Delci. If you would like to order one, consider using the non-affiliated link below:
Amazon: https://www.amazon.com/HiFiGo-Delci-Monitors-Diaphgram-Earphones/dp/B0CXXY4Q3W
Linsoul:
https://www.linsoul.com/products/kefine-delci
Aliexpress:
https://www.aliexpress.us/item/1005006684461433.html?gatewayAdapt=glo2usa

EPZ Q5 Review: The Kingslayer​

WATCH FULL REVIEW HERE:​

PRICE: $50​

PROS:​

Well-done Bright U-Shaped Sound signature
Clean but deep-reaching low end
Open, clean midrange
Energetic but smooth and well-extended treble region
Fantastic technical ability
Comfortable fit
Good accessories

CONS:​

Not for treble sensitives
Mids sound a little thin and dry
The design might seem a little unoriginal
Not the most stable fit
MMCX (bias)

WHO THIS SET IS FOR:​

Trebleheads
People who want a very technical sounding set for under $100
People who like MMCX connectors (a rarity nowadays)
People who like a very clean and lean sound
People who want a very lightweight and comfortable IEM

WHO THIS SET ISN’T FOR:​

Treble sensitives
People who want bodied lower mids
People who don’t like MMCX connectors
People who want a more stable fit
People who want a more original design

RECOMMENDED GENRES:​

Classical
Vocal Pop
Jazz

SHORT REVIEW:​

EPZ has made a statement in the budget scene with the Q5 proving itself to be a proper contender against the likes of the Simgot EW200. Bright neutral to give your listening sessions extra spice, the Q5 is a very technical set for the price that doesn’t skimp out on tonality. It might be a little too bright for most people and it may not be the best for music with lower midrange emphasis, but there’s much to love about the Q5 if you’re a treble-seeking, technical-focused sound. RECOMMENDED WITH CAVEATS!

FULL REVIEW:​

In the land of the Chi-Fi, many climb the treacherous mountain of “Value”. Reviews and consumers alike argue that IEM is the best IEM or what brand is the best brand. With new brands popping out faster than my acne, how can a brand stand out from the market? Be bold and weird? Be safe and generalist. Or put out so many sets to overwhelm the market into picking one.

EPZ is a brand many have come to love, not for providing weird sets alone but neither for playing it safe. They live in that middle ground of making safe yet focused sets depending on their target demographic, whether it’d be gamers or hardcore audiophiles. So when they created a set that rose to become the competitor to one of, if not, the biggest budget IEM in the market today, how did it fair?

DISCLAIMER: The EPZ Q5 was sent over by EPZ in exchange for my honest thoughts.

PLAY IT SAFE, BUT PLAY IT COOL​

EPZ has been a brand that I’ve been paying close attention to for a while. They’ve put out very interesting sets in the past and have garnered quite the following recently. So when I got the opportunity to review their products, specifically the Q5, I was stoked. The Q5 made waves last year and now is the perfect time to see how this $50 truly fairs in today’s hyper-competitive market

UNBOXING​

The unboxing experience of the EPZ Q5 is pretty bog standard for this price range. Coming in a rather large longitudinal box that features the FR graph, the layout of the inclusions are pretty nice and easy to find.

Here are the full list of inclusions:

• EPZ Q5 IEMs
• 6 pairs of eartips
• Carrying Pouch
• Paperwork

For $50, the inclusions seem just about acceptable. A nice, spacious case with 3 sets of unique-looking ear tips is more than enough for me, but definitely not beating the competition in accessorizing.



More on the eartips, these look like a stubbier Dunu S&S tip and depending on the IEM, these could genuinely fit fantastic. On the Q5, they fit quite nice but prefer a set with longer, deeper nozzles to really fit well.



The rest of the eartips are your basic 07 style tips that are tried and tested. You either love it or hate it. No in-between.

BUILD & FIT​

If you are in any way knowledgeable about different kinds of in-ear monitors, you can probably a very distinct similarity between the aesthetics of the Q5 to another set.



But before diving into that, let’s talk internals. The Q5 features a single Ceramic Carbon Nano moving coil dynamic driver housed in a DLP 3D printed resin shell and features an MMCX connection. Not common we find MMCX in the budget realm nowadays, but this serves as an option for those who like MMCX connectors. I do not like MMCX connectors myself, but I can respect those who do. I want to put a little bit of focus on that Ceramic Carbon Nano dynamic driver as this is not common to find in this price range. A set that comes to mind with a similar configuration is the NiceHCK N3 which features a 7-layer piezoelectric ceramic tweeter on top of the 10mm carbon nanotube dynamic driver. Most sets at this price go with LCP, DLC or a mixture of both (SCP of EW200) so this is certainly interesting to see.



But let’s cut the chitchat. Yes, this looks VERY similar to the Meze Advar with the little sinkhole in the center and the overall rounded shape that gives it a very prestige and premium look. The difference. My unit in particular has less in common with the Advar as it is in a white and gold color but the black and gold are particularly similar. Regardless, I’m not here to claim that they stole the design. Other aspects such as the overall size, the inner shell and the shape are different from each other. But I thought it was interesting to see the similarities, especially with the little butthole-looking faceplate both feature. Nonetheless, the build quality feels REALLY good for a resin build. It feels more like ceramic due to the white finish and if it wasn’t for the fact that it doesn’t make any sound when I clack, I would’ve been fooled to think it was a glassy material.



Anyways, the fit is thankfully pretty good. It’s a little shallow depending on the eartips you use, but the stability and seal are surprisingly impressive for the form factor. This is similar to the EW200 in a way due to the small, lightweight and fatigue-free fit that comes at the cost of seal and stability. In the Q5’s case, it improves upon all aspects but, depending on your ear anatomy, may have brought in a rather nasty case of driver flex. Personally, I haven’t experienced issues with Driver Flex, but I know people have noted that they’ve experienced Driver Flex with the Q5.



You might think I’m gonna talk about how much I hate the MMCX since the Q5 is one of the few IEMs in the budget space released recently with MMCX, but I also know that some people have had the same experience I had with MMCX but with 2-pin. And at the end of the day, if you don’t cable roll every single day, you’re fine. If you do, well, my point with MMCX still stands.

The cable is alright, but admittedly on the thinner side. It’s very lightweight and does not irritate my sensitive skin, but it’s even thinner than the cable that comes with the likes of the EW200. I like how soft the cable is, but this also leads to being quite tangle-prone due to the combination of the thinness and the softness. Pair that with the fact that it’s terminated to MMCX guarantees that if I get the chance, I am 100% cable rolling the Q5.

SOUND​

Sound Signature​

The EPZ Q5 features a bright u-shaped sound signature with a boosted low end, slightly recessed and thin midrange, and very sparkly and energetic treble. As someone who finds bright v or u-shaped IEMs as their guilty pleasure, the Q5 was quite the treat when I first put them in after spending days on the rather chill Dunu Falcon Ultra. This follows the tried and tested bright u-shaped sound signature that many of the highly-acclaimed sets have been featuring (and will compare to later)

Drivability​

The Q5 is quite easy to drive with a sensitivity of 109db and an impedance of 26ohms. But there’s something about that Ceramic-Carbon diaphragm that makes this thing sound considerably better with better sources, more than other sets I’ve tried in this price range. I highly recommend using a cleaner, more powerful, and warmer (personal preference) source to balance out the brightness and bring out the best of this set.

Bass​

As a bright u-shaped IEM, you’d expect the bass of the Q5 to take the immediate back seat in the overall tuning. But the Q5 doesn’t throw the bass out for the sake of the sparkle. The bass of the Q5 is clean, and tight but kicks when it needs to. It doesn’t force out the bass like another u-shaped set, instead giving it a cleaner and deeper bass that allows for it to be quite versatile depending on the genre. It’s not the most tactile bass which saddened me nor did it provide sufficient note weight for low midrange vocals and instruments, but it did act as the perfect balance to keep the mids from sounding overly thin and distant with the deep, rumbly, and impactful low end on the tracks that call for it and a clean and tight bass on tracks that don’t.

Listening to Umbrella by Penthouse was quite a treat, albeit lacking in the texture. Especially during the start with the slow but very groovy bassline, the Q5 was able to present the bass with such finesse to make a man cry. The texture was the biggest turn-off for me though as the midbass lacked the punch and tactility that I looked for in this track

Mids​

U-shaped sets have a very distinct midrange quality that sounds neither recessed nor forward (at least in the lower registers). The Q5 is no different as the brighter tone affects the vocals by making the lower frequency vocals sound a little bit thin on some more balanced tracks, but sufficiently warm on warmer tracks. I loved how clean the vocals on the Q5 sounded overall. It’s not really the best for male vocals or bassy instruments, but upper vocals and higher frequency instruments like violins, flutes, and the like sound wonderful. The beautiful of bright u-shaped sets like the Q5 is that when you listen to female vocal-centric or instrumental tracks, the balance of the deep low end and the emphasis in the upper mids give it such a harmonious sound that my usual midbass-focused tastes can’t really do.

Listening to the likes of Laufey, Diana Krall and Samara Joy were quite the treat. Their vocals are on the lower registers, around contralto to mezzo-soprano and the leaner nature of the midrange give their vocals the much-needed leanness to make their vocals sound ethereal. However, Earth, Wind & Fire showcases the weakpoint of the Q5 when it comes to male vocals with Maurice White’s vocals often sounding quite thin and dry, lacking engagement but keeping vocals sounding clean

Treble​

The highlight of the Q5. This is what will make you fall in love with the Q5 or what’ll turn you away. The treble is sharp, snappy and energetic, moreso than your usual neutral tuned set in this price and follows a similar level of energy as the likes of the EW200 and Qingluan Z4. The difference is that while the Q5 sounds bright, it’s a smooth kind of bright. Low to mid treble have such a smooth overall balance that doesn’t sound overly sharp but is definitely hot depending on the track. I think it’s obvious but just to be sure everyone’s on the same page, this is not for treble sensitive people. This is for the trebleheads like myself who absolutely LOVE this level of sparkle. The only thing I would like to point out is the rather aggressive upper treble presentation that might come across as overly airy for some people. This reminds me of the treble of the Ziigat Nuo and TRN Conch, but not at the same level thanks to the contrast with the upper mids.

Listening to Toto’s IV showcases the hot refinement of the treble that the Q5 can produce. It’s hot, but it’s a smooth level of hot. It’s not stabbing, moreso that it brings out the treble detail a lot. And listening to this on DSD is quite the treat as you get a lot of that detail without going deaf thanks to the brighter tuning. This also makes the Q5 perfect for darker tracks like Shooting Star by Penthouse. The brightness gives the track the much needed upper frequency energy that most sets can’t really give.

Technicalities​

Arguably the biggest reason you’d even consider getting this set, the Q5 is an absolute technical beast for the price. This is a $50 set that puts $100 IEMs to shame with how absolutely amazing the technical ability is.

First, separation and layering is top notch. Listening to complex tracks is a breeze with this set, even with metal tracks like the Constellation album by August Burns Red. Instruments have a sufficient spacing from one another that doesn’t sound too wide and distracting but not cramped in any way Imaging and headstage is wonderful with instruments with a very tall and wide perceived stage. This thing is also insanely resolving as the brightness doesn’t sound forced and gives that “hi-res” sound. The only thing that this suffers in is dynamics as, especially in the low end, the tactility and note definition can get a little bit soft and smoothened out. But it does still maintain superb detail retreival in the top end, making it sound almost like a hybrid set.

REAL WORLD USAGE​

Casual Use​

Unfortunately, I don’t fancy this set for casual use. It all stems with the fact that the treble energy can distract and push back the lower-frequency sounds a little bit too much that makes the overall sound a little unengaging, particularly in movies. Watching YouTube content sounds pretty nice, but depending on how the voices were mixed, can also be a little pushed back and bring the harsher sound up. The fit, while great, is not the ideal fit for commutes as it has the tendency to slip out over time. But sitting at your desk and working is perfectly sufficient.

Gaming Use​

Similar to casual use, the gaming performance of the Q5 is solid but not what I’d really go for. The lack of a midbass emphasis makes it quite poor for playing games like Valorant that need midbass to bring out some of the nuanced lower midrange sounds and the brighter nature can give certain guns a little bit of a sharp tinge that might become unbearable over a long period of time. It fairs worse with environmental games with the only thing going for it being the fact that it can bring out nuances in the high frequencies of the sound design. It sounds a little dull on the lower frequencies and might come across a little boring sounding.

COMPARISONS​

vs Simgot EW200​

You can’t talk competitive bright u shaped sets under $100 without mentioning the Simgot EW200. The EW200 sports a more engaging, richer, tactile and impactful bass with a warmer low end overall with a more defined overall sound. The Q5 on the other hand has a cleaner, smoother and snappier sound with better separation and headstage. It’ll come down to whether you want a more engaging or cleaner sound. But you can’t go wrong with either set.

vs EPZ Q1 Pro​

The little brother who isn’t that much cheaper than the Q5, the Q1 Pro has a leaner, thinner but less bright overall tone with more emphasis on the upper midrange. It’s overall more bass shy with a flatter but oddly better-sounding timbre midrange compared to the Q5. The tamer treble contributes a lot to this as the Q5’s boosted treble can make the overall sound thinner compared to the Q1 Pro. However, the Q5 has better overall technical ability compared to the Q1 Pro and makes the Q1 Pro sound closer to $20 than $50.

vs CCA Duo​

Another bright u-shaped set that is closer to sounding neutral, the Duo has a better overall tonal balance but a worse extension on both the bass and the treble. The Q5 is more technical than the Duo, but the Duo has better midrange timbre and balance that makes both male and female vocals sound balanced and clean. The Q5 is more technical sounding compared to the Duo overall.

vs CCA Rhapsody​

The Rhapsody is a considerably more fun, engaging, and impactful sounding set overall due to the massive bass boost complimented with the forward upper mids. As a whole, the Q5 is the more coherent sounding set as the Rhapsody suffers from having a slower bass and faster treble. The Q5 is more technical and dynamic sounding overall but the Rhapsody has a richer and deeper sound overall.

CONCLUSION​

The Q5 is arguably the set that put Q5 in people’s mouths. The Q5 is undoubtedly one of the best sounding IEMs you can get under $100 if you seek that bright, technical and analytical sound that doesn’t compromise on fun. This is the perfect competition for the king of the budget, the EW200 with its similar bright U-Shaped sound signature that took the market by storm last year.

But just like the EW200, the Q5 is not for everyone’s ears. No set is, but the Q5 is especially unforgiving for treble sensitives as it has the tendency to sound even sharper in the upper treble. The lower mids also sound a little thin due to the treble emphasis and leaner midbass and the tactility leaves more to be desired. The shape and the MMCX connector may also turn some people away who prefer a larger shell and a 2-pin connector.

However, there’s very little to fault about the Q5 as a whole. For $50, you get a small, lightweight, and comfortable IEM that sparkles unlike anything else. If you’re a treblehead like me and like a proper bright U-shaped IEM that focuses on being analytical, the Q5 is a must-buy!

Thank you for reading my review on the EPZ Q5. If you would like to order one, consider using the non-affiliated link below: https://www.aliexpress.us/item/1005005790619423.html?gatewayAdapt=glo2usa

DUNU x GIZAUDIO DAVINCI REVIEW: BEAUTY IN WARMTH!​

WATCH FULL REVIEW HERE: ​

PROS:​

• Well-done warm-neutral sound signature
• Very engaging and fun sound overall
• Good value and quality package and accessories
• Superb quality modular cable
• Comfortable fitting
• Superb timbre (especially for a hybrid)
• Thick, deep, and punchy bass
• Rich, well-bodied midrange
• Smooth, inoffensive but well-extended treble
• Great technicalities for a warm IEM

CONS:​

• The treble was a little too pushed down for my liking
• Note definition is not the cleanest
• Warmth might affect upper midrange to treble clarity on some tracks
• Not the most technical set for the price

WHO THIS SET IS FOR:​

• Warm/bassheads
• People who want a complete package
• People who like a warm and very musical sound
• People who like a very rich and natural-sounding timbre
• People who want a safe, clean-sounding IEM

WHO THIS SET ISN’T FOR:​

• People who want a bright and sparkly set (akin to older Timmy collabs)
• People who want the most technical set for the price
• People who want a lean and analytical sound
• People who want something more energetic-sounding
• People with smaller ears

GENRES​

• R&B
• HipHop
• Rock
• Metal

SHORT REVIEW​

Timmy goes out of his comfort zone by curating one of the best warm-neutral midrange releases of 2024. A thick, lush but very engaging bass complimented by a clean and natural midrange to treble puts the DaVinci as one of the top contenders for those looking for a warm and enveloping experience. It doesn’t excel in all aspects as the warmth can be too much for some tracks and you might find the shells a little bit (like Timmy’s other sets). But pound for pound, this is a very well-done and great value set and in my opinion, Timmy’s best. RECOMMENDED!

FULL REVIEW:​

Collaboration IEMs usually tell a story. Sometimes shallow, occasionally compelling, but importantly something that both parties put a lot of love and effort into. This is especially true for reviewer collaborations where they really want to make sure the IEM that they tuned suits their needs or their goal perfectly. This leads to a somewhat formulaic style of tuning for most of their sets with minor variations in their presentation.

But occasionally, you get a reviewer that is willing to try something different with their collab. Breaking their status quo and making something so left-field and unlike them, but ending up as arguably one of the most iconic sets to date. Let’s talk about the DUNU x Gizaudio DaVinci.

DISCLAIMER: The Dunu x Gizaudio DaVinci was sent over by HiFiGo in exchange for my honest thoughts. I was not told or paid to say anything and all my thoughts and opinions are mine.

THE RENAISSANCE:​

Timmy Vangtan of Gizaudio has had 3 collaboration IEMs by far. Both sets achieve very different things but are fundamentally sets that follow Timmy’s preference of having a leaner low end with a sub-boost and energetic upper frequency. This is normal as you’d want to make your collab IEMs fit your preferences. So when Timmy came out with DUNU to create a $299 bass beast named DaVinci, I was more than shocked. I thought, “Has Timmy lost his mind? Making a warm IEM, an IEM that he would usually say the female vocals are husky?” But you see, Timmy didn’t just throw in bass for absolutely no reason. He had a realization. A spark of brilliance. A prophecy. And it all starts with the unboxing

UNBOXING​

Coming from my last review of the DUNU Falcon Ultra M.T., I did not feel out of place at all with the unboxing experience of the DaVinci. Coming in a smaller but equally as beautiful box, the DaVinci’s unboxing experience is virtually the same as the Falcon Ultra.

Here is the full list of accessories:

• Dunu DaVinci IEMs
• Modular Cable
• Cleaning brush
• 6.35mm to 3.5mm adaptor
• Dunu S&S Tips
• Dunu Candy Tips
• Olive Eartips
• Carrying Case
• 4.4mm modular jack
• Paperwork

Once again, we are blessed with DUNU’s accessories and am I absolutely all for it. The large carrying pouch is not only spacious enough to hold even a dap inside, you can put basically every single accessory you need inside and still have some room.





And how can I not mention the tips. The DUNU S&S is the goat and the Candy’s are solid eartips. You also get their basic olive eartips that I’m slowly growing to love due to it’s shape and how it reminds me a lot of the Divinus Velvet eartips.

Amazing accessory list as usual, nothing you don’t need and everything you do (sadly the egg bag was omitted for probably obvious reasons)

BUILD & FIT​

There’s this theme that I notice Timmy does on his full resin IEMs. They’re some of the prettiest IEMs in the market. The Galileo’s, well, Gaileio space-themed aesthetics that remind me of the Starry Night truly sparkled in more ways than one. The same can be said for the DaVinci, but exudes maturity, warmth, and a woody vibe.



Internally, the DaVinci features a 2DD + 4BA hybrid drive system which seems to be one of the best ways to implement a 2DD based on my experience so far. The drivers feature an independent five-channel sound guidance and electronic frequency crossover control with physical and electronic dual-frequency tuning sytems (from the official marketing material of the DaVinci). This is all houses in a 3D-printed resin and features a 0.78 recessed connector.



There is much to love about the build and fit of the DaVinci, but some to be concerned about. First, the DaVinci is just a total beaut. I’ve talked about it already, so I’ll let you guys fawn over the design. But also, the recessed 2-pin connector is by far my favorite type of connector. It offers the best protection from having the pin or connector bend or break and it also looks much cleaner on the IEM itself. The only concern would be aftermarket cables not fitting the DaVinci at all and the resin itself breaking when put under a lot of pressure. I saw an SA6 break once because of this, but that’s probably the extreme case.



But worry not, I doubt you’d want to cable roll the DaVinci because the LEO cable is probably one of the best modular cables I’ve tried to date. It’s thick but malleable that is soft on the skin but feels very premium. The braids are confident and does not feel cheap and the interface feels premium. But the best thing about this is the modular system itself. I’m glad more companies are going away from the plug-and-pull modular system as it is very fragile and gets loose over time. DUNU is a pioneer in this regard with the Q-Lock design first found on the Hulk Pro and Hulk Mini, but they stepped it up with the LEO cable.



Instead of a locking mechanism, the cable features a screw system that is INSANELY more secure than the plug-and-pull modular system and easier to maintain than the Q-Lock. It’s a genuinely genius modular system and I am all for it.



Comfort-wise, the DaVinci is surprisingly comfortable for how thick this thing is. This is all thanks to the fact that there are actual vents for air to pass through and not induce any pressure build-up. However due to the less aggressive shape of the inner shell, the DaVinci is also fatigue-free in even long listening sessions. I didn’t find it to be the most snug fitting nor the most stable out of all the IEMs I’ve tried, but it fits well and it’s comfortable. That’s all I ask for. My only concern is the rather thick nozzle. This seems to be a trend for Timmy’s IEMs as both of his previous collabs feature rather thick nozzles. The DaVinci here has a nozzle diameter of 6.6mm on the widest part and 5.5mm on the thinnest part. This makes certain tips problematic to put in like the Divinus Velvet eartips or the DUNU Candy eartips. This made me fall back to the legendary S&S and TRI Clarion’s for the best comfort.

SOUND​

Sound Signature​

The DaVinci features a warm slight u-shaped sound signature with a VERY deep-reaching bass and warm lower mids, well-bodied overall midrange, and a clean, well-extended, and smooth treble. This is a complete contrast to the IEMs Timmy usually does and I am all for it.

Source Pairing​

Despite the rather high 35ohms of impedance, the DaVinci sounds great even on cheaper or lower-powered sources. Using a better and more powerful source improves the sound exponentially in my experience as it cleans up the separation and layering while tightening the bass and improving the details.

Bass​

When you think of Timmy, thick, visceral bass usually isn’t the first thing that comes to mind. But the DaVinci is exactly that and more. The bass on the DaVinci goes so deep and hits so hard that you might almost mistake this set for a collab from another reviewer. But nope, it’s just Timmy and he arguably made one of the best to do the warm-bassy kind of sound. The subbass goes VERY deep with a lot of rumble and impact, the midbass is thick, tactile, and punchy but surprisingly clean for its tuning philosophy. This is the warm-head’s dream. As someone who’s slowly starting to appreciate warmer IEMs, the DaVinci proved itself to be one of the best I’ve tried under $500 by far. The balance of sub and midbass is perfect and is perfect for the stuff I listen to

I could talk about the music that I found to be perfect on DaVinci for hours, but for your sake and mine, I will limit it to the best. First, classic rock and pop stuff sounded AMAZING on DaVinci. Take Fleetwood Mac, Earth, Wind and Fire, and Toto with their leaner low-end tuning sounding PERFECT on DaVinci. Metal tracks like August Burns red are also perfect thanks to the midbass emphasis giving the deep bass guitar riffs a very rich and engaging sound. Finally, R&B, HipHop, and EDM tracks sound absolutely wonderful with artists like Daniel Caesar, D’Angelo, and Erykah Badu sounding amazing on DaVinci.

I really could go more with examples but you get the gist. The bass of this thing is top-notch and truly lives up to being 2DD. I’d even go as to say that this is probably the best 2DD set I’ve heard by far in terms of my expectations of how a 2DD set is supposed to sound like.

Mids​

But with that much bass, you almost expect the mids to be sacrificed. But you are absolutely mistaken as the overall midrange presentation is quite linear yet focuses on having a full-bodied and rich sound overall. The lower mids, as expected, sound very full and thick but still nuanced. It doesn’t sound like your usual Harman lower mids scoop that makes lower midrange instruments like bass guitars, cellos, and grungy guitars sound lame and lifeless. This makes DaVinci perfect for heavier genres like Metal and thinly mixed tracks. However, I cannot deny that the upper mids are a little tamer in comparison due to the emphasis on the lower mids. The note weight also affects the note definition on certain tracks as the notes can get enveloped in warmth. It doesn’t mean that the upper mids sound recessed or pulled back, but it’s definitely more of the side dish than the main course. Upper-frequency instruments like violins, high-frequency guitars, pianos, and other air instruments have a decent amount of energy to compliment the thick low end but don’t overdo it to push the mids down for the sake of upper midrange clarity. This gives it a very natural rise into the upper frequencies that make the rest of the range sound quite tasteful and not unnatural to compensate for the bass.

I’ll be using the same examples as earlier with metal, classic rock pop and hip-hop, but I’ll go into detail about specific tracks I like that highlight the mids. First, Toto’s Waiting For Your Love. A track I find to sound quite thin on most sets but sounds wonderfully thick and luscious on the DaVinci. It’s perfectly complemented with the very sparkly top end that sounds smooth yet crisp and giving the bass the much-needed thickness. The same can be said with Dreams by Fleetwood Mac as the bass sounds so freaking engaging and thick while keeping the mids sounding clean and the details up top sounding crisp and well-defined.

Treble​

One of the best things about the DaVinci is despite the thick, visceral bass, the treble is kept clean and snappy without falling into darkness or being forced to be bright. Many warm-leaning sets fall under this and mess up the tonality pretty badly, but the DaVinci completely avoids it by keeping the treble smooth but well-defined and well-extended. This is not going to be a treblehead’s dream as you might expect, but perfect for people who are sensitive to high frequencies but still want a well-defined treble. Air instruments sound crisp but smooth, trailing vocals are soft but well-extended, and instruments never sound choked or rolled off in an unnatural way.

This could not be better shown than with Earth, Wind and Fire’s Fantasy with the sharper, brighter tone on the track Fantasy having the perfect balance on the DaVinci. It also has the benefit of sounding great on poorly mastered tracks like Bruno Mars’s “That’s What I Like” with the oddly sharp treble sounding smoother yet still well-defined and detailed.

Technicalities​

At first glance, you might think that the DaVinci is not technically capable. The stigma people have on warmer sets is that they’re not as technically capable as sets that are brighter or more neutral-tuned. But the DaVinci balances the warmth with the rest of the frequency range along with the high-quality drivers that they used to make DaVinci still a very technically capable set. The highlights are definitely imaging and headstage, particularly in the lower frequencies where the stage depth is quite expansive and very immersive and the air region gives a sufficient level of width and height without sounding unrealistic. Resolving ability is also quite impressive with DaVinci not sounding low resolution in any way at all. The only thing I personally think it struggles with is separation as the warmth definitely has an effect on the perceived separation in the lower frequencies. This is mitigated by the bass being quite well-defined, although definitely on the woofier side, and the rest of the frequency range being quite neutral to allow for the instruments to be placed cleanly in the mix.

REAL WORLD USAGE​

Casual Use​

This is arguably one of the biggest reasons as to why I love the DaVinci so much. As a casual use IEM, the DaVinci ticks all the boxes for a great IEM. Comfortable and decently stable fit that doesn’t get fatiguing, a warm, enveloping, and thick sound that makes content watched sound engaging and fun but clean enough to not muddy the rest of the soundscape and still have a lot of nuance in things like films and shows and is very easy to drive for when I just want to plug this straight into my laptop, phone or other devices. This thing that is amazing when watching films was the thicker low end makes explosions sound so immersive but flat enough in the midrange to not affect dialogue and the finer sound details

Gaming Use​

This is, by far, the best IEM I’ve used for gaming. The tuning is perfect for competitive games like Valorant but even better for environmental or story based games that, just like the moves, aim to immerse you. And the DaVinci achieves that VERY well. I seriously have no gripes when it comes to the sound of the DaVinci when it comes to gaming and makes it even better when you consider the comfort of this thing.

COMPARISONS​

vs Yanyin Canon II​

When I heard the DaVinci, one set came to mind that I thought perfectly competes with DaVinci. The Canon II has a flatter, cleaner, and more detailed overall sound at the cost of timbre not sounding as natural and not sounding as impactful as the DaVinci. The DaVinci on the other hand is more immersive, engaging, punchy, and rich with better timbre but not as clean separation and layering. Both sets cater to a very similar demographic but differ in how far you want the warmth. If you just want something slightly warm but still sparkly and crisp, the Canon II would be the set to get. But if you want pure warmth and richness, go for the DaVinci

vs HiBy x FAudio Project Ace​

Another set with a lot of warmth, the Project Ace has a more linear, flatter and generally more forward presentation but worse timbre, especially in the treble. Tactility is cleaner on the Project Ace, but the DaVinci goes much much deeper and is more impactful. The DaVinci is also cleaner in the top end while also extending better compared to the Project Ace

vs DUNU Falcon Ultra M.T.​

Compared to the Falcon Ultra, the DaVinci is even warmer, thicker, and more engaging to listen to but has an overall more skewed warmth presentation compared to the Falcon Ultra. The Falcon Ultra, to my ears, has a more balanced tonality with a cleaner overall sound that would be more versatile in more genres compared to the DaVinci. But the DaVinci has a much more immersive overall sound that makes the DUNU sound analytical in comparison. The DaVinci is also arguably less offensive than the Falcon Ultra overall.

vs Simgot EA2000​

You might be asking why EA2000 is over EA1000, and that’s because the EA1000 is a completely different style of tuning compared to the DaVinci. The pervious sets had a warmer tone that is similar to the DaVinci and is why I’m comparing it to the EA2000 instead. A bright v-shaped set with one of the best bass quality in the game. This still holds true as the bass of the EA2000 is tighter, and cleaner but still very impactful and deep-reaching. The DaVinci is warmer, and richer but also not as well-defined or tight compared to the EA2000. Everything else, however, the DaVinci is better (minus techs).

CONCLUSION​

A set born out of the need for warmth in the market, the DaVinci achieves exactly what it aims to do by providing us with one of the best warm/bassy sets in the market. Its focus on the bass gives it such a rich, thick, and engaging sound that is unlike anything I’ve heard. Most sets that try this much warmth often overdo it and sound muffled or muddy.

The DaVinci is neither of those and sounds engaging but still clean. Pair that with the mid-to-treble region that perfectly compliments the bass and the insane level of accessories provided by DUNU making the DaVinci an absolute must-buy set for anyone looking for a warm-neutral set with a focus on musicality and engagement.

Admittedly, it really isn’t the cleanest sounding set in terms of separation and some sparkle might do the set a little bit better to make it an all-rounder, but for what it aims to do, it does a damn good job.

Pair that with Dunu’s expertise in making IEMs and knowing what the market wants and needs makes the DaVinci a truly one-of-a-kind experience in and out of listening. There’s a lot to love in the DaVinci, and love it I truly do. Timmy made an IEM that the market really needed and he delivered. And that deserves much respect, especially considering the usual tastes of Timmy.

Thank you for reading my review of the Dunu x Gizaudio DaVinci. If you would like to order one, consider using the non-affiliated link below: https://hifigo.com/products/dunu-x-gizaudio-davinci

FOSI PH05 REVIEW: NOT JUST FOR REVIEWERS​

WATCH FULL REVIEW HERE: ​

One of the most important things that a reviewer needs to tackle in their reviews is comparisons. How else can you get a reference point without comparing it to its peers? But a struggle that we have is that the process of conducting A/B testing is keeping the variables the same. Particularly, volume matching is a very important factor due to the Fletcher-Munson curve where the higher the volume of something is, the more emphasized the low and top ends are and the overall sound becomes more V-shaped. This can shift the difference drastically and might the difference between two sets vastly different because of volume.

So when I got the opportunity to review a product that will make this process INFINITELY easier, I took that faster than a child puts an unknown object in their mouth. So did this really make the process easier? Does it fulfill more than just a “reviewer’s tool”? And why should you get this even if you don’t review but have a big collection of headphones?

OVERVIEW​

Fosi is a well-known and respected brand that offers DACs and amplifiers. I can’t just mention one product since they’re well known not only in the portable audio scene but even in the speaker or home theatre scene. From the likes of the BT20A 2-channel amplifier (which I’ve previously reviewed) to the likes of the Fosi DS1 dongle DAC, they’ve basically got all the sources you need. And when I say all, I mean all because they have sources for reviewers and studio mixers with the product of today’s review, the PH05. So what makes this particular 5-channel amplifier such a stand out in today’s amplifier market? Let’s start with the unboxing.

UNBOXING​

The unboxing of the PH05 is quite simple with the box featuring line art of the amp itself with the distinct red mute/power button. The amp itself is seated in a foam cutout that also features the 12v power supply, the 3.5mm to 3.5mm cable, and the paperwork of the product. They were laid in a very accessible manner that allows it to be put back after use without any problems.

BUILD​

The construction of the PH05 is very sturdy with a metal alloy construction throughout the amplifier and plastic knobs



From the top, we can find all 6 knobs (yes 6) of the PH05. The smaller knobs on top are the independent volume knobs for each channel and the center knob is the master volume. You can also find the mute and power buttons on the left with a bright orange color.



In front, we can find the 5 3.5mm channels and the aux input to plug into your source. This is not a LO and works similar to an AUX jack where you plug in something like your phone and your laptop but also DAC/AMPs and DAPs. However, you can use it on LO, with certain caveats that I will mention later.



On the back, you can find the 12v plug to power the device.

SPECS​

Here are the full specifications of the device:

• Texas Instruments NE5532
• 310mW @ 32ohms each channel
• 5 output channels
• THD: <0.001%
• SNR: 105dB
• Terminating Impedance: 16-300 Ohm
• Work Voltage: DC12V/1A

SETTING IT UP​

Setting up the PH05 is quite easy. You place the PH05 on your table, make sure that all the volume knobs are all the way to the right, plug the 12v into a power outlet and the AMP itself, press the orange button and when you see the orange light on the right, you may plug in your headphones and slightly adjust the master volume (I recommend around 9 o’clock) and then turn the volume knob of the specific channel.



You can now also plug the AUX from your music-playing device like a smartphone, laptop, DAC/AMP or DAP. I will go in-depth with my findings with source pairings very soon.


I highly recommend playing around with the master volume first as this will dictate the base volume of each channel. Once you’ve set up a comfortable volume for your headphones, you may start plugging in the other headphones you intend to use.



If you need to mute or turn off the device, you may click or hold the orange button respectively. Muting the device will turn the LED from orange to blue and will turn off once it’s off

SOURCE PAIRING​

One thing that I discovered with the PH05 is that not all sources are equal. While the amplifier has its own dedicated amplifier chip, the device you choose to plug the AUX cable into can also affect how much power you’ll be getting for your headphones.

For this testing, I used the Huawei Nova 7 SE (non-HiFi smartphone), Fosi DX1 (combo DAC/AMP), and HiBy R3 II (DAP).

I found that out of the three, the Nova 7 SE had the lowest output, followed by the DX1 on High Gain and the R3 II on LO.

However, the limit of the power is 310mW which means you can’t throw in a 1-watt amp and expect it to match that power. However, 310mW is more than enough for portable in-ear monitors and easy-to-drive headphones.

SOUND​

The sound of the PH05 is relatively neutral. It was a very similar listening experience to the HiBy R3 II with a very neutral tone but didn’t compromise too much in the dynamics. It’s not as clean or dynamic sounding as something like the DX1 or as transparent or as crisp as the R3 II, but it does a fantastic job for its use case and especially the price. It’s able to bring out the nuances of IEMs and doesn’t sound compressed or dull at all.



The issue that I have with the PH05 is the noise levels. This shouldn’t be a problem with full-size headphones but might become an issue with very sensitive in-ear monitors. I used the Simgot EW200 which is a very sensitive IEM with 16ohms impedance and 126db sensitivity. When I plugged it into the PH05 and put the EW200s in my ears, I immediately got a flashback from when I owned the VE Megatron. It’s not as bad as the Megatron, but it’s definitely audible.

However, for a $39 5-channel amplifier, I would say the sound is acceptable. Nothing that will blow the water compared to more expensive, dedicated DACs, but nothing too compromising that can be immediately audible.

USE CASES​

So now, why should you even consider the PH05? Well, there are a lot of use cases for this product, so much so that I genuinely think that this is the most versatile amplifier that I’ve ever tried.

REVIEWING PURPOSES​

First and the most obvious one is reviewing. As a reviewer, comparisons are some of the most important things to include in your reviews as they provide context and reference for the people reading or watching your review. If they have the IEM or headphones that you’re comparing this IEM to, they’ll have a better idea of whether they’ll like it or not.

However, there are many factors that come into play that might skew one's perception and comparison. The most important one is volume. I’ve always believed that volume is one of the most crucial factors in how someone perceives headphones. This is due to the Fletcher-Munson curve that, for the sake of time, will try to simplify.

In basic terms, the higher the volume you listen to, the more emphasized the bass and the treble are and makes the overall sound more v-shaped compared to lower-volume listening. This is a MASSIVE simplification of a very complex topic and I highly recommend reading more on it, but that’s a gist of this.

Putting this into the context of the PH05, the PH05 has independent volume knobs on each channel which allows you to compare different headphones at the same perceived volume. You can go more technical and use dB sensors to know exactly how many dBs you’re listening at, but just having a consistent level of volume when comparing two headphones side by side is MUCH more efficient and easier than unplugging, changing the volume and then rinse and repeat. Obviously, this isn’t a scientific way of comparing as there are still other factors to consider. But this is arguably a much better option, especially for headphones with greatly varying impedance and ohms.

For Enthusiasts/Audiophiles​

But reviewers aren’t the only ones who will benefit from the PH05. Enthusiasts and audiophiles with hundreds of headphones in their collections will have a much easier time comparing them with the PH05.

With it’s simple and easy-to-understand set-up, any enthusiast can use it to compare 5 headphones at once and share their findings with others or just note them down to get a better understanding of their audio journey and experiences.

For Audio Shops​

The PH05 would also prove to be very useful in audio shops where you can demo headphones. I’ve been to our local headphone dealer many times before and my biggest problem is having to set-up my audio sources, borrow all the headphones, and compare them one by one with the right volume. This is very time-consuming not only for me but for whoever wants to demo next.

The PH05 can solve that issue as the headphones could already be plugged into that one source and all the headphones to the PH05. All you need to do is take the headphones off and put the other headphones in and compare to your hearts desires without the issue of plugging and unplugging and volume matching.

For Music Producers​

Audiophiles aren’t the only ones who can benefit from the PH05. Professionals or upcoming professionals on a budget who need a cheap but good-quality multi-channel amplifier can use the PH05 when producing their music with a group.

I’m not an expert with audio production to really point out every use case that music producers can use this on, but I have dabbled with music production in the past and when collaborating with others, it helps have a consistent but high-quality playback that isn’t through an iMac (yes we mixed on GarageBand) speakers.

For Home Studio​

Music listening is fundamentally a social thing. People jammed and danced to music even in the Stone Ages and now, we have the option to listen to music with people without bothering others who choose not to listen. That’s the beauty of the PH05 as you can plug in multiple headphones for your friends and family to listen to and enjoy music in a controlled but still enjoyable and solace environment. It may seem a little dumb when you first think about it, but I have experienced cases where my friend and I wanted to listen to this particular song or album but we were in a room where we weren’t allowed to play music through our speakers. The PH05 offers a great way to do this, as long as you have somewhere to plug it in of course.

But music isn’t the only thing you can do with the PH05. Watching movies or TV shows in silence is also a very common occurrence, especially in a household where you, your friend or your siblings are night owls and you want to watch movies but can’t blast your TV or speakers while doing so. The PH05 allows you to binge your favorite movies or shows without having to disturb the rest of the household.

For Other Social Events​

There are specific social events like podcasts, classroom settings, social gatherings, and the like that the PH05 may be used to allow people to monitor their own voices or the content they are consuming in an easy manner. This is more for those who want max 5 people to listen to something in solitude without being bothered by the external world like in music class where the students may want to listen to the instrumentals in their own headphones.

CONCLUSION​

The Fosi PH05 is one of the most versatile and practical amplifiers on the market right now. 5 independent channels allow for so much possibilities ranging from the audiophile use cases to monitoring.

While it may have some issues like the noise level being quite audible when plugging very sensitive in-ear monitors and the need to have a power supply in order to work (as it is an independent amplifier), its use case and price overshadows its cons. So if you’re looking for a budget-friendly but high-quality multi-channel amplifier, the PH05 is for you.

Thank you for reading my review on the Fosi PH05. If you would like to order one, consider using a non-affiliated link below:

Fosi Audio Shop https://fosiaudio.com/products/fosi-audio-ph05-5-channel-headphone-splitter-amplifier
Amazon US：https://www.amazon.com/dp/B0CYLSD4G...19F738344AF687_afap_abs&ref_=aa_maas&tag=maas
UK：https://amzn.to/453fXLY
CA:https://amzn.to/452GdWI
FR:https://amzn.to/4c1AJ0G

DUNU Falcon Ultra Meteorite Titanium REVIEW: 22 YEARS OF GOODNESS​

WATCH FULL REVIEW HERE: ​

PRICE: $219​

PROS​

• Bountiful package and inclusions
• Superbly built
• Great fit and comfort
• Modular cable
• Tuning nozzles
• Very fun yet inoffensive sound signature
• Lush yet impactful and engaging bass
• Very natural sounding midrange
• Smooth yet detailed treble
• Fantastic coherency

CONS​

• MMCX connector (biased)
• Build is very scratch and fingerprint-prone
• Modular cable is a little stiff and tangle prone
• A little too smooth and safe for my tastes
• Bass lacks tactility
• Not the cleanest separation

WHO THIS SET IS FOR​

• People who want an all-rounder IEM
• People who want a well-accessorized and full package
• People who want a small yet well built and comfortable IEM
• People who want tuning versatility
• People who want modularity

WHO THIS SET ISN’T FOR​

• People who hate MMCX cables
• People who want a more engaging and tactile bass
• People who want a set that isn’t as fragile (aesthetically)
• People who want a softer cable
• People who want a technical beast

GENRES:​

• R&B
• Pop
• HipHop
• Funk
• Rock

SHORT REVIEW:​

Arguably one of the best sets to recommend for beginner audiophiles who have a little bit of cash in their pocket, the Falcon Ultra M.T. gives you everything you need and more. A complete package with all the tips, cleaning tools, and pouches you might need, a very well-built and comfortable IEM that is quite the looker, and a very safe yet fun sound that is hard to hate. It may not be a set that stands out for one single thing in terms of its sound and some might dislike some aspects like the finish and the cable, but there’s nothing about this IEM that’ll make it anything but a top recommendation. HIGHLY RECOMMENDED!

FULL REVIEW:​

A trend that has been going around in Chi-FI is the many startup audio brands that promise to provide the next big audio thing. Obviously, there are industry standards that have been in the market for a few years. But with the recent boom of portable audio in general, there has been an increase in demand which means companies want to get a taste of the pie.

But unless they hire people who have worked in the industry for a while, they’re destined to just be the flavor of the month that eventually loses relevancy as fast as they get famous. But one company stands as a pioneer in not only Chi-Fi but portable audio in general. And when this company with 22 years of experience creates an update to their legendary single DD series, how would it stand against the current influx of in-ears in a very competitive market?

DISCLAIMER: The Dunu Falcon Ultra Meteorite Titanium was sent in exchange for my honest thoughts. I am eternally grateful for the opportunity. I was not paid. Rest assured, my thoughts and opinions on this product will be my own honest opinions and will not be affected by the facts beforehand.

Audio is a very subjective hobby and as much as I try to objectively explain my thoughts and opinions, your mileage will vary. My preferences will also affect how I perceive the gear that I review. Sources and other accessories will also modify your experience. Lastly, my reviews should always be used only as a guide and not as the definitive bible. Trust your ears to know what’s good.

22 YEARS.​

Obviously, I’m talking about Dunu. Dunu is one of, if not, the oldest “Chi-Fi” brands in the market today. They’ve been making OEMs since 1994 and finally established in 2002 to become the Chi-Fi giant they are today. They’ve released some very iconic in-ears like the Falcon, Titan, and SA6 series of IEMs over the years that have gained popularity amongst audiophiles. I personally knew about them with the Titan S, the alleged “Heart Mirror upgrade” that caught my attention for claiming such a bold statement. So how does this Falcon soar against the competition? Let’s find out!

UNBOXING​

One of the first things that stood out to me with the Falcon Ultra M.T. was how mesmerizing the box is. It’s this pearlescent finish that just looks stunning under any lighting condition. But it only gets better because by opening the box and laying out all the accessories, you get arguably one of the best value packages in an IEM ever.

Here is the full list of inclusions:

• Dunu Falcon Ultra M.T IEMs
• MMCX modular cable
• 3 Pairs of Dunu Candy eartips
• 3 Pairs of Olive Grey Eartips
• 3 Pairs of Basic Blue Silicone EArtips
• 5 pairs of Dunu S&S
• Cleaning tool
• 4.4mm Modular Jack
• 3.5mm to 6.35mm Adaptor
• Protective pouch
• Removable nozzle
• Carrying pouch
• Cleaning cloth
• Paperwork

I’m stunned, I’m speechless, I’m absolutely overwhelmed with the amount of accessories that Dunu provided with the Falcon Ultra. And they’re not high-quantity, low-quality accessories either.



The case is very big and spacious and has a slot big enough to put a small DAP or a dongle DAC inside as well as webbed netting to put other accessories.


You also get a protective pouch for your IEMs. Not a case, but actual tiny pouches for each earpiece.






You also get probably the best set of eartips you can ever get in a package. The Dunu S&S and Candy eartips. I’ve expressed my love for the S&S for quite a while and the fact that you get 5 pairs here is absolute insanity. The Candy eartips are like a mini Spinfit that fits and seals really well for most IEMs. The other eartips are pretty basic but they’re still very welcome.




You also get cleaning tools, modular nozzles, and a freaking studio 6.35mm adaptor. It’s insane. I thought the TRN Conch and Zhulinniao Qingluan had insanely good value for the money in terms of the overall package, only for the Falcon Ultra Titanium to basically define what value is.

BUILD & FIT​

And if you thought they did all that to skimp out on the build, you’re absolutely mistaken. This thing is not only beautiful but very well built and comfortable.

Starting with the internals, the Falcon Ultra M.T. features their “patented” 2nd generation ECLIPSƎ Architecture and Ring-Type Magnet Assembly with Ultra-High Magnetic Flux Density 10.7mm Dynamic Driver. Quite the mouthful, like the SPDGM of SImgot. And just like the Simgot, this thing packs quite the punch in terms of sound (which we’ll talk more about later).



As for the aesthetics, this thing is absolutely gorgeous. A full titanium finish aluminum alloy shell that puts some flagship IEMs to shame. Such a unique, clean yet very attractive-looking construction surely makes this one of the most distinct-looking IEMs in the market. And the fact that this also features interchangeable nozzles only adds to the value proposition that this thing has and it’s absolutely amazing.



My only gripe would honestly be the MMCX connector. Don’t get me wrong, it’s a great connector compared to other MMCX IEMs and actually feels like it’ll last. But I’ve had far too many bad experiences with MMCX connectors for me to feel confident that that’ll last years of cable rolling.



Thankfully, the cable is quite good. It’s a little stiff and I’m really not a fan of the material as it feels a little rough, but the overall construction is very premium and features a pretty solid modular system that Dunu has used in other IEMs. It’s not as secure as Q-Lock, but Q-Lite feels secure enough to last a couple of modular changes. I don’t like how tangle-prone the cable is, but it feels durable enough not to feel like it’d break itself by tangling. But speaking of tangling, the stuff causes tangles to be quite a common occurence.

As for fit, this is probably one of the most comfortable small IEMs I’ve ever worn. Seriously, its shape perfectly contours my ear which I not usually common with these kinds of IEMs. I have 0 complaints about the fitting of this thing and the seal is also really really good because of that. It’s genuinely the perfect fitting IEM hands down.

SOUND​

Note: Due to the Falcon Ultra having 2 different tuning nozzles, I will be talking about the stock nozzle (Red Ring) in this review and compare it with the blue ring nozzle in its own section

Sound Signature​

The Falcon Ultra features U-Shaped sound signature that is genuinely one of the best timbres in any single DD IEMs I’ve heard. From bass all the way to the treble, I found the sound to be in perfect harmony with each other with the rich, powerful and soothing bass, warm, enveloping midrange and the energetic yet smooth treble presentation.

Source Pairing​

The Falcon Ultra is a VERY easy-to-drive pair of in-ears with a sensitivity of 108db and impedance of 18ohms. However, it’s also a very good scaler when using better, cleaner sources. The bass texture, as well as treble detail, is improved drastically when going from lower-quality sources to higher-quality sources, so I highly recommend pairing this with something good. Particularly, something more neutral and cleaner rather than warmer and smoother. I personally enjoyed using the HiBy R4 with this as it cleaned up the overall sound really well without inducing too much warmth. However, the Topping DX1 did improve bass dynamics CONSIDERABLY at the cost of treble definition

Bass​

When we talk about dynamic driver IEMs, we often expect the bass to sound fantastic. Well, the Falcon Ultra is the perfect definition of how bass should be tuned on a dynamic driver IEM. The bass is genuinely just right with a good balance of subbass and midbass. There’s a little bit more midbass emphasis, so there’s more punch rather than deep subbass rumble. However, the rumble is present when the track calls for it. It’s a very soothing, warm, and thick bass that unfortunately lacks a little bit of texture for my liking. However, it’s a very well-balanced overall bass presentation and I could forgive the lack of texture for how well it transitions into the lower mids.

Listening to Childish Gambino’s Album, “Awaken My Love” was quite the treat with that thick, meaty and rich bass perfectly complimenting the very soulful and groovy tracks. The track Redbone sounds particularly fantastic due to how smooth yet punchy the bass sounds where it was straddling between sounding muddy and being just perfectly warm.

Mids​

In theory, the mids of the Falcon Ultra should suffer due to the rather big bass emphasis and the forward upper mids that I’ll be talking about later. However, listening to it is a completely different story as the harmony of the lower mids to the upper mids is absolutely fantastic. The rich lower mids oozes with richness thanks to the midbass emphasis while the forward yet inoffensive upper mids sound euphonic thanks to the contrast in the lower frequencies. Obviously, this is not a midcentric set in any way. Lower male vocals aren’t the most nuanced or textured as the note weight can get a little too heavy and can mush up the details and mids can suffer in more complex tracks. The upper mids might also be a little bit too forward sounding on mid-forward tracks, but never to the point of shoutiness.

Listening to Amateurish’s album called, “a gentle reminder to rest” on the track Turbulence, the mids have perfect harmony with the bass guitar offering a very rich and smooth sound that envelops your ears in such a thick and bodied bass presentation with the electric guitars and percussive instruments in the upper frequencies offering a very satisfying level of nuance without getting harsh. The only thing that suffers is the midrange definition during the busier parts, especially nearing the end of the track where the ensemble comes together and somewhat drowns out some of the vocals and instruments.

Treble​

The treble of the Falcon Ultra perfectly compliments the warmer tuning of the IEM by slightly boosting the lower treble to compliment the lower mids being quite prominent. This allows the treble to sparkle without sounding edgy, harsh or sibilant. This ends up with the treble being some of the most natural sounding I’ve heard without sounding dark or dull in any way whatsoever. I honestly cannot think of any major flaws with the treble of the Falcon Ultra besides it sounding very safe. Normally I prefer a more sparkly and more energetic treble with better transients and nuance, but I can also see that it really would not fit. It’s not the most airy-sounding set, but its resolving ability is fantastic.

Probably the best way to show how the treble of the Falcon Ultra compliments the bass is with the track Ghost by Chon. The thicker, more emphasized low end is perfectly balanced with the sparkly, snappy yet inoffensive treble of the Falcon Ultra. It offers a decent amount of microdetails without overdoing it. Attack of the cymbals and hi-hats are represented with such finesse and smoothness that perfectly harmonizes with the lower frequencies.

Technicalities:​

I have to admit, the Falcon Ultra really isn’t the most technical-sounding set you can get at this price range. It’s technically capable, don’t get me wrong. But it’s fundamentally a musical IEM where it focuses on providing a rich and soothing listening experience that affects the cleanliness and separation of instruments. However, it’s no slouch as, despite the warmth, it’s still capable of making more complex tracks sound listenable. Probably the best thing about the Falcon Ultra’s technicalities is the imaging and head stage. The depth thanks to the bass paired with the competent resolving ability makes the Falcon Ultra a very immersive and nearly holographic listening experience. Tactility and transients are decently defined, but nothing mind-blowing.

REAL WORLD USAGE:​

Casual Use​

I’m going to say it now, the Falcon Ultra is probably the best casual use IEMs that I’ve ever used hands down. The combination of a comfortable, lightweight fit and a very safe yet fun sound makes this the perfect partner for long listening sessions. Movies sound fantastic with the thicker low end giving a very punchy sound without drowning the dialogue in the midrange and you can appreciate the small details in the sound design with the complimentary forward treble presentation. My only gripe would be the cable, but that’s something you can replace for a better (and probably cheaper) one.

Gaming Use​

Just like movies, gaming is absolutely fantastic on these. Not the best gaming set I’ve heard hands down, but the combination of sound and fit made these some of the best I’ve used when playing multiple games of Valorant. The thick lower mids paired with the forward upper mids brighten out both the footsteps and the sharper sounds while separating them really well. It’s also perfect for immersive games like Sky: The Children of The Light where the orchestral tones perfectly blend with the ambient sounds.

COMPARISONS:​

vs Simgot EA1000​

Let’s go straight up with my favorite IEM of all time. The Falcon Ultra is a smoother, safer more soothing IEM to listen to overall while the EA1000 is more technical, more detailed and more tactile sounding. I still personally prefer the EA1000 due to my treblehead and tactile bass preference, but the Falcon Ultra competes quite closely with the EA1000 as it’s essentially better for people who are sensitive to treble and couldn’t handle the hotness of the EA1000

vs Orivetti OD200​

Two very similar-sounding sets with a focus on warmth and musicality, the Falcon Ultra is ahead in every single department in my opinion. The OD200’s bass sounds more bloated which makes the vocals sound more recessed and distant. The treble is also considerably darker with the air region sounding more rolled off. The OD200’s darker sound makes it smoother and soothing on longer listening sessions, but I personally would rather listen to the Falcon Ultra any day.

vs HiBy x F.Audio Project Ace​

The Project Ace and Falcon Ultra initially have very similar sound signatures. Where they begin to deviate however is the fine details. The bass is more tactile on the Project Ace while the Falcon Ultra has more quantity and smoothness. The mids are more linear on the Project Ace while the Falcon Ultra is more open. The big difference is in the treble. The Falcon Ultra is CONSIDERABLY smoother sounding in the treble compared to the Project Ace. Technically speaking, the Project Ace is better

vs Simgot EA2000​

The EA2000 has a considerably more technical, dynamic, and textured overall sound but worse timbre and tuning compared to the Falcon Ultra. The massive peak on the EA2000 makes it a considerably more offensive-sounding IEM overall despite its technical superiority.

CONCLUSION​

22 years of experience allows a company to create something that sounds so natural and effortless in a price range that usually rewards those who try to do something weird or revolutionary. And while you may argue that the Eclipse tech they flaunt in their driver is the “revolutionary” tech, the Falcon Pro is a fundamentally good IEM by nature.



It’s not a set that claims to be the best in the price, nor does it try to be competitive. Instead, the Falcon Pro just does everything right. From the unboxing experience with the treasure trove of accessories all the way to the very safe, easy-to-love, and fun sound. The Falcon Ultra has all the makings for a very easy recommendation. After my personal experience with the Falcon Ultra, I can wholeheartedly say that this is probably the best beginner-friendly IEM in the market today. And if you want a safe-sounding, well-accessorized, comfortable, and well-built IEM, then the Dunu Falcon Ultra Meteorite Titanium is the best IEM to get right now.

Thank you for reading my review of the Dunu Falcon Ultra Meteorite Titanium. If you would like to order one, consider using the non-affiliated link below:
https://www.aliexpress.us/item/1005...1752959.1005006864808202&gatewayAdapt=glo2usa

KZ ZS10 Pro 2 Review: Old KZ, New Sound!​

PRICE: $45​

PROS:​

• Faithful improvement of the KZ House sound
• Versatile tuning (from bright u-shaped to neutral bright)
• Very clean bass presentation
• Open and airy sounding vocals
• Sparkly, detailed treble
• Good technicalities for the price
• Comfortable fitting

CONS:​

• Can sound quite hot
• Lean, dry sounding vocals
• Distinctly metallic timbre
• Poor accessories

WHO THIS UNIT IS FOR:​

• People who like the old KZ sound
• Trebleheads
• People who want versatile tuning
• People who like clean, open and snappy sounding vocals

WHO THIS UNIT ISN’T FOR:​

• Treble sensitive people
• Bassheads
• People who want a natural sounding timbre
• People who want bodied vocals

RECOMMENDED GENRES:​

• Classical
• Vocal Pop
• Instrumentals

SHORT REVIEW:​

Just like the ZSN Pro 2 released a few months ago, the ZS10 Pro 2 is a faithful improvement to the legacy of the old ZS10 series cemented in Chi-Fi by keeping fun and bright sound while sounding considerably more refined than the previous sets. It’s not an everyone-everywhere set as these cater to those who love the old KZ sound, but it’s very good at reviving an old series with a new and improved sound! RECOMMENDED WITH CAVEATS!

FULL REVIEW​

Many talk about the house sound of a brand defining who their IEMs are for. Some brands stick to this mentality much more than others, while others choose to completely deviate from this mindset. But when you’ve released so many IEMs over the years that you’ve developed different house sounds, how do you choose to revive your older sets to fit modern sound standards?

DISCLAIMER:​

The ZS10 Pro 2 was sent over by KZ in exchange for my honest thought. I am eternally grateful for the opportunity. I was not paid. Rest assured, my thoughts and opinions on this product will be of my own honest opinions and will not be affected by the facts beforehand.

Audio is a very subjective hobby and as much as I try to objectively explain my thoughts and opinions, your mileage will vary. My preferences will also affect how I perceive the gear that I review. Sources and other accessories will also modify your experience. Lastly, my reviews should always be used only as a guide and not as the definitive bible. Trust your ears to know what’s good.

THE ZS10 CRAZE!​

If you started your audio journey in in-ears, you’re most likely well aware of who KZ is and familiar with their IEMs, particularly the ZS series of IEMs. Praises were sung with the release of the ZS10 series for providing a multi-BA hybrid IEM for cheap back in the day. So when KZ announced the updates to their IEMs with the ZS10 Pro 2 being one of them, many were quite excited to see what they’ve done to improve the tried and tested formula. So strap in and let’s talk about it starting with the unboxing experience!

UNBOXING​

The unboxing experience of the ZS10 Pro 2 is basically like every other KZ IEM with the IEM illustration up front and a straight-forward layout.

Here is the full list of accessories:

• KZ ZS10 Pro 2 IEMs
• QDC 3.5mm Cable
• 3 Pairs of eartips (1 pair of foam eartips, 2 pairs of silicone tips)
• Tuning fork
• Paperwork

BUILD & FIT:​

One of the weirdest changes they made to the ZS10 Pro 2 is the drivers. The ZS10 name came from the fact that there were a total of 10 drivers with the package. 1 Dynamic Driver and 4 balanced armature drivers. But the ZS10 Pro 2 cuts off 2 balanced armatures and has now become a 1DD + 2BA hybrid.



This is for the better, however, as the balanced armatures that they used are the same ones that are featured on their recent hit, the CCA Rhapsody. This new 31736 is admittedly a MASSIVE improvement compared to the aging and arguably screechy 30095 and 50060. We’ll talk more about the sound later, but the use of the 31736 is an audible improvement from the older ZS10 IEMs, despite featuring fewer drivers. Maybe KZ has finally realized that more drivers doesn’t mean better sound.



What they kept consistent is the aesthetics. The ZS10 has kept the metal faceplate with a zig-zag lightning pattern since the first ZS10 Pro. Unlike the old ZS10 Pros, the Pro 2’s grills have grills that make the ZS10 Pro 2 semi-open back. Whether you think that open backs matter or not, it’s a cool aesthetic piece that makes the ZS10 Pro 2 closer to the very first ZS10 where you can somewhat see the internals from the faceplate.

Fit-wise, it’s your usual KZ shape which is either very comfortable or slightly comfortable. I’ve never really given KZ the praise for the comfort in their IEMs, but they deserve it on many of their “normal” IEMs (looking at you, Rhapsody, and Hydro). Build quality is also your usual KZ build which means, just like the fit, is perfectly fine overall.

SOUND:​

NOTE: As the ZS10 Pro 2 has 5 official sound signatures, I’ll be talking about the default (UUUU) configuration and comparing it to the other tuning modes in their respective section.

Sound Signature:​

The ZS10 Pro 2 keeps the fundamental DNA of the ZS10 Pro with a bright v-shaped sound signature but cleans it up to modern tuning standards. This means a cleaner, tighter, and faster bass, cleaner and leaner mids, and a sparkly, bright but smoother treble. This genuinely sounds like a modern revival of their old KZ sound and I am all for it! However, they also retained the rather metallic sounding treble that was also present in the older ZS10 Pros, but you could say that’s a part of the listening experience with this series.

Drivability:​

The ZS10 Pro 2 has an impedance of 25-28 ohms and a sensitivity of 108dB, which means this thing is VERY easy to drive. Using your smartphone will be more than enough in terms of volume and enjoyment, but using a better source improves the transient smoothness and giving better technical detailing to the sound. Recent KZ IEMs have been quite the scaler, and I’d like to attribute it to the 31736 BAs, but that would be speculating.

Bass​

The bass of the ZS10 Pro 2 is lean, clean and surprisingly tight for a series that was known for being a little bloated in the midbass. The ZS10 Pro 2 completely shifts the bass to basically be a very clean yet deep and engaging bass. It goes surprisingly deep too as the overall presentation leans to subbass over midbass, which means rumble is king! This also means that the midbass is a little thin and lacks punch and texture which I found quite disappointing, but understandable considering the tuning philosophy they’ve wanted for the ZS10 Pro 2. This is definitely not for bass heads, but has more than enough low-end energy to be present when it calls for it.

Listening to Liz by Remi Wolf presented the bass in a rather clean, deep and well-defined way but lacks the midbass texture that I usually look for in this track. However, the deeper rumble in the bass feels quite satisfyingly clean to listen to as it kept the midrange uncolored from any warmth or bleed from the bass. This ensured that the instruments in the lower mids still sounded quite clean despite the boosted subbass.

Mids​

The mids of the ZS10 Pro 2 is alright. Nothing fantastic but nothing terrible as well. The lower mids are a little lean and thin due to the emphasis in the upper mids which makes the male vocals and lower octave instruments sound a little stale. It doesn’t sound pulled back or distant but it lacks nuance and note weight on most tracks that I throw it at. The upper mids are forward and very clean sounding. The forwardness doesn’t sound honky or unnatural, but it does have a brighter and metallic tinge to it that makes the vocal sound extra airy and bright compared to the rest of the mix. It might come across a little shouty for some people who are sensitive to a little bit of shout, but it’s not overly forward and peaks a little later to make it sound more balanced overall.

This is present on upper vocal focused genres like vocal pop and could be a little problematic if you like listening to tracks that are a little shouty in the mix like Adele’s tracks.

Treble​

The hallmark of the ZS series is the bright, snappy and sharp treble that brings out high-frequency nuance at the cost of timbre. The said is true even for the ZS10 Pro 2 which leads me to believe that this really just is the ZS zing. The overall presentation is quite bright and hot, but I never found that it sounded peaky or grainy. It genuinely surprised me how smooth it sounded for how ridiculously bright and metallic sounding the treble was. Obviously, treble sensitives beware as these are quite hot and can get quite fatiguing over long listening periods. It is quite airy and resolving which is always a nice thing to hear as a trelehead.

Listening to Samara Joy’s Linger Awhile is wonderful on these as the combination of the somewhat smoother treble mixing and Samara’s darker, warmer tone fits perfectly with the ZS10 Pro 2’s leaner and more analytical sound.

Technicalities​

The name of the game for the ZS10 Pro 2 is detail and resolution. While the previous set just threw a lot of treble at you and hoped for the best, the ZS10 Pro 2 throws a lot of treble at you but sounds quite resolving. Separation and layering are pretty decent, but not fantastic for the price. The same goes for the imaging and the stage isn’t very expansive and the instruments are more 2 dimensional.

REAL WORLD USAGE:​

Casual Use:​

I’ll be real, I really didn’t like the ZS10 Pro 2 for casual use. While it does fit comfortably, the sound signature isn’t really something I’d want to listen to for long listening sessions like working or binge-watching shows. I have to tick the volume more than I usually like to get a comfortable long listening session which is not enjoyable, especially in films.

Gaming Use:​

The same goes for gaming as there’s not enough low-end to be able to make games sound fun and engaging. While the separation might be great, the treble energy is way too much for most games that I’ve played which sucked because the treble was almost just perfect for competitive games like Valorant, only ruined by the lack of low-end to compliment.

VS OTHER VARIANTS​

DDDD (0000) - This is the brightest and most bass shy tuning mode and is almost akin to Etymotics without the midbass to balance out the vocal forwardness and a significant treble boost. This is perfect for trebleheads and vocal heads and nobody else as it emphasizes the brightness and sharpness quite significantly from the all up tuning, but surprisingly still has a full-sounding midrange which I did not expect coming from a set like this.



UDDD (1000) - A slight boost in the subbass which makes the overall sound a little fuller, but not enough to properly contrast from the all down setting



UUDD (1100) - A very clean boost to the sub-bass that adds a considerable amount of depth to the overall sound while still keeping the lean and analytical sound of the all-down setting. Probably my favorite setting as it kicks the bass up enough to not make it sound booming and giving the lower midrange the MUCH needed note weight.


UUUD (1110) - Basically all up, see review above


DDDU (0001) - Basically DDDD

COMPARISONS​

vs ND Nice​

The ND Nice is basically what the old ZS10 Pro sounded like, which simply means the ZS10 Pro 2 is just better in every single way. From bass dynamics to treble smoothness, the ZS10 Pro 2 is just better. The bass of the Nice is thicker and balances the brightness better, but is much slower and sloppier sounding

vs KZ ZSN Pro 2​

The ZS10 Pro 2 is basically the more technical and more refined sounding ZSN Pro since the start. Better drivers and better tuning overall makes the ZS10 Pro 2 the worth while upgrade if you’re coming from the ZSN Pro 2 or just the ZSN Pro

vs CCA Rhapsody​

These two sets achieve completely different things while keeping the KZ house sound. The ZS10 Pro 2 harks back to the old KZ sound but is improved while the Rhapsody is modern KZ/CCA. The Rhapsody sounds more fun, musical and engaging but less technical and clean than the ZS10 Pro 2.

vs CCA Pianist​

Just like the ZS10 Pro 2, the Pianist has a 1DD + 2BA configuration and is tuned to be bright neutral. The main difference is that the Pianist sounds considerably rougher, sharper, and more sibilant compared to the ZS10 Pro 2 which sounds more refined. The ZS10 Pro 2 also has a better midrange presentation overall due to the scoop being less deep compared to the Pianist.

vs Zhulinniao Qingluan Z4​

Another bright neutral set at the $40 range, the Z4 has a more natural sounding timbre with better dynamics and vocal tone compared to the ZS10 Pro 2, but the ZS10 Pro 2 sounds more technical, resolving, detailed and cleaner overall.

vs Simgot EW200​

Compared to the legendary Simgot EW200, the EW200 still has a more dynamic, more engaging and more dynamic listening experience. Oddly, the treble of the ZS10 Pro 2 sounds more refined with a smoother but still bright and hot treble presentation. Technicalities is still better on the EW200 overall, particularly dynamics and stage.

CONCLUSION​

There are 2 sides to how you may view the ZS10 Pro 2. On one end, you might think this is an outdated set from the moment it was released. Lean, bass-shy paired with a thin and dry midrange with a very bright and forward treble are things that people might criticize it for.

But after having talked to many people about their preferences and the stuff that they liked, it would be foolish for me to say that the ZS10 Pro 2 is outright bad. This is a bright neutral IEM with a LOT of treble and upper vocal energy with enough bass to compliment without being intrusive. And in a way, it’s the perfect sequel to the ZS10 Pro series of IEMs. Gone are the bloated and muddy bass with a shrill and edgy treble, the ZS10 Pro 2 cleans everything up and sounds like the modern rendition of the ZS10 series. This goes to show that KZ, as much as they release, are actually improving and innovating their sets to modern standards while keeping the fundamental DNA intact.

Thank you for reading my review on the KZ ZS10 Pro 2! If you would like to order one, consider using the non-affiliated link below: https://www.kztws.com/products/kz-zs10-pro-2

CCA Hydro Review: A Taste of The Top!​

WATCH FULL REVIEW HERE: ​

PRICE: $120​

PROS:​

• The most technical CCA/KZ IEM
• Comes with a surprisingly premium cable (add $10)
• Good coherency
• Punchy but clean bass
• Open, clean mids
• Sparkly, well-detailed treble
• Good technical ability
• Tuning switches can drastically change your listening experience and fit your preferences (from basshead to somewhat diffused field)
• Good scaling ability

CONS:​

• Comfort (shell too big)
• Slightly metallic-sounding timbre
• Lacks bass tactility
• Might be too bright for some

WHO THIS UNIT IS FOR:​

• People who love the Rhapsody, Castor Bass and Trio
• People who want the most technical sounding CCA/KZ
• People who want a high driver count hybrid with good coherency
• People who want a refined version of the Harman bass boost
• People who want a fun yet detailed set

WHO THIS UNIT ISN’T FOR:​

• People who want natural timbre
• People who want a very tactile sounding bass
• People who want a smaller sized IEM
• People who don’t like tuning switches
• People who hate midbass tuck

RECOMMENDED GENRES:​

• Most genres (very versatile IEM overall)

SHORT REVIEW:​

CCA have their most refined and most technical IEM with the Hydro by far. The level of maturity while keeping the KZ’s fun and snappy sound is impressive and goes to show the work they did in this IEM. Very technical sounding with a refined version of their Harman Bass-Boost makes this a genuinely fun set. And while I do think that it struggles to stand out in the tough $100 market, it lives up to being CCA’s true flagship IEM. RECOMMENDED!

FULL REVIEW:​

When David was pitted against Goliath, everyone thought that David had no chance. He was just a man after all and Goliath is a giant. But against all odds, David beat Goliath and proved everyone wrong. But what happens when David becomes Goliath? What happens when the giant slayer becomes the Giant? What happens when a company known for great value in-ear monitors comes out with a $130 flagship in-ear?

DISCLAIMER: The KZ Hydro was sent over by KZ in exchange for my honest impressions. I am eternally grateful for the opportunity. I was not paid. Rest assured, my thoughts and opinions on this product will be my own honest opinions and will not be affected by the facts beforehand.

STEPPING UP, STEPPING OUT!​

KZ and CCA are often attributed to the best value in-ear monitors that you can buy in the market. They’ve been providing some of the best budget IEMs for years and non-audiophiles are probably aware of one or two of their IEMs.

What they’re not known for are flagship in-ear monitors. Particularly, anything more expensive than $100. Sure, there are sets that go beyond $100 like the AS24, but that’s the exception and not the rule. So when I found out that CCA is coming out with a $130 IEM, my interest was piqued and I wanted to know exactly what set this apart from the other CCA IEMs? Let’s find out!

UNBOXING​

The unboxing experience of the CCA Hydro is basically the same as other KZ/CCA sets. The difference is that this is closer to the unboxing of the CCA Rhapsody with a black box and a paper print of the details of the IEM. I guess we gotta save costs.

Here are the inclusions:

• CCA Hydro IEMs
• 784-core cable
• KZ Starline Eartips
• Tuning stick
• Manual

To keep it short, the tips are fine and the inclusion of the manual and tuning stick is necessary

BUILD & FIT​

This is where the Hydro starts to justify its $130 price tag. Starting with the internals, the Hydro features 2 Dynamic Drivers and a whopping 8 Balanced Armature Drivers. The DDs are their patented XUN-7 and the balanced armatures are their 31736 that were found on the CCA Rhapsody a few months back.



Aesthetically, it fits the other CCA sets. Really nice-looking faceplate that is ruined by the typography. Please CCA, just go back to not putting stupid fonts on your IEMs. Do what you guys are doing with the ZSN or ZS10 where it’s clean and minimal.



Anyways, aesthetics aside, the fit is also quite reminiscent of the Rhapsody. Big, chunky, and hurts your ears after a few hours of wear. It’s to be expected considering this has SO many drivers packed into it, but still something to consider. Stability is VERY good and the seal is also fantastic. However, it unfortunately has air pressure build-up like the Rhapsody which means if you’re sensitive to feeling like your ears are being choked, then this will not be comfy. Otherwise, very stable and well-sealing set.



But arguably the most shocking aspect of the Hydro is the fact that it comes with a good cable. No seriously, I know I’ve expressed my satisfaction with the stock KZ/CCA cable but this is actually a different cable. This is a 8-strand 784 core beefy cable that feels quite premium and heavy.. This means adding $10 on top of the $120 price tag, making this a whopping $130 with the upgrade cable. But it’s worth it to distinguish this from the normal budget CCA set.

SOUND​

NOTE: As the Rhapsody has 5 official tuning modes, I will be describing the sound of the stock (ALL UP) configuration and compare the other tunings in their respective sections:

Sound Signature:​

The Hydro’s sound signature is the modern iteration of the KZ V, which is basically a Harman Bass-boost that they started with the Castor Bass Enhanced. This means big but tucked bass that minimizes bloat and midbass bleed, clean, open but somewhat recessed midrange and a forward, sparkly and snappy treble with good air extension. This is by far the more refined iteration of the sound signature and it should for $130, but still suffers slightly from a little bit of incoherency between the slower bass and snappier treble, but that’s to be expected from hybrid in-ears.

Drivability​

With an impedance of 15-20 ohms and sensitivity of 102dB, the Hydro’s are expectedly easy to drive. It’s harder to drive compared to their other, more budget-oriented sets which also allows the Hydro to be quite the scaler. On lower-powered sources, it sounds adequate and enjoyable. But throwing this into a more powerful and warmer source will give it the much-needed tactility and shift the treble to sound smoother and cleaner.

Bass​

As a Harman bass-boost set, the Hydro presents bass in one of the cleanest yet most engaging ways that I’ve heard in any KZ IEM. It’s fast, it’s snappy but completely unintrusive to the midrange and still retains a solid sense of impact and punchiness. It’s not as big as the graph might make it look like and sounds more balanced with slight emphasis around the 80hz region over the 20hz region. This gives it more punch and less rumble which is both good and bad as too much subbass have the tendency to mask over the midbass when pushed too far. My problem lies with the overall tactility and the fact that it is tucked. The bass of the Hydro isn’t the most tactile bass in the sense that bass guitar riffs and kick drums may sound well-defined, but don’t have that extra oomph or texture on the attack of each note. The tuck is more of a personal preference, but the switches do actually shift the tuck quite a bit and this comment only applies to the UUUU, DDUU, and DDUU configurations. But in the stock configuration, it affects the body of the lower mids which I’ll be talking about later.

Listening to D’Anglo tracks, you get a very immersive sense of bass that goes quite deep but isn’t quite as textured. It’s smooth but to a respectable degree, nothing too problematic but I would’ve either preferred a deeper bass or a more tactile midbass.

Mids​

To be expected from a Harman-bass boost set, the midbass tuck is quite evident with male vocals sounding quite thin and occasionally distant on certain tracks. It doesn’t sound as recessed compared to other IEMs that do the Harman tuck, but it’s definitely not the most bodied or natural-sounding male vocal presentation that I’ve heard. Female vocals fair MUCH better and sound absolutely lovely where they’re rendered with such energy and nuance that is often a highlight for KZ/CCA IEMs. The Hydro probably does this the best out of all the KZ/CCA IEMs that I’ve heard so far. This carries over to instruments with bass guitars still retaining a good body and note weight, but lacking tactility as mentioned earlier. Air instruments sound absolutely fantastic, particularly flutes and trumpets. I will say though that the transition from bass to lower mids doesn’t feel so drastic that I’d be able to tell where the bass ended and the lower mids started.

I found instrumental and orchestral tracks to really fit the Hydro’s midrange. Listening to Diving In by Vincent Diamante, the combination of the deep drums, the flutes, and the trumpets provide such a harmonious listening experience on the hydro that I was genuinely surprised by how nuanced the mids of the hydro were in the upper frequencies. The trumpets sang and the flutes followed beautifully in the climax starting at 00:30 where the ensemble comes into form. Such a beautiful listening experience!

Treble​

The treble of the Hydro is surprisingly smooth despite being as bright as it is. It’s no EM6L smooth, but it’s damn smooth, especially for a CCA IEM. The level of refinement brought to the treble here is genuinely impressive as it sounds very energetic and lively while keeping it free from harshness or edginess. It might come across as a little too bright for some, don’t get me wrong. It’s no treble-sensitive sets, but that’s something you can expect from KZ/CCA IEMs. But this is the most refined that I’ve heard their treble sounded. My only gripe is that the metallic timbre here is quite noticeable, especially in the all-up configuration where they tuck the bass earlier which loses the midbass to contrast the treble. Nonetheless, it’s a very snappy yet refined-sounding treble.

Listening to Game of Love by Daft Punk, the cymbals sound absolutely lovely and compliments the basslines and synths very nicely. It’s definitely on the hotter side when you crank the volume to balance out the mids, but it sounds very satisfying hearing the splash of each hit.

Technicalities​

This is, by far, the most technical-sounding CCA IEM that I’ve heard. Solid separation and layering ability, decently immersive staging and imaging, and crisp and pretty good transients and resolving ability. Probably the worst aspect about the Hydro is the dynamics as I find it sorely lacking, especially in the low frequencies. Bass nuances aren’t the most well-defined and don’t really provide that tactile sensation that I look for.

REAL WORLD USAGE​

Casual Use​

Media consumption is fantastic on the Hydro. The combination of big bass and energetic treble makes watching movies absolutely fantastic here. It’s extremely immersive and I never feel like I miss out on anything. My problem is comfort. I cannot watch an entire movie without needing to take these off and give my ears a break. At the very least, these have great passive noise canceling that blocks off the majority of the sounds while commuting or in a noisy place and would be a great alternative to active noise canceling buds in my experience. It also has superb stability, so you won’t find these popping out of your ears while you walk

Gaming Use​

Like the Rhapsody, Castor, and Trio before, the tuning of the Hydro perfectly fits gaming mediums, both competitive and immersive. Competitive games want a lot of bass, but clean enough to not sound muddy. It also wants a shoutier set to bring out the upper-frequency details without being too harsh. The Hydro does that absolutely perfect and I genuinely loved using this for competitive gaming. Immersive gaming is also fantastic as playing games like Sky: The Children of Light (which is where the Vincent Diamante song came from) with the slow and relaxed moments followed by big set pieces are perfectly rendered on the Hydro. It’s a fantastic gaming set and I highly recommend it for that.

VS OTHER TUNING MODES​

DDDD (0000)

• This mode is basically the untucked version, a more v-shaped version of the KZ Harman bass boost. The bass is admittedly on the muddier side, but it smoothens the treble in turn. It takes a hit on overall cleanliness and separation ability as the bass tends to bleed into the midrange.

UDDD (1000)

• This pushes the bass up very slightly from the all-DDDD configuration. Not that big of a change in my opinion, but it slowly starts being a basshead set

UUDD (1100)

• Basically the basshead setting for the Hydro. VERY deep and engaging bass that is honestly perfect for hip-hop and other bass-heavy genres. If I was a basshead, this would be my favorite tuning. Otherwise, it’s quite muddy and bloated sounding.

DDUD (0010)

• Closer to the UUUU configuration but takes the bass slightly down, similar to the UDDD configuration but in reverse. Not that big of a difference from the all-up

DDUU (00110)

• The treblehead setting, aka almost my favorite setting. Due to the tuck in the lower mids, I didn’t enjoy this setting as much. The treble sounding a little bit metallic also made the midrange sound a little thin and stale. But this was the most sparkly and energetic tuning and fit the classical/instrumental/orchestral genres the best.

UUUD (1110)

• Arguably the best setting that balances the bass energy from the DDDD setting with the energetic DDUU setting. Basically the most balanced setting out of all the tuning modes.

COMPARISONS​

vs CCA Rhapsody​

In short, the direct upgrade to the Rhapsody. Better, more refined bass, cleaner mids, cleaner treble, better technicalities. The bass sounds a little deeper and more engaging on the Rhapsody, but is quite sloppy and lacks definition. The only thing they have in common is the balanced armatures as well as that ridiculously massive shell that also has air pressure build-up

vs CCA Trio​

Oddly, I actually find the CCA Trio to be better tuned than the Hydro. The bass is a little bit cleaner while having more body in the midbass and the mids generally don’t sound as recessed. However, the Hydro is considerably more technical and refined sound, especially in the treble region compared to the Trio.

vs KZ Castor Bass​

Basically the same comments as Rhapsody, but CONSIDERABLY more technical and more refined sounding. Oddly, the shell of the Castor Bass is more comfortable to wear than the Hydro

vs Celest Phoenixcall​

Two jam-packed sets in terms of driver count but varies in presentation. The Phoenixcall has a more bodied, richer, and more natural-sounding vocal presentation (odd I know) compared to the Hydro, but the Hydro is better extended on both ends with a snappier overall sound. Technicalities have to go to the Phoenixcall, particularly in how much cleaner the separation is on the Phoenixcall. The Phoenixcall also has less of a metallic tinge to the treble region compared to the Hydro.

vs Simgot EM6L​

The EM6L sounds considerably smoother than the Hydro, but both suffer from a lack of luster in bass texturing and a slightly metallic-sounding treble. Timbre is slightly better on the EM6L. Technicalities are similar on the EM6L, but with slightly cleaner separation on the EM6L

vs Simgot EA500LM​

The EA500LM sounds considerably more natural than the Hydro despite being quite bright on its own. Dynamics are also considerably better on the EA500LM and the overall coherency is better. The EA500LM sounds more technical than the Hydro overall but maintains a similar resolving ability with the Hydro.

CONCLUSION​

In a vacuum, the Hydro is a fantastic IEM. Very engaging and punchy bass, open and clean sounding mids, sparkly and detailed treble, and a respectable level of technicalities. In fact, I’d even go as to claim that the Hydro IS the best CCA/KZ IEM that follows their modern tuning standards TO DATE. If you liked their previous Harman Bass-Boost set, I can guarantee that the Hydro is the best of the best with that kind of tuning. The fun yet clean overall sound makes it such a good performer in the entirity of KZ/CCA’s catalogue.

Unfortunately, it landed itself in a very awkward price range. You have sets like the Celest Phoenixcall being all weird but quite technical and the Simgot EM6L and EA500LM redefining how good IEMs could be around the $100 price range. Even for its barebones price of $120, I struggle to find anything that makes the Hydro stand out. And that’s my biggest gripe about it. Not that it’s a bad IEM, far from it. But CCA played it so safe with the Hydro, pairing their “flagship” IEM with accessories that literally come with their $5 IEMs, barring that cable. KZ/CCA has always been known for great value, and the Hydro, despite its very refined tuning and technical ability, lands itself in a very safe spot that doesn’t make it stand out in any way compared to other non-KZ/CCA sets. For $130, you start expecting more than just a well-tuned and technical-sounding IEM. If it’s not the listening experience being unique, it’s the package that it comes with. And that’s where I believe the Hydro falls short.

Regardless, I have to give CCA the props for creating basically their ultimate Harman Bass-Boost IEM. The most refined, cleanest, and most technical CCA IEM that I’ve heard by far. This outcompetes every single KZ/CCA IEM that has been released that follows this kind of tuning and if they keep this up and slowly trim the price, CCA might just have something that can spark a budget revolution like they did years ago. And I think that’s worth mentioning as it really lives up to its flagship nature in that sense.

Thank you for reading my review of the CCA Hydro. If you would like to order one, consider using the non-affiliated link below: https://www.kztws.com/products/cca-hydro

HiBy x FAudio Project Ace Review: ACE IN THE HOLE?​

PRICE: $249​

PROS:​

• Unique aesthetics
• Good quality inclusions
• Uses the best kind of modular cable system
• Easy to drive, very good scaling
• AMAZING bass to midrange tone and timbre
• Superb technical ability
• Amazing low end texture and note weight
• Warm yet naturally sounding lower midrange

CONS:​

• Odd ergonomics
• A little sharp and edgy on the treble

WHO THIS UNIT IS FOR:​

• People who want a proper dynamic listening experience
• People who want a very technical sounding set for the price
• People who want a linear but very engaging bass-to-midrange presentation
• People who can stand a little bit of treble spice and sharpness
• People who like a very textured-sounding low end

WHO THIS UNIT ISN’T FOR:​

• Treble sensitive
• Timbre heads
• Fit-sensitive people
• People who want the cleanest sound signature
• People who want something airier

RECOMMENDED GENRES:​

• R&B
• Soul
• Funk
• Pop

SHORT REVIEW:​

Seemingly coming out from nowhere, F.Audio and HiBy has just created arguably one of the best lower midrange Single DD IEM in the market today. Unique presentation, superb dynamic sound and stellar technicalities are just some of the things this little blue dorrito has accomplished. Unfortunately, its Achilles heel of a treble may make or break your experience with this set due to the sharp and edgy mid treble that is followed by a dip that gives the impression of sounding choked. Nonetheless, the Project Ace is definitely something to look out for if you’re a Dynamic Driver lover like me. RECOMMENDED WITH CAVEATS!

FULL REVIEW​

Collaboration IEMs. Sometimes they revolutionize the market and how competitive the offerings are, sometimes they are complete flops and the collaborators would actively try to erase its existence. Most of the time, these collaborations are between a content creator and a brand. Sometimes it could even be a distributor and a brand.

But in rare cases, two brands will decide to collaborate to create something with the use of each other’s expertise. Think Elysian and Effect Audio with the Gaia. Or Nightjar and Symphonium Meteor. A common theme between the two companies is one handles the acoustics and the other handles the aesthetics or the cable.

But what in the world are HiBy and F.Audio doing to make an IEM together? HiBy, known for their music player app and DAC/AMPs, and F.Audio, known for their TOTL in-ears making an IEM together? What exactly is the Project Ace? And why does it look like a blue Dorito? Well, we’ll answer all of this in today’s comprehensive review of the HiBy x F.Audio Project Ace.

DISCLAIMER: This product was sent over by HiBy in exchange for my honest thoughts. I am eternally grateful for the opportunity. I was not paid. Rest assured, my thoughts and opinions on this product will be of my own honest opinions and will not be affected by the facts beforehand.

Audio is a very subjective hobby and as much as I try to objectively explain my thoughts and opinions, your mileage will vary. My preferences will also affect how I perceive the gear that I review. Sources and other accessories will also modify your experience. Lastly, my reviews should always be used only as a guide and not as the definitive bible. Trust your ears to know what’s good.

THE FIRST PROJECT​

Two seemingly contrasting brands, F.Audio and HiBy have set out to create something very unique with the Project Ace, not only in appearance but in sound. Both of these companies have had years under their belt, HiBy in particular have dabbled in many different product categories from music players, applications, dongle DACs, and even in-ears. F.Audio is no different as they have been known to release very unique TOTL in-ears that were founded by a music producer in the name of Ken Lee. So what can this $249 in-ear monitor made with the power of two experienced companies offer?

UNBOXING:​

The first thing that you’ll notice with the unboxing of the Project Ace is the fact that this resembles their Yvain quite a lot. Not necessarily a bad thing, but I just thought it was interesting that they’d use a similar presentation to their previous set.

Anyway, digging into the unboxing itself we’re met with the usual lore of the IEM in a piece of paper and the IEMs sitting on their lovely throne along with the accessories strewn around.

Here is the full list of accessories:

• Project Ace IEMs
• 3.5mm & 4.4mm 4-pin lock adaptors
• Litz 4 strand cable
• 6 pairs of eartips (3 silicone, 3 foams)
• Storage bag
• Cleaning brush
• Paperwork

One motif you’ll see quite frequently with Project Ace is the usage of this very beautiful shade of blue. You can find this on the IEMs themselves as well as the case and I just love this shade of blue. It’s a midnight-like blue that is very easy on the eyes and a pain in the ass to photoshoot. But still very lovely.


The case that the Project Ace comes in is quite nice with a very spacious internal that comes with a divider to split your accessories (or IEMs) into separate pieces. It’s a very well-built case, but not particularly pocketable at all. It’s great to store your IEMs in your home and maybe inside your bag, but you won’t catch me trying to put this big square in my pocket. My only nitpick is that maybe, just maybe, a pentagon case would’ve fit the aesthetics of the IEMs a little bit better.



As for the rest of the accessories, you get a basic cleaning tool as well as a tip case with a couple of tips inside. They provide 2 kinds of eartips. Silicone and Foams. I will mention very soon why this addition, while found in their older sets, is essential to the Project Ace if you can stand using foam eartips.

Build & Fit​

Now, let’s talk about the most interesting part of the Project Ace so far. The build & fit. And yes, I mention fit too because it’s equally as interesting, albeit not in a good way.

But first, let’s talk internals. The Project Ace features a 12mm Berylium Plated Diaphram with a Magnesium and Lithium alloy dome Dynamic Driver housed in a T6063 aluminum alloy CNC processed shell and a 0.78 2-pin connector.



Blue dorito. That is what I’ve called the Project Ace for the longest time and for good reason. Look at the thing. It’s a pentagonal faceplate of a blue variety. And I know a dorito only has 3 sides, but still doesn’t that remind you of chips? Piatos maybe (to the Filipinos out there) but whatever it may be, it’s a very interesting shape.



Unfortunately, this has the effect of not being the most ergonomic IEM. The shape doesn’t really do much for comfort as the inner shell is VERY thick and the nozzle is quite long. This means the stock silicone tips were very ineffective at providing a good seal and a comfortable fit. Only by using small, stubby eartips like the Zhu Bamboo, Sancai Widebore, or even TRN T tips do you get a properly good seal. Obviously, the Clarion’s made this the best fitting IEM ever, but that just showcases the inconsistency this has in terms of fitting.

Admittedly, however, it is quite comfortable in long listening sessions when you get the right tips. I never felt pressure in or around my ears whatsoever which deserves a bit of praise considering the kind of shape they went for and using the correct tips give this just the right amount of stability and seal to make it quite comfy.



Where I want to hype the Project Ace more is with the cable At first glance, it might seem like your basic 4-strand Litz cable. But look closer and deeper, you’ll see that the Project Ace has a trick up its sleeve.



That’s right, it’s the best kind of modular system. Instead of using the rudimentary plug-and-unplug method, the Project Ace’s cable features a screw lock mechanism. This reminds me of the Q Lock of Dunu’s Hulk Pro Mini which I also loved. But this is much much cheaper, at least compared to the IEM that you have to get that kind of cable. I cannot stress how much I love this modular system so much and I really hope they sell this cable separately. The Yvain also features a similar modular system, but the cable itself was worse in quality.

SOUND​

PREFACE: Tip-Roll is key​

Before I talk about the sound, I just want to emphasize the importance of tip-rolling the Project Ace. In my initial listen, I found that the treble sounded a little bit grainy and sharp with the bass sounding quite strong and incisive. I loved how it sounded, but I also knew that people might not find it too appealing. That was until I popped the foams onto these and found how much it smoothens out the overall sound. The treble peak is considerably smoother and the bass is tamer. This had the added effect of making the midrange even better than when using silicone eartips. So if you plan to get the Project Ace, consider tip rolling. This review was done with Silicone eartips as my ears do not like foams, but please consider using the foam eartips

Sound Signature​

The Project Ace is this somewhat weird flavor of neutral. It’s not flat neutral where it sounds dry, lean and analytical. But it’s also not the natural sound with heavy focus on timbre while keeping it very engaging. It’s like a mixture of that, which ends up making the Project Ace both natural and analytical sounding. Bass is VERY well done with amazing texture and note definition, the mids are well-bodied with a lot of nuance and character and the treble is a little spicy but quite resolving.

Source Pairing​

The Project Ace are not only easy to drive, they are VERY easy to drive. Using an inefficient/noisy source will bring out noise in this IEM. Using your smartphone is more than enough to get an enjoyable listen out of this. However, using a better source improves upon its dynamic presentation and smoothens out the treble. That makes the Project Ace solid for both low-powered and high-quality sources.

Bass:​

One of the first things that stood out to me with the Project Ace is the bass. And while I do have my expectations for a midrange single DD to have good bass quality by default (otherwise it gets eaten by the EA1000, Falcon Ultra, or Winter), the Project Ace blew my mind by not only having a very tight and clean bass but also a very textured and rich sounding bass. The 12mm dynamic driver truly does wonders as it balances both quality and quantity in the perfect way. It’s not big woofy bass, mind you. It’s generous, clean yet engaging, and punchy.

Listening to Send It by D’Angelo has been one of the best listening experiences I’ve had so far. As soon as the first bass riff plays, you’re transported to groovyland with how rich the bass guitars are rendered on the Project Ace. The texture in every strum is so good. The kickdrums are also felt but non-intrusive. You get enveloped in this sense of warmth without drowning you in it and it’s absolutely amazing.

Mids:​

This perfectly translates into the midrange where the tonal balance between male and female vocals is perfect. This translates to the rest of the ensemble having this perfect harmony of really good note weight while having a crisp and clear definition that never sounded recessed or unnatural. Male vocals and low-frequency instruments in particular sound absolutely amazing on these and perfectly transition into the upper mids in such a silky smooth manner. The upper mids are admittedly thicker than what the recent trends in audio have been providing, but I’d say this makes vocals sound more organic and natural to the ears.

I want to use D’Angelo again, but I would like to use a different artist for the midrange. Daniel Cesar’s 2017 album, Freudian sounds perfect on the Project Ace, full stop. From Get You’s slow and sensual basslines paired with Daniel’s smooth vocals and hard-hitting percussive all the way to We Find Love and its rich pianos and harmonies, the Project Ace is able to render it with such grace with one critique that I’ll be mentioning in the next section. But if we’re talking about the mids and bass, the Project Ace is genuinely a perfect IEM for R&B and Soul genres.

Treble:​

And here we are to the part of the Project Ace that I wanted to love so badly, but just couldn’t. The treble is quite detailed with good sparkle and incisiveness. And as a treblehead, I honestly could appreciate the amount of sparkle and brightness that the Project Ace provides. It’s also very detailed with a lot of nuances. However, it’s quite uneven and causes a somewhat grainy and occasionally sharp and unnatural tone to the mix. This is particularly evident in the trailing highs of vocals and percussive instruments. It isn’t helped with the air region being deliberately rolled off to compliment the rich low frequencies as the contrast from the massive peak in the mid-treble to the sudden dip to the upper treble gives a somewhat low-res sound due to the graininess and sudden shift in energy.

The best song I can describe this is Atomic by Blonde. That song is my test track when it comes to treble timbre and splashiness due to how aggressively the percussive instruments were mixed into that track. And it could not have been splashier on the Project Ace. Granted, it didn’t sound overly harsh like some other hybrid sets I’ve heard on this track. But to have an almost perfect tuning to only reach this kind of treble kind of bummed me out. At the very least the detail retrieval here is still very good and competent for the price.

Technicalities:​

The technical ability of the Project Ace is superb. Not only is it good for a single DD, but it’s also really good for the price. The only IEMs that can match Project Ace’s technicalities are the top-of-the-class IEMs for the price which include the Falcon Ultra, EA1000, and BQEYZ Winter. Separation and layering are very clean although out despite the warmer low end and edgy upper frequencies. Imaging and stage are very immersive, although not entirely holographic as these are still in-ear. And I’ve talked about the texture enough to mention it again, but it’s fantastic. The only thing I really hear it struggles with is resolution and refinement due to the edginess and splashiness up top. Otherwise, very technical set!

REAL WORLD USAGE​

Casual Use:​

Unfortunately, due to the shape and fitting of the Project Ace, I found them to not be the most stellar for media consumption. Long-term comfort is great as it never digs into your ear, but it’s quite unstable especially if you move around. The tuning, while great for general media consumption might bring out unintended harshness in the higher frequencies. Dialogue however is very full and never distant on these and the superb technical ability makes even the busiest and most action-packed scenes with dialogue quite audible.

Gaming Use:​

Gaming fairs better on the Project Ace as the tuning compliments competitive games like Valorant really compliments the specific sounds you’d want to hear really well. Immersive games are much closer to movies and the harshness can both be a great and a bad thing depending on what kind of game you play. On more immersive games with a lot of environmental sounds, that peak benefits the overall sound as it brings out the micro nuances in the sound design. Bigger set pieces with sharper sound will be painful, unfortunately. But overall, great set for gaming!

COMPARISONS​

VS Simgot EA1000​

Arguably the best Single DD (technically) IEM I’ve heard under $500, the Project Ace gets surprisingly close to competing against the EA1000. The bass and lower mids sound more natural on the Project Ace due to the flatter response. However, the EA1000 still edges the Project Ace overall due to the generally better-tuned, more technical nature of the EA1000. The bass on the EA1000 is still more tactile and tighter sounding than the Project Ace’s and the treble sounds CONSIDERABLY smoother, despite being brighter than the Project Ace. Accessories are better on the Project Ace through and offer a more complete package that even includes a modular cable.

vs Simgot EA2000​

Now you might be wondering why I’m comparing a $319 IEM with a $249 IEM. That’s because genetically, they are very similar. Deep, tactile bass with ridiculously bright treble peaks that ruin the overall timbre. The main difference would be the EA2000 bass still sounds more tactile and richer with the treble peak sounding just a little bit smoother while the Project Ace sounds considerably more natural in the bass to midrange. Technicalities still go to the EA2000 with just how clean the separation is for how bright it sounds and the dynamics of the bass. But not too shabby comparing the two together as they still feature very similar characteristics.

vs Dunu Falcon Ultra Ti​

Compared to the Falcon Ultra Titanium Edition, the Project Ace has a cleaner, tighter, and more tactile bass response while the Falcon Ultra Ti is smoother and more natural sounding overall. The treble sounds CONSIDERABLY cleaner on the Falcon Ultra Ti, but the technicalities would have to go to the Project Ace for having a cleaner separation and layering while having more holographic imaging and stage compared to the Falcon Ultra.

vs Letshuoer D13​

Just like the EA2000 comparison, why the hell am I comparing a $129 which can be bought for only $89 IEM being compared with a $249 IEM? And just like the EA2000, they have very similar DNAs. Essentially, the D13 is a worse Project Ace in every way but retains the bass tactility and tightness that makes it one of the best IEMs if you want quality and quantity. The Project Ace improves upon this but also keeps that awkward peak in the mid-treble that dips down to give a somewhat “low res” sound.

CONCLUSION:​

This Project Ace was a complete curveball from what I expected it to be. Not to diss them but HiBy has not had a good track record for IEMs in the past. They’ve made interesting IEMs like the HiBy Zeta and to an extent, the HiBy Yvain, but they’ve also made something as atrocious as the Crystal 6. But the Project Ace brings a near-perfect tuning to what would have been otherwise just a meme of an IEM.

Whatever F.Audio and HiBy did to this IEM, they did well. It has some of the best bass and midrange balance I’ve heard in any IEM, it’s very technically capable, especially considering the price and it offers an aesthetically unique presentation that makes it stand out from the market.

It’s not perfect, however. The treble would be a big turn-off to people who are sensitive to peaks or who want perfect timbre. The fit isn’t the most stellar and might cause discomfort for some.

But I can’t lie, this is probably HiBy’s best IEM to date. Not only in value but in sound. Imperfections aside, this is a very technical, very tactile and very rich-sounding IEM with a unique presentation to boot. Maybe F.Audio and HiBy should do more collabs next time, yeah?

Thank you for reading my full review on the HiBy x F.Audio Project Ace! If you would like to order one, consider using the non-affiliated link below: https://store.hiby.com/products/hiby-x-faudio-project-ace

Watch full review here: ​

Zhulinniao QingLuan Z4 Review: BEST VALUE UNDER $50??​

WATCH FULL REVIEW HERE: ​

PRICE: $40​

PROS:​

• Comes with a LOT of accessories
• Bamboo Eartips
• Superb build quality
• Interchangeable nozzles (for modding capabilities)
• Clean, bright neutral sound
• Good technicalities for the price
• Crisp and nuanced vocals
• Smooth yet detailed treble

CONS:​

• Not the best fitting
• Other nozzle doesn’t sound that good
• Not the most dynamic-sounding set
• Can get a little hot on some tracks

WHO THIS SET IS FOR:​

• Trebleheads
• Neutralheads
• People who want a vocal centric set that isn’t grainy or edgy
• People who want a VERY well built IEM
• People who want a complete package

WHO THIS SET ISN’T FOR:​

• Bassheads
• People who want a set that fits like a glove (personal)
• People who want a more dynamic sound
• Shout sensitive/treble sensitive people
• People who want a more subtle design

RECOMMENDED GENRES:​

• Jazz
• Instrumental
• Classic
• Vocal-Pop

SHORT REVIEW:​

Zhulinniao Qingluan Z4 is a solid bright-neutral set that packs a treasure trove of accessories with it. While it may lack a bit of dynamics, might come across too bright sounding and not fit that well, the overall package and how smooth it sounds for being bright neutral is very impressive for $40. Well built, well accessorized and a bright neutral sound make this an absolutely must have for vocal lovers who want a complete package. RECOMMENDED!

FULL REVIEW​

Every once in a while, you get a brand that is known for weird and interesting IEMs creating such a conventionally good IEM that it makes you question whether they have the capability of creating a masterpiece. That is me with Zhulinniao. From all the reviews that I’ve seen of their previous products, I have not seen a single one that was positive besides one. And that is today’s topic of discussion. Let’s talk about the Zhulinniao QingLuan Z4

PROUDLY CHINESE!​

Zhulinniao is unsurprisingly a Chinese brand that offers in-ear monitors and pretty awesome eartips. As I’ve mentioned, their previous releases have not been very stellar in the market and they’re more known for the Bamboo or the Zhu Rythme tips. But this $40 Z4 seems to have captured the hearts of some and I’m here to find out whether it’s worth your hard-earned $40 or not. Let’s start with the unboxing.

UNBOXING:​

Don’t let the somewhat boring-looking exterior fool you, what’s packed into this $40 set is a plethora of accessories that rival $100 sets. This is only matched by the qually ridiculous TRN Conch as that set also features a plethora of accessories.



Here is a full list of the inclusions:

• Zhulinniao Z4 IEMs
• 3.5mm Cable
• 9 pairs of eartips
  • 3 Vocal
  • 3 Balanced
  • 3 Bamboo
• Tuning Nozzles
• Carrying Case
• Paperowrk

Boy, where do we begin? The case included is a pretty normal-looking case but is quite spacious on the inside. It reminds me a lot of the KBEar/HZSound Case that I so dearly love and I appreciate them adding a net inside to place your little accessories. I put the extra nozzles in there as it’s secure enough in my opinion.



Where the Z4 really shines, however, are the eartips. You have basic normal and slightly wider bored eartips, but then you have 3 pairs of their patented Zhu Rythme or “Bamboo” eartips. These cost $10 per pack and are a very good pair of eartip. It reminds me of the Springtips mixed in with the S&S and Azla Sednafit. They are tapered and they are VERY grippy. They feel really good and using them IEMs with longer nozzles is an absolute treat. Unfortunately, it does not fit the Qingluan Z4 at all which was truly a shame.

BUILD & FIT​

The Z4 features a single 5th Generation DLC Dynamic Driver housed in an aluminum housing, detachable nozzles, and a 0.78 2-pin connector



Let’s take a moment to appreciate this $40 set is one of the most premium feeling IEMs I’ve held under $100. Seriously, the craftmanship on this IEM is unlike anything I’ve seen before. Brushed, somewhat textured metal paired with an intricate faceplate AND interchangeable nozzles for $40 is insane.



Unfortunately, the fit is not as good. I didn’t like how short and stubby the fit of the Z4 was, especially when using the patented Bamboo eartips. It just wouldn’t seal properly, and the only eartips that I found to work right with the Z4 were, surprise surprise, the S&S. Other tips just slip off, have no seal, or are just uncomfortable.



The cable is somewhat basic and reminds me of the kind of cables that Simgot and Moondrop use for their IEMs. It’s not necessarily a bad cable as I still think it’s quite functional and comfortable, but does not match the expressive aesthetics that the IEMs themselves have. Still, decent and usable cable that I’d be happy to use with other IEMs.

SOUND​

NOTE: Because the Z4 features tuning nozzles, I will be reviewing the Z4 with the stock nozzles and comparing it later to the red ring nozzle.

Sound Signature​

The Z4 has a bright neutral sound signature that borders sounding a bit U-Shaped with clean, tame bass with good enough weight for it to not sound like a dry piece of crap and a LOT of energy in the upper regions. Very airy, sparkly, bright and energetic are just some adjectives I’d honor the Z4.

Drivability:​

With an impedance of 32ohms and sensitivity of 108dB, you kind of expect this IEM to be quite easy to drive. Paired with the brighter tuning, this set sounds pretty good on even lower-powered devices. However, where this truly shines is when you throw some power. It smoothens the top end, makes the lower frequencies fuller and vocals overall sound more dynamic and rich despite the energy. Basically, it scales really well and I recommend getting a good source to pair with this.

Bass:​

The bass of the Z4 is clean, tight and mature sounding. It doesn’t boost it unnecessarily, but exists when you need it to exist. I will admit, however, that it is quite bass why. Not necessarily rolled off as the subbass is still quite prominent in bass centric tracks, but definitely not the focus of the sound at all. Texture is not the most prominent, but note definition is quite good.

Listening to any kind of bassy tracks, whether it’d be HipHop, Funk or Pop will not get you grooving. But you’ll get to appreciate each note with a sense of maturity and elegance. Listening to something like Do I Wanna Know by Arctic Monkey’s won’t make you stomp on the ground, but it’ll make you appreciate the nuance of the bass notes quite well.

Mids:​

The midrange of the Z4 is open, crisp and nuanced with both male and female vocals getting a lot of love. Instruments sound rich but sparkly. I particularly love lighter instruments like flutes, violins in the higher frequencies due to how clean and crisp they sound without any harshness. I will admit that this is not for the shout sensitives as there is a LOT of upper midrange to lower treble energy which affects female vocals, air instruments and percussive instruments. However, if you’re a vocal lover like me, this thing truly sings.

I especially love female vocals on the lower registers like Samara Joy, Laufey and Diana Krall. This is because the lower mids sounds so clean that the usually chesty sounding vocals sounds open and crisp. Especially in the case of Samara Joy’s Linger Awhile, the entire album perfectly matches the neutral bright sound of the Z4.

Treble:​

Hot and smooth. Those are the two words I would describe the treble of the Z4. Hot because the energy that the Z4 has in the treble region is honestly treblehead levels, but it’s surprisingly smooth and sibilance free. I expected a thin, edgy sound to the Z4 knowing the past of Zhulinniao. But damn, the treble of this thing is addicting. It’s not the airiest sounding treble I’ve heard, nor is it the most detailed. It straddles the perfect balance of detail and smooth so perfectly. However, I would not in any way recommend this to treble-sensitive people at all.

Anything Jazz just sounds fantastic on the Z4. Throw some Esperanza Spalding or some Samara Joy and hear those cymbals sparkle without any unnecessary bite. Samara’s vocals also sound so energetic and crisp with the Z4, so much so I’m more than willing to say this is probably the best set to listen to specifically Samara Joy under $50. But I digress, it’s just so crisp and smooth.

Technicalities:​

This is where it gets tricky. In terms of resolving ability and refinement, the Z4 is great. However, I feel like the Z4 is somewhat limited by the driver not being capable of having the cleanest separation and layering in the top end and tactility bass. I think that’s a perfectly fine compromise, especially at $40 and I still think that this is exceptional for $40. But when you’re competing with the likes of the EW200 at the same price point, it’s hard to just have pretty good technicalities especially when you’re going for a bright neutral sound. Nonetheless, it’s a very capable set at $40.

REAL WORLD USAGE:​

Casual Use​

As a casual use IEM, I found the Z4s to be satisfactory. Nothing too fantastic, but it looks and feels good to the touch. One thing I do whenever I’m just going about my day and I have nothing else going on, I take my IEM out and just stare at it. And it just so happens that the Z4 has a textured shell that I love to rub my finger against. It’s so satisfying to both touch and look at. However, I really don’t enjoy walking around with these as they often feel like they’re about to slip out. They’re quite stable with the S&S, but I still don’t feel confident in the fit. Plus, brigther IEMs are usually not my go to for media consumption or commutes.

Gaming Use​

This is where I was surprised with the Z4 as it offered the perfect balance of being just vocal forward enough to bring out the higher frequency noises while still not sounding harsh or peaky on really loud setpieces. Obviously, that bass is the mood killer as I prefer a bit of midbass when I game due to footsteps often being in that lower midrange section, but the upper mids are just perfectly tuned to games like Valorant. Immersive or narrative games are also pretty good due to the vocal energy being just perfect for dialogue or small nuances like in Firewatch, but not so much in big set pieces from action-oriented games.

VS RED RING NOZZLE​

I’ll be honest, on first listen the Red nozzle sounded kind of good to my ears. The vocal energy was so vibrant and sparkly that whatever I was listening to sounded so crisp. However, longer listening sessions made me realize how much it messes with the timbre, especially with how much the upper midrange masks the lower midrange and bass. So unless you’re listening to specifically upper mids focused genres, the stock nozzle will sound better all the time.

COMPARISONS​

vs Simgot EW200​

Compared to the Simgot EW200, the EW200 is better in terms of technicalities and detail, but is also more fatiguing and a little bit edgier in the treble. I also find the timbre of the Z4 to be just a tad bit better for specifically Samara Joy, but the bass dynamics and quantity makes the EW200 a considerably more fun IEM overall. The difference lies between the inclusions. The EW200 pales in comparison to the treasure trove that the Z4 offers. But sound wise, they’re quite on par overall but the EW200 edges the Z4 in fun and techs.

vs TRN Conch​

Compared to the OG value god, the Conch has a considerably less refined sound despite also sporting a single DLC dynamic driver. The Conch is edgier, more sibilant and less technically capable sounding overall. The only thing they have in common is a very rich set of accessories and a very good build quality. But I would take the TRN Conch

vs Tanchjim One​

Compared to the Tanchjim One, the Z4 has an overall cleaner and more open sound while the One is more fun and vibrant sounding. You get more low end impact and body with the One and you get more upper frequency energy with the Z4. Technicalities are better on the Z4 by a bit, but not by a big amount. The big difference, just like the EW200, is inclusions.

vs HZSound Heart Mirror​

Compared to my baby love, the Heart Mirror, the Z4 offers a more refined sound but lacking the body that the Heart Mirror has to balance the treble energy. Technicalities are similar between the two and depending on what you listen to, the Heart Mirror might sound better but so can the Z4. The Heart Mirror sounds better on soprano and mezzo soprano vocals like Caity Gyorgy or Norah Jones while the Z4 sounds better on Laufey or Samara Joy. Still, both fantastic sets and will all depend on whether you want something with a little bit more spice or a little bit more accessories (and refinement)

vs CCA Pianist​

Compared to the CCA Pianist, boths sets are vocal forward sets with subbass focus. The difference lies with the CCA Pianist having a ridiculously recessed midrange and a very distinct BA timbre that affects the overall timbre that the IEM has. The Z4 sounds considerably more natural while still providing a very similar level of technicalities compared to the Pianist. The Pianist does have a wider headstage thanks to the more open mids, but at the cost of lower midrange emphasis and body.

vs CCA Duo​

Compared to the Duo, the Duo has a better tonal balance on both low mids and upper mids compared to the Z4, but the Z4 has a more refined and smoother overall sound with a tilt to the bright side. The body is better on the Duo but the Z4 has a cleaner-sounding upper midrange.

CONCLUSION​

The Zhulliniao Qingluan Z4 is a fantastic first experience for me with the Zhulinniao brand. Such a clean-sounding bright-neutral IEM that fits my tastes, especially in jazzy or instrumental genres while offering a very delicious amount of accessories that only 1 IEM can compete against (in all the IEMs I’ve tried). It’s crazy how Zhulliniao was able to provide this much while also providing a very crisp and clean sound, unlike the other set that has a lot of accessories.

However, it is not perfect. The fit is not very good and it doesn’t really separate itself from the competition. There have been other vocal-centric sets that sound absolutely wonderful like the CCA Polaris, KZ D-Fi and my love the Heart Mirror that are all still very competent. The Z4 doesn’t really try to put itself out there sound wise, instead opting to provide a more complete experience than other sets. And for that I have full respect on Zhulliniao and will actively look forward to their upcoming sets.

Thank you for reading my review on the Zhulinniao Qingluan Z4. If you would like to order one, consider using the non-affiliated link below: https://www.aliexpress.us/item/3256805582634689.html?gatewayAdapt=glo2usa4itemAdapt