Today I bring you the MagicOne, Aful's dramatic release that got many tongues going. This IEM is a science novel put into practice, aiming for a new breakthrough by maxing out a single BA driver's potencial into a full frequency range, whilst shocking the world in the meanwhile.

I don't find it a warm design, rather a neutral tune with some light boosts on bass, upper mids and treble, almost resembling a soft W-shape (in between U and W shape). I find it versatile across music genres but it has its quirks, especially regarding the IEM insertion, which I suspect is what caused the online controversy.

This set was sent to me by Headfi for my honest review, of wish I honor and thank for the opportunity, and I shall be as transparent as I've always thrived to be.

Onwards to what has brought you here.



Fitting and Comfort

This time I'm moving this factor up in priority given how important it is having this IEM set well accommodated in your ear canal.

The MagicOne full experience totally relies on achieving the correct nozzle positioning considering your own ear canal anatomy.

It doesn't rely on deeper insertion but if there is a loss of seal or a nozzle misalignment you start losing access to the full frequency range and it will sound wrong.

The unvented nature of the MagicOne is a challenge to be overcome that adds another level of difficulty, and I reckon this is where people's opinions start diverging. Upon placing the IEMs on you can immediately feel a suction effect that might resemble the pressure build up of a driver flex. For pressure sensitive people this can be quite discomfortable to endure.

To minimize this I always started by decompressing my ears by yawning and thrusting my jaw sideways during it, and then I would insert the set while having my mouth open.
To then correct the nozzle alignment I have to furtherly push the IEM inwards into the ear canal, applying force in the IEM shell's lower third zone (where the shell is pointier, its apex). This final touch proved essential for me to be able to fully grasp the MagicOne's capabilities.

Besides this I'd recommend you on tip rolling, picking ear tips that have a more rugged surface for better traction, so that the IEM stays secure after you find its placement's sweet spot.

The practical end result of all these fitting and comfort hassles is that you may only be able to enjoy this set in a very comfortable non-moving position. For me, laying down with my head slightly tilted back (like at the dentist) yielded the best results. And only then could I finally enjoy and review The MagicOne.

Exercising with this IEM on is not doable, at least for me, performing inconsistently and often having to adjust its positioning inside the ear.



Sub Bass

Lightweight in nature but tidy.

I do miss some more rumble gargling and body on bass lines - on Basses, Double Basses and Synth Basses.
The sub is very short lived, decaying faster than expected, which promotes this feeling of tidiness.

I found myself trying to insert the IEM deeper trying to find a bit more sub, but that's a personal take.

Although lean, it is omnipresent, never shying away when tracks get busier, and you can trust the sub to perform when you expect it to.


Midbass

Impressive given the driver type.

I've never heard a full BA IEM, and ever since the beginning of my ChiFi quest I have been conditioned to DD's being responsible for the sub and midbass.
This subconscious prejudice against BA timbre on Bass lowered my expectations, just then to be blown away by it.

Hear me out, it isn't the most tactile nor snappy midbass, it doesn't even indulge the occasional saturday night basshead, but it sounds natural and just enough intense to become dynamic and lively.

Kickdrum slamming is average and this is where I think it may sound like a "BA".

The sub/midbass ratio is 35/65 I would say, and it sounds timbre correct to me. This means accurate bass response, with some light coloring.

This splash of bass boost brings the MagicOne out of Flathead territory, benefiting dynamics whilst offering a versatile performance across many music genres.



Lower Mids

Moderately dipped, the main setback of this set in my opinion, but I can understand it is a must in order to avoid midbass mudiness and have a tuning cohesion glue at the "middle" of the frequency range. We're talking of a single driver unit here.

Guitars, pianos played around middle C and some synth pads are a bit pushed back, and when they do they become lacking in texture. When the mix benefits these instruments, they are presented at full resolution, appearing a tad more detailed.

Percussion elements (toms, congas) are not shined upon but perform naturally and their dynamics are evident, having their part on the overall musicality factor that is a perk of the MagicOne.

On older recordings that tend to have weaker bass and treble performances when compared to the mids, they sound extra hollow given the dip in this region.



Upper Mids

Balanced, not shouty, comfortable and very well polished.

Higher pitch register pianos, pads, synth and guitar leads come forward in presentation, becoming more evident of its details.

Snares and claps are snappy but not peaky, not making me squint my eyes when very transient rich ones come by, like some rimshots on R&B music are.

This area can sometimes get congested when too many frequency overlapping instruments are at play, but that comes down to a technicality aspect.

It is pinna gain safe (I'm extra sensitive to it).



Treble

Crisp on attacks, a bit slower on decay, but overall sounds natural.

It is non offensive while retaining brightness, so I would say it is safe for treble sensitive people, but it is not by default a tame treble.

Hi-hats are texturized and don't amalgamate into noise. They can sometimes feel intense but I haven't had them distorting. Other metal percussion instruments have that good ringing sound to them.

Trumpets and Violins are textured, intense and they don't pierce, nor distort when played hard.



Soundstage

Wider than taller, spacious and slightly holographic when properly inserted. The soundstage is highly affected by the nozzle alignment with the ear canal. When you get it right, it performs slightly above its price bracket.



Technicalities

Not a technical set, rather musical by prioritizing dynamics.

Not strong in details at the bass and lower mids ranges, but way more revealing at the upper mids and treble.

Instrument separation and layering is acceptable and actually impressive for a single BA, however might be underwhelming when compared to hybrids of the same price range.

Harder to Drive (needs amp power).



Design and Aesthetics

The tubing work really squeezes the driver potencial turning it into a design quality statement. It achieves the intended purpose of a breakthrough/novelty IEM that vigorously stamps the seal of quality engineering all over Aful's name. If a listener can spend the time, money and effort getting to understand and use MagicOne properly, I think they are in for an unique experience.

I personally enjoy the shell and how it looks - the transparent shell allows the driver and tubing visualization which are the main selling point of the MagicOne. The decorative triangles can make it look cheaper than it actually is (girlfriend's opinion).



Cable and Accessories

The circular metal case is very welcomed, being rigid and big enough to store the IEM, cable and even a dongle.

The included cable is of above average quality and looks for its price range.



Final Words

I can understand the divergence of opinion between listeners, considering the non-vented suction effect and nozzle misalignment upon insertion, that may be a deterrent of a full experience.
Overcoming these, the listening experience is unique and paradigm shifting, reassuring Aful's dominance in the IEM's market.

It is still a novelty IEM, somewhat exotic in design but with a more versatile and fresh sound signature.

I think this is a must have for collectors and a sneak peek into future Aful iterations, and I will definitely be revisiting this IEM to check how it sustains the test of time.

I must congratulate Aful for their bold design move and courage.

Thank you for reading this,
Miguel Esteves

I'm getting it immediately out of my chest - what an enlightening experience, I'm both overwhelmed as well as amazingly surprised by this set.


I must thank Kinera and Akros for the trust of including me on this unit's World Tour at the last minute, I feel honored. I must say I had approximately 1 week to test them, and I did try my best to amount to some considerable hours of use within the time frame I had.

So far I have been focusing on sub 200$ IEMs, and on this tier I often observe that each set better matches a selection of music genres, mirroring the IEM's perks and downsides. As such, they either are designed towards the balanced approach, becoming more versatile but never excelling in anything in particular, or instead are tailored for a specific use, privileging specific genres, reproducing them at higher standards when compared to other genres where it doesn't perform well. Having never tried anything above the 300$ mark I didn't know what to expect to experience with the Loki, and I even anticipated some of those "diminishing returns" high-end audio people refer to. Little did I know what I was in for, and I later laughed at my own prejudice.

The first clue came in when, during the first hours on the first day, no matter what genre I threw at it, the Loki would not squint. It is versatile, behaving above expectations across all genres I have ventured (Jazz, IDM, Techno, Classical, Hip-Hop, Metal), which immediately stood as a perfect match for me. Not only that, it is fun sounding, describing a W-shape sound signature that supports intense dynamics, with concomitant extreme detail retrieval and layering capabilities. I think it matches my taste because I tend to pay more attention to the band and sound design, less on lead vocalists or other main protagonists. It is a head revolving experience that feels premium "from head to toe".

Onward to more minucius impressions.

Sub Bass​

Just perfect, I can't nitpick anything.
Not ultra extended, just incredibly agile and texturized. It dropped my jaw to the floor.

Synthesizers go soul deep, behaving viscerally, on its own auditory plane, not overcoming the midbass, nor stealing the whole show. Sub swells can be felt from very afar, rumbling with detail even at very low volumes.
Techno beats that are accompanied by deep and slow decaying basslines are rendered very analogue in flavor, vividly and slurness free. Here you can clearly feel how tidy and responsive this small DD is.

I must state that here it was the first time I was able to experience different flavors of sub rumble coming at me, depending on how the music producer band-pass filtered. Up until now every sub rumble felt similar but here on the Loki I can sense different resulting textures of rumble.

Double-basses depth and reverberance are rich and feel natural. Strings strokes are very evident and other live recordings' ear candy get way more perceivable for them.

This sub always adds a layer of immersion, one I can surely get used to listening to everyday, but for purists or flatheads this is too much sub.

MidBass​

Hefty punch, recovering super fast, tactile, very immersive. Not basshead material and I'm happy with its intensity. No midbass tucking! I can clearly distinguish between different kick drum timbres and nothing feels overly emphasized.
It is still a Colored bass, feels analogue and tight on faster tracks, whilst recovering as it should on muddier kick drums.
I really enjoy the sub to midbass ratio here, and I would describe it as a 60/40 respectively. This means there is some extra "oomph" that adds joy to upbeat music, but doesn't overly color music that isn't supposed to have it (e.g. Classical Music).

However when double basses are vigorously stroked, the attacks could use a bit more punch to match the sub bass depth.

Lower Mids​

Nitpick alert, it has a very slight dip, as every IEM does, but it is never distracting as no instrument feels awkwardly distant or leaner in weight.

Pianos' have their own room and are not boosted, they are not lean but feel like so when compared to neighboring frequencies. On piano centered music, pianos are played just as they should, with fulfilling dynamics, but on bigger bands where the piano is not a trump, it can feel leaner or more distant.

Acoustic guitars are a joy and are clearly perceived even within very instrument rich recordings. Pluckings are a special treat here so if you are a virtuoso guitar player enjoyer this set will please you.
More to say about other types of guitar over the Upper Mids section.

Harp pluckings are velvety, you can easily focus on dynamics and finger technique.

Lower register brass instruments are lightly veiled in comparison. Saxes and trombones on busier tracks have texture but on ensembles they sit further away on the soundstage's depth.

Lower pitch snares are snappy but are not boosted and can very rarely get thrown more into the back of the mix.
Male voices are airy, well textured, they swell and revolve around your head. Whispering and ASMR-like sounds are shockingly real-like that they provoke chills on my neck, on the sides. However they are not forward in presentation unless it was produced like so.

Overall, the lower mids have great resolution, just like all the other frequency ranges, plus one can tell there was great care tuning towards balance, resulting in tightly glued sound signature that doesn't benefit any frequency instead of another.

​

Upper Mids​

I'm mesmerized how the Loki can behave both technical and musically energetic at the same time...

Strings are vibrant and crunchy, beautifully rendering hand strokes and string impact noise. Same goes when they are plucked, texture is out of this world. If you are an acoustic guitar enjoyer you will love how a steel stringed guitar is ultra informative, and how you can easily notice the difference in the string attack when the player is using a pick, nails or the finger itself. Electric guitars are also a delight, the effect pedals modulations are ultra evident, up to a level I have never known existed outside the studio. Definitely immersive stuff.

Synth leads are lush but not too forwarded. They still feel quite roomy, spreading well across the soundstage's width and never piercing, even on the most intense leads.

Snares behave naturally, non offensively, and feel very bouncy. Most snare timbres are correct and I can even recognise remo snares with their bottom wires mod on, without needing much focus. Higher pitched snares like the ones we often have in R&B and Hip-Hop don't distort, and even the most aggressive ones feel softer and more tamed than I had anticipated. I might say there is some upper mids care with the pinna gain, of which I really cherish given my personal taste.

Claps on electronic music were a surprise for me. On my "budget IEMs" (up to 250 eur) they distort, also due to how bad some of the used samples are, which then are heavily transformed and processed... but not here! - god damn slaps, they feel as if they are hitting right in the middle of my eyes! Another new one for me.
Maracas feel sandy as they never have before. For me it felt as if they have been brought from the shadows (my previous budget experience) into something I can't live without now. I'm right there at the beach...

Slightly nasally vocals. I don't believe this set benefits vocals in any specific way, which to me is a perfect aspect. Mind me, I'm not a vocal enthusiast, ever since I was a kid I always paid more attention to what "the band was doing". Being so, vocals live within their own space and never crawl outside of that zone. They don't get thrown in your face over other instruments but you can still focus very well on them. If you do, you'll find them as velvety as you could ask for.

Cymbals are so impressively well rendered that you can feel them as if you were right in front of it. Ultra crisp attacks that then extend naturally over time never losing its texture along the way. Oh and the crash hat... oh it is visceral and tingles softly, definitely a new "feeling for me".

Saxes (Coltrane's Tenor, for instance) are from another galaxy, they just cut through and blast in your face with crystal clear information, as if it was being played aimed at your forehead. Texture, texture, texture, how many more times will I repeat myself in awe?

​

Treble​

It is indeed pushed/boosted, but not to cater any specific genre so it feels airy, bright and when instruments demand, the Loki executes it all effortlessly with great extension.

Hi-hats are sparkly, never offensive and the utmost freakingly texturized in the best way possible. No matter how fast they are struck they never mush into noise, remaining as informative as the previous stroke. The driver's agility is again to be praised here, not even sacrificing any detail retrieval in order to accomplish this quickness.

Violins are fully rendered, managing to be audible at very low volumes, also when sharing the stage with many other instruments. This is great on Classical Music and I even found out some violin swells started sooner than I had anticipated (they were always there of course, I just wasn't able to hear them up until now).

Trumpets, Soprano and Alto Saxes live closeby to their lower register cousins (tenor, baritone) which goes by saying they are cosmic. Although they do not appear as forward, Miles' trumpet is still soul touching - its peaks still pierce your head however they don't cause discomfort as I'm used to, this is compared to the best of the budget IEM sets (EA500, Mp145, etc).

Timbre​

Always correct and coherent between drivers. Given the hefty number of drivers it is a considerable achievement and a sign of tuning expertise.

This goes hand to hand with the texture and detail retrieval, as I have not found any distractingly or wrongly reproduced ones in any tune.

Soundstage​

On the cosier side, still wider than taller.

It has a sense of being up close with a revolving sound, behaving holographically within it. In analogy, it is as if you were very well positioned in the middle of a music hall that is not very roomy in itself, without anyone or anything standing between you and the instruments and walls. A private concert just for yourself.

This cosier aspect doesn't come as a weakness, as every instrument or vocals are well represented on their own space, not overstepping themselves.

Technicalities​

Details for days, without sacrificing musicality. At first I got overwhelmed by all the information I was getting, as if I had dived into a revolving auditory medium, like "audio water".

Instruments are soo well positioned that you can accurately pinpoint where they are coming from (stereo field) and isolate them from all the others. In a song you subconsciously memorize an instrument's details position, move on to a different instrument's detail, and when coming back to the first one you find yourself innately "reaching" for it, as if you remembered exactly where you left it off.

Fit and Comfort​

Bulky shell with comfortable fitting that promotes the seal. It didn't cause any discomfort in my ear but I could definitely feel its weight.
I must say I didn't test it outside or during exercise, I mostly just laid in bed or sitting at the window, contemplating the Imperial Loki.

Cable and Accessories​

I usually don't review cables as it can be a very sensitive topic for some people, and the sonic differences between different materials are sub perceptible for most people. Talking about its aesthetics, it is beautiful looking, filled with details and robust looking. There clearly is handwork done with higher quality materials and it shows in sturdiness and most probably durability.


Azla and Spinfits are included to best match your sonic and comfort preferences, which adds to the value. These are great quality pairing choices that I am already familiar with.

Design and Aesthetics​

Once again a story telling item, this one properly feeling like a TOTL, even more than that, the Imperial Loki is Kinera's prodigy child, feeling ultimately polished, as if someone had a particular dream that was due to become reality.
The unboxing feels premium, as it should.

Final Words​

Sadly I can't compare the Kinera Imperial Loki to any other IEM as I have never dwelled into this price bracket before. Coming from my own reality of budget IEMs, I can safely say there is something luxurious and unique to be experienced here, as I have discovered new details, new feelings and resulting emotions I hadn't thought possible before, listening to the same tunes I am very familiar with for many years. I found myself countless times trying to come up with new vocabulary to describe these new sonic experiences, and that is a very revealing experience, totally worth the cost if I were to buy.

I have been wanting to acquire new sound references so my future comparisons can be richer and closer to an universal reality, and the Imperial Loki just handed it over to me on a silver platter. The bar has consequently been raised quite high, and I just hope not to have spoiled myself too badly.

Congratulations to Kinera once again, this is a very polished gem I'm sure you are proud of.

Thank you for the opportunity and experience,
Miguel Esteves

I must thank Celest/ Kinera for the unconditional trust and respect, for the opportunity to try out this exotic gem. I am always excited for this family brands' IEMs, as they strive for unique products that have their own soul, focusing on quality over quantity.

The PhoenixCall is not an easy unit to like upfront. It needs some abstraction and unbiased approach, and for that one must go through all the emotional stages: misunderstanding - hate - respect - love. Only then can one comment.
This errand took me close to 6 months of intermittent daily use, having these as my primary set, along very few IEM rotation, and even loosing IEM sound references as I dived into an audiophily hiatus.

I would describe them as a combination of fun and technical - a "V-Shaped Technical Set". It is not the most visited combination for me, thus confusing me a lot in the "first date".

Onward to what brought you here - how does it actually sound?

Sub Bass​

Clean rumble, not lean but sometimes feels like so as it recovers somewhat too quickly, with average texture. It is extended but in a song context it doesn't make a difference as it it easily overcome by the midbass.

In electronic sub genres it lacks some of the immersion factor, as synthesizers basses are not 100% represented and loose a bit of information.

In metal and rock genres, the bass instrument could use a bit more sub bass depth so that it feels more visceral. Double Basses could use a bit more reverberance/resonance.

I feel this is partially due to the thick nozzle that won't easily allow for a deeper insertion, as there seems to be a better subbass performance if I use tips that allow for a deeper insertion, however it won't keep its seal for long as the nozzle is too big for my canal. Also narrower tips tend to slip off from the nozzle, and already lead to me losing some spinfit tips.
I must note that the Sub Bass does feel natural and doesn't render songs in any way different than what I had anticipated.

MidBass​

More intense than the perceived subbass, it has average slam, the attack is fast (not super fast), it has rolled off decay and moderate depth. It behaves naturally as for a DD's job and results in an slightly boosted analogue bass response, not too colored.

I find it quite versatile between all genres, delivering impressive details and texture.
It does however sound like other DDs I have listened before.

Mids​

Oddly, the Lower and Upper Mids sound of a different resolution compared to the rest of the frequency ranges.
This is where my immersion can sometimes be broken, as instruments that come in and out of this region tend to behave inconsistently, less defined as they reach for the upper mids region. The beginning of the lower mids isn't as affected.

Lower Mids​

Slightly dipped, but as usual Celest's voodoo manages to balance it out and brings instruments out of the shadows. Even if the piano's note weight is lighter here, they don't get pushed back into the mix.

Again, similar to previous Celest iterations, percussion has a 2nd plane positioning, resembling a live gig. Congas and toms are a delight, super dynamic, textured, snappy. Drums are vivid and very holographic in presentation.

This region is spacious along with the upper mids, contributing to the sense of layering, in which there is minimal instrument convolution. This is specially important in this frequency range as a lot of instruments tend to cross this range. This is part of the reason it feels like a technical set.

Regarding Male vocals, they aren't shined upon, they're just there, not stealing the show, but don't get me wrong - they are fully rendered, there is no loss of information nor texture.

Upper Mids​

Comfortable, no shoutiness, however not lush - guitars and plucked instruments are texturally underwhelming, as if they lack resolution. I wonder if this has to do with this range's driver specs.

Female vocals not always cut through the mix, instead standing at the same tallness as other neighboring instruments.
Some of the drum set cymbals and hats feel low-res, compressed, as they are very lightly sparkly. In less convoluted songs you can notice the hi-hats are less informative than they should, and on busier songs they mush. Snares and claps sometimes feel boxy.

Piano note weight is also leaner in this region (about 20%).
This area's signature is different from what most of us have been listening to, so this can be an opportunity for savoring new waters, however I personally find it a weakness.

Treble​

Energetic, mostly non offensive and acceptably informative. Coming from the Upper Mids experience, it blends well and doesn't feel very disconnected from it, nevertheless the treble still has an higher resolution comparably.

It is interestingly sharp and crisp, however sometimes attacks can be spiky and might stimulate you into tip rolling a bit to achieve a bit more roundness. I am treble sensitive and don't feel offended nor tired by the PhoenixCall.

This treble is quite new to me, and took some time to conclude upon it. It is not a typical planar nor BA behavior, and it behaves like a mix of both.

Timbre​

On the bass domain, up to the lower mids, the timbre sounds accurate.
Not natural over the Mids, especially the upper mids into Treble region, and there is no overall timbre cohesion along the drivers/frequency range.

The Treble's timbre is interestingly unconventional - it does feel correct but not organically natural.

Soundstage​

Rather taller than wider, it is average in this sense, not bearing any surprise factor, but being up to par with the competition for this price range. As both bass and treble regions are quite intense, this leads to a good sense of soundstage. The extra information at the treble leads to a bigger sense of air.

Technicalities​

Strong in this department, however less perceivable in the sub-bass and upper mids intervals. The lower resolution on the upper mids is especially noticeable on older repertoire and consequently affects the perception of details as it feels as if this area has been compressed.

The layering and separation is the king of the show, and a Celest signature in my opinion. There is space for each instrument to breathe, except over the lower mids, where male voices and some drum elements tend to drown a bit into the mix (nitpicking). On top of that there are quite a lot of details to be appreciated.

Dynamics are inconsistent between frequency ranges and this is the main reason I say it can feel disconnected. The bass, lower end of the mids and treble are way more dynamic than the upper mids. It is not musically coherent.

Comfort​

The bigger diameter nozzle can be uncomfortable during longer sessions specially if wearing thicker silicon tips.
However, for the sub 2 hour use, it was ok for me and I have extensively used them during workouts. The longer nozzle can sometimes lead to loss of seal if not wearing tips with good traction.

Accessories​

The included cable is sturdy, 8 stranded with 2 colors, blue and magenta (in my case). It is slightly microphonic. The included jewelry chain is merely inspirational about the IEM's "tale".

Aesthetics​

I must congratulate Celest for the unique taste in making these IEMs truly feel like utopic gems from imaginary worlds. It was a bold design move, which has won my heart over and ultimately finishes full circle with the IEMs backstory and intent - somewhat of a rare and mystical event associated with a creature from folk literature - which you can feel as you open its box as if it was a book, being presented with lore and a golden chain with two phoenixes dancing in the air.

The unboxing experience is a memorable one and a lesson on how to develop a product as a whole, not only as a performing device. It tells a story, a designer's goal, which makes buyers feel closer and more in sync with the brand.

Final Words​

A keeper for sure, a must listen if you want to expand horizons and sip from the fountain of exotic IEMs. It is prone to vivid debate as it will either please or annoy you, sometimes even simultaneously. It is a joy to revisit this IEM and I do it frequently, always being surprised by new observations.

Congratulations Kinera & Celest, for your uniqueness.

Miguel Esteves

Coming back from a short hiatus that I truly believe I needed, having spent days listening to music rather than IEMs, I found myself grabbing the Wyvern Pro more frequently than I had anticipated, so I believe I have a considerable amount of time with these, hence this "late review". I was blessed by Kinera/Celest with this unit for reviewing and constructive criticism purposes, of which I honor and thank.

The Wyvern Pro is Celest's (Kinera's sister company) new budget roster addition, a full-on IEM and accessories combo that is bringing a lot of value to the table, even considering the overcrowded sub 50$ budget market. This single 10mm LCP set is a Harmann tuning, however it sounds fresh and different, with a touch of originality and a gaming sub-target, packed with valuable accessories that do more than just embellishing the product case. It comes with a 2 pin cable with a boom mic so one can turn on their gaming face and be in touch with your buddies over the voice-chat, or alternatively perk up your phone and video calls comfort and audio quality. As a bonus, you get a piece of jewelry of a dragon with lively colors.
You can get the non-pro Wyvern version which doesn't include any of these.

We will be diving deeper into the sound aspects of this gem.




SubBass

The sub-bass is average in amounts, has enough depth to rumble but won't go very extended. It has just enough for some electronic music subgenres, like IDM or Techno, but some people might need a bit more, so some tip rolling might help (deeper insertion like with the CP145, or Final E tips to overall boost the bass performance. For the non-electronic genres, the Wyvern Pro behaves naturally.

It's within the realm of a balanced ratio of sub-bass and mid-bass, not adding unnatural rumble to tracks that don't originally have it.

In gaming it doesn't saturate the environmental FX or background noises, so it can still be viable in competitive gaming.

MidBass

There is a medium slam, blessed with an impressively quick decay given its price bracket, however the attacks/transients lack some bite.

I would describe it as a tidy round bass experience, not a snappy and crispy one - meaning bass guitars are rich in depth but won't "pop" as much. This is evident in Motown-like bass riffs.

It fills the electronic and analogue kicks and lower register piano notes with body, but then again, it won't have much slam nor transient snappiness. It isn't anywhere near basshead material, instead becoming more versatile across musical genres.

Despite being slightly bass boosted and not having a midbass tuck, it still won't feel bloated and won't compromise the cleanliness of the lower mids.


Lower Mids

More presence than usual, doesn't feel as dipped, helps the balance and evenness of the note weight on multi-ranged instruments (piano, guitars).

It still contrasts a bit with the Upper Mid forwardness, but not so much with the lightly boosted bass domain. We are still left with a feeling of thinner note weight.

However you do get the usual Celest/Kinera Voodoo in which percussion toms feel on a furtherly distanced position, which makes live recordings sound more realistic and immersive, but in the other hand, in ultra busy and elaborate mixes, any instrument who ventures through this frequency region can come out as leaner.


Upper Mids

Here we have a more common and trend-matching approach, pushing the forwardness of the mids, culminating in a more "in your face" lead instrument and vocal presentation. It is not overly done, still within the realms of comfort - and take this from a guy who is quite sensitive to Pinna/Ear Gain (2-3k). You end up with lush and full sounding mids that won't let any instrument feel forgotten.

It can sometimes become shouty on vocals, as I have noticed more evidently on male sopranos, especially when vocals are processed with tape effects or oldish mics, and when mixes are overly focused on vocals.
Same happens on snares, in which transient rich ones can be on the verge of the uncomfortable.
But fear not, as I haven't found myself fatigued after longer listening sessions, it is just on some occasional track which has that extra hot sauce snare or badly positioned recording microphone.


Treble

Not extra sparkly but quite detailed and enthusiastic for a smoothened treble. This was quite the surprise as the separation in this region is quite good, with unexpected and generous amounts of air, while the treble tuning remains safe.

Hi-hats and cymbals sound natural, not distracting, quite tactile and uncompressed. They could benefit from even more sparkle, but I won't even nitpick as they already do so well in this regard considering their cost.



Technicalities

CVJ KES - An Ultra-budget Quality Statement​

Greetings fellow audio enthusiasts,

I am hereby summarizing my opinions on the R6 Pro II, taken from very illuminative impressions. Please keep in mind that I am a beginner reviewer (thanks once again for the opportunity) and I had never heard a DAP before. The closest I have had to it was my Cowon J3 player, a decade ago.

To make this easier, I have compared this one directly to my daily use dongle, the Jcally AP10, which is mostly neutral packing a dual CS43131 and has the following power capabilities: 1.8V/3.8V on the 4.4 bal output, and 0.9V/1.8V on the 3.5mm output; being low and high gain respectively. No wattage info available.

This way I will be able to convey what a beginner audiophile might experience when upgrading from a mid-tier dongle/dac to a mid-tier DAP.

My collection of IEMs doesn't yet have a planar in it to test with the R6 PRO II, but I will be mostly testing it on budget IEMs, as well as in a couple of over-ear Headphones.


User UI

Basic Android Operating System, only coming with Hiby App pre-installed.

Pretty straightforward UI and easy to get started if you are used to Android.

Althought sometimes the scrolling experience can be sluggish as well as some commands (double screen taps) not being registered.
Powering the unit takes 26 seconds, which seems like an eternity for a device that has no apps installed, but onwards from that Apps open quickly and no lag or loading times are felt.

Better reproduction quality via HiBy app when compared to Tidal, however - Hiby app often crashes, screen touches and drags are not registered, and "unexpected errors" are frequent. For instance Hiby got stuck jumping between these two error messages upon playback " the asset could not be played for some reason"; "Several consecutive playback errors".
However, as updates rolled in, these issues were becoming less frequent, so I'm pretty confident that these final software polishes are being addressed.

MSEB is quite useful. Being able to control subtle sound characteristics like frequency textures, warmth, note thickness, voices, overtones, sibilance, air. This opens up a fine tuning world of possibilities that will let you shape your sound even more. Controls are intuitive, function as expected, but sometimes plus/minus screen taps are not registered.


Ergonomy

Being a big boy, of sharper edges in design, the leatherette case cushions the R6 Pro II into a more manageable portable device. The weight is also on the plus side, which adding to its bigger dimensions, adds up to a pocket full of a device, which can be uncomfortable.

The disposition of the buttons isn't very logical with an isolated backwards button followed by a gap and then a start/stop button next to the skip button; it doesn't feel intuitive and I often had misfortunes of skipping songs without meaning to.

The left side buttons are in a position where you can easily misclick and either stop or skip the song when holding the DAP. As the device is heavy, while holding it, you can easily make these mistakes. I would advise Hiby to reconsider having the buttons on a higher or lower position on a future edition, so fingertips dont accidentally change or stop the song.

Initially I couldn't adjust volume with the Dap Locked, but this has changed on a recent update.

Aesthetics

I really like how the unit is presented, the backside with the grooves are lovely, and the screen quality is top notch, with vibrant colors and enough brightness.

The included leatherette case is a big plus, soothing my worries and nightmares of damaging the unit, as it enhaces the grip and is quite protective (it is thick!).

It is definitely a shiner and will draw some attention towards yourself. "Hey, what is that device?"


Bluetooth Connectivity

Pairing: initially finicky to connect, I couldn't start the pairing from the phone and it wouldn't connect even if detected. I solved the issue by instead initiate the pairing on the DAP itself.
Once connected it goes smoothly and won't disconnect. Connection to Bluetooth Buds was way simpler and quicker.

The available codecs depend on your source/phone capabilities.

Unfortunatelly, on my Samsung S22, the effective range was mediocre: at 7 steps away from the phone, without walls or windows, on the outside, it started to stutter the audio reproduction, and 10 steps/meters away it totally ceased playing.
I also believe these issues might be soon solved by software updates, as the hardware sure has the capabilities.

Amplifier Types:

This was where the world of DAPS opened its gates for me. The sheer quality of the signal, the output shielding, the inexistant noise floor, and two different flavours to choose from... oh boy, this is new earcandy for me. Describing the two Amp Modes:

Class A - cleaner and less colored. Less sub-bass rumble but airier treble. Higher fidelity sound.

Class AB - The added punch and analog tint is noticeable on this amp mode. Somewhat of a V-shape goodness boost:

• Meatier Bass, about 5-10% more
• Slightly more forward mids
• High Treble seems attenuated or less evident in comparison to A
• A grainier experience overall but might be also perceived as "added noisefloor".

This led me to match different tuning IEMs with these Amps, concluding on new synergies and how DAPs can fulfil what each IEM set might be missing for you. I often matched the Class AB Amp with Neutral to Neautral-Bright IEMs, adding to their dynamics; as well as using the Class A Amp on Warmer and more Laid Back IEMs, bringing some clarity, more headroom, a bigger sense of soundstage, and lesser noise.


The output power on the 3.5mm SO was admirable, as it managed to fully drive my Dt990 Pro 250 ohm version, although not to a very hot loud level. On High Gain and 90-100 volume it behaves as it should, but for people that like/need listening at higher volumes than most people, such impedance headphones (also planars) will definitely need to be connected to the 4.4 bal port. So keep in mind to have your balanced cables ready at hand.

I have also tried my AKG K701 (105 db SPL/V @ 1 kHz; 60 ohm) on the 3.5mm SO and it performed well, but left a bit to be desired - didn't feel very alive nor dynamic. For some reason these headphones always needed A LOT of juice to sound full to me, ever since I've got them. I'm sure they would behave different on the bal port.

I'm not owning or carrying any planars as of the moment so I can't comment on the behaviour of this kind of both IEMs and headphones.

Listening on the 3.5 mm SO has shown impeccable performance with all my IEMs, but all my following sound impressions have come from connecting my IEMs to the 4.4 bal port.

Power Longevity could and has been improving every firmware update, which have been frequent - I have had 3 firmware updates for the 10 days I have had the R6Pro II with me, which is a sign of good and on-going development.
Power consumption during idle was as if you were playing music - fixed in a new update, but still consumes a lot even if the screen is on sleep.

There was a time when the unit didn't appear fully charged, as it would never hit 100%. This has also been solved on an update.

I didn't perform any official battery life time tests, but my perception of its depletion was that it went down at a quicker pace, but I can understand that the screen size/resolution and the high fidelity amps do require a lot of current.


Here we will mostly be comparing the usage of a Dongle (Jcally Ap10 on 3.8v mode) versus the DAP - Hiby R6 Pro II on medium gain on IEMs and High Gain on Headphones


Tanchjim Zero:

Intensified Sub-Bass, Bass slightly intensified. The remaining frequencies seem left untouched. The added rumble is notorious, the midbass punch not very much, yet it doesn't detract from the intended tuning experience.

Better separation along with wider added soundstage, gives off the feeling of being able to pinpoint more details in the treble region. Don't get me wrong, it doesn't increase details, it just creates more room for the frequencies to spread, thus allowing details to be more easily perceived.

Also stereo effects (left to right, and vice versa) seem to "travel" longer distances.

The low frequency boosts and added technicalities overall contributes to dynamics being more evident and engaging, benefiting the holographic experience.

Less distortion: If I increase the volume above my normal use, it distorts less than with the dongle (still within a comfortable volume window).

Truthear Hexa:

I can notice the warmer signature here, but not in the same way. Way lower bass boost than on the Tanchjim, I can hear less sparkle on cymbals and high hats, but when things go harsh (bad or old mixes) it has a positive effect on them, smoothening it.

Again, soundstage has improved slightly and dynamics are felt more intensively.
On busier tracks it feels like there are more layering capabilities than on dongle dacs.

It definitely gives some life to Truthear Hexa, making it a nice combo.

Truthear Zero

It was on this set that I clearly noticed the different Class Amp Behaviours on the Hiby.

Class A neutrally reflected the IEM's tuning and everything sounded tidy and as I familiarly remembered. A very faithful experience and compared to my daily neutral dongle, the AP10, it behaved very similarly tuning wise. Obviously, the amp technical and power capabilities are not comparable and I clearly noticed the benefits of the expanded soundstage, quite more prominent dynamics and altogether more vivid and engaging experience.
I can almost say I felt the Truthear Zero was finally being pushed to the best of its capabilities here. Definitely an enlightening moment for me as a beginner audiophile reviewer.

The story changed a lot on the Class AB Amp - it seemed to boost the mids but making them sound unnaturally metallic and voices got overly grainy, a very specific and exclusive reaction here on Truthear Zero.
Tracks that have a tape reel effect or a lot of ground noise (recording hiss), had these "sonic artifacts" augmented.

From my past experience the Truthear Zero has a very peculiar tune and behaviour given it's driver configuration and is quite sensitive to dac/amp rolling.

Moondrop Aria:

This used to be my daily driver during late 2020/21 so it was a pleasure revisiting it and even comparing them to nowadays budget dethroners, just to conclude upon the notorious speed at which IEM technology has been growing and being made accessible, specially at the entry-level cost bracket.

I still find it a quite interesting and musical tuning, not too sheen on technicalities, sluggish and sometimes boomy on the bass, supposedly mid focused, somewhat treble shy and certainly grainy.

I have had mixed results over the years pairing the Aria with wired dongles, always having to minimalistically recur to EQ to smoothen a few edges. For the purpose of this review I shall keep comparing it to my "neutral" Jcally AP10 wired dongle.

Under the juice of the Hiby R6Pro II it sang heartfully, the soundstage rose significantly in height. Comparing to my wired dongles for the first time, my ears blatantly catched up on a step upwards in resolution. Even if the unboosted treble was clearer and more evident.

I really enjoyed the natural warmth of this DAP with the Aria, using Class A Amp, still maintaining all the characteristics I so fondly remember cherishing on this set.

The Class AB Amp was too much for me here, oversaturating frequencies and incentivizing the grain.

Tangzu S.G. Wan'er:

This fun yet relaxed fellow set still is a valid and actual recommendation to a beginner audio enthusiast so it deserves a ride on the Hiby R6Pro II.

It natively packs a superbly balanced sub-bass to midbass ratio that packs a fun factor, and still manages to be very genre versatile. It is on the higher mids that I don't really vibe with it, classifying it as thin sounding. Treble is tamed and safe, although never discouraging.

Once a bit claustrophobic, under the DAP's control it no longer felt so. It is remarkable the consequences of a good quality and clean amp when compared to devices that carry less powerful amps.

Kinera Hodur:

Especially with AB Amp it raises the mids, presenting them a tad more forward, whereas this was a caveat for this set, in my humble opinion. As so, percussion is presented a bit forward and so more engaging than before, roughly a 10% increase if I am to estimate a value.

The Sub-Bass and Bass are already clean on this unit, abundant yes, but never to distort, however I can now feel a more cohesive rumble and punch, respectively, where before they used to get crowded on busier tracks which sometimes affected the separation of bassier instruments.

Dynamics were already a strong perk on this set, but they have bulked up and seem to have more depth, making it even more engaging.

Simgot EA500 (tested on both lower and higher power modes n the Ap10 - 1.8V/3.8Vmode, and low and medium gain on the R6Pro II):

Simgot's Ea500 have been the latest surprise on my collection which also means it has been the victim of some modding tests, so please take into consideration that my unit might not sound like yours (foam or dunu S&S tips, vent tape mode, and copper balanced cable). I have been trying to accomodate for the above average pinna gain and high sensitivity of this IEM. My goal has been perking up the lower end a tiny bit and smoothing down the pinna glare and treble regions so it does become as fatiguing, which has proven to be a difficult task for me.

With its 123 db/Vrms of sensitivity comes the challenge of not overfeeding the unit with power or volume, risking some sound signature flex or ear damage.

Now, with dongle/dacs it can be hard to fine tune the balance of gain and volume, and the Ea500 can easily end up sounding piercing and very uncomfortable to sit through long listening sessions. Finding that perfect sweet spot of loudness has been quite the hassle on dongles as they usually have less steps to regulate volume.
Also finding the dongle with the right sound temperament to synergize with the Ea500 has also been a baffling quest.

Behold on the Hiby R6Pro II, it is now way more convenient to manage all these IEM and personal sound requirements - by being able to choose between 3 gain modes, a full 1-100 volume steps for each one, choosing between two different amp behaviours, and a whole MSEB settings list to fiddle with, I could now fully optimize my experience with the Ea500.

I have achieved a very cohesive sound by choosing the combination of Medium gain and a lower volume (45-48), the AB class Amp mode, lightly tweaking a few MSEB settings (overall temperature, bass texture, voice forwardness, for instance).

This was how I managed to extract the best out of my Ea500, thanks to this DAP.

Moondrop Quarks DSP

Sadly I can't have DSP IEMs working, it won't output audio both on exclusive and non exclusive mode. Nevertheless, hardware controls seems to work (volume up and down from my Quarks DSP)


On a scale from 1-10, where 5 is Neutral, 1 is Warm and 10 is Bright, I would score this DAP overall as a 3.5 to 4.

Nevertheless, it can behave mostly neutral on the Class A mode, or warmer on AB Amp Mode.

It becomes of great sinergy value when matched with neutral to neutral-bright IEMs, giving them what they sometimes lack - sub-bass ambience, midbass punch and intense dynamics. The Class AB Amp mode is very tempting to use along these for this purpose, adding to them a punchier, grittier and meatier experience.

On already warm sets it doesn't overdo it, but instead minimizes any distortion there might be, specially on the lower frequencies.

Treble has been the least affected region from my perspective. I may say I have felt no boosts, also no attenuations, yet the general positive effect it has on the soundstage creates more room for frequencies to "spread", thus making it easier to pinpoint details on this region.
On IEMs that may have harsher treble, it does smooth out the experience.



DT 990 Pro (3.5 mm SO, High Gain)

• Behaves as it normally does on my studio and desktop amp, performing the whole frequency range in a fully extended way, both ends (low and high).
• Soundstage and Dynamics are a delight and I am seriously impressed on how a portable unit can fully provide for this demanding set.

The A amp sounds natural and very close to what I am used to hearing via my studio audio signal.
With the AB amp it shines with analogue tint and I feel the sub-bass and midbass might be getting a very slight bump up.

AKG K701

Performs clearly and as I have always recognized it. Could feel more lively, but I also think these headphones are becoming old, they've always taken a lot of juice to shine, and not having a balanced cable on it limits the power it receives.


Despite being a lovely looking unit and its ability of pushing my IEM's capabilities to the fullest, a great sound costumizing tool, it still is a quite cumbersome experience in terms of portability, ergonomy and connectivity.

It is perfect for IEMs, but I also think it could have done better in the headphone department, of which I also wish I had more to demo the R6 Pro II with. The 3.5mm balanced port could have had a bit more power.

Technology wise, the quality of the hardware is outstanding, however I was expecting a bit more polished out-of-the-box software that would immediately inspire the user to tweak the sound settings to their liking. MSEB is definitely a triumph, I have used it in the past with Cowon devices, so I loved seing that here. I wish there were other apps pre-installed that could add to the audiophile experience.

In terms of sound it is fabulous: a very engaging and a transforming experience. I can now say I somewhat understand what mid to high tiers of audio playback devices are all about, and it is now difficult for me to turn back and listen to the regular budget dongle. Sources do matter and can transform your experience.

Personally, the stellar resolution and the life it gives IEMS are reasons enough to consider that the R6 PRO II perks outstand its demises.
The Hiby R6 Pro II could be a great initiation into the world of DAPs, in a plunge that wouldn't defeat your wallet.

Thank you once again for the opportunity and for reading my impressions,
Miguel Esteves

Coming late to the party, I have taken my time to both give this set some burn-in as well as to mature my ideas after taking a break from them. At first I didn't enjoy them, to later come to conclusions on why I think they have been so valued and have actually grown on me.

Kinera's sub-brand Celest has been working up the ranks with a budget mindset, whilst taking bold risks that so far have done them well. Gumiho is their first iteration on Planar technology, using their own 10mm Square Planar Driver (SPD) design, pairing it with a BA driver, managing to only have 9 Ohms of Impedance, which is quite easy to drive in terms of power. Quite impressive for a 50$ budget IEM.



Onward to what you came here for:

Bass Domain

Definitely the most surprising and intriguing aspect of this set.
Sub-Bass is evident but not overdone. It carries enough rumble without taking detail from the midbass.
The midbass, although being boosted and more prominent, still feels natural and allows room for all other frequencies to be rightfully presented.
Overall agility is above the price bracket: fast attacks, decays are also quick but comparatively not as fast and can become sluggish on naturally long decayed percussion instruments like the bass drums on Brazilian "Forró" music genre, on which will sound it will sound "overcrowded" or congested.
The punch is there but it is no basshead slam.

Midrange

On the lower mids you can still feel a bit of the V-shape dip followed by a not so forwarding mids curve. I am especially sensitive in this area and it leads to the sense of boxyness and veiled percussion (toms, snares, claps). Lower register comping like pianos, acoustic/electric guitars and also male choirs feel on a second plane, less textured less evident, as if you are listening to a live band and these instrument players are positioned behind the lead ones.
This was surprising to me in a good way because I found myself really immersed in live recordings, specially in jazz, modern and old.
The Upper Mids are more familiar, more forward but not unnatural like a lot of 2022 models that followed the trend. Here I have found plucked instruments and brass instruments to be super textured and detailed (harps, steel stringed guitars). These really are a delight. On the other hand, some over the top trumpet blows and guitar solos can sometimes be peaky and disturbing.
Vocals are there, but don't reveal themselves right in your face, nevertheless female's can sound harsh sometimes.
Additionally, you can notice the difference in forwardness of higher pitched snares in detriment to lower pitched snares, in which Hip-Hop can sound punchless if the percussion finds itself more on the lower mid range rather than the upper mid range, so very inconsistent results on this genre, for me.

Treble

I find it the least inviting part of the set. Reasonable detail retrieval, not much air, but gets the job done without fatiguing the ears. Cymbals and hi-hats are properly placed, aren't harsh but also aren't sparkly. There is not much texture to be had on soprano orchestral instruments, they are there, but are lean.
I feel that a bit more presence and air would affect the soundstage more positively, and ultimately contribute to better imaging characteristics.

Tonality

I feel this set was made for specific uses, in which it sounds superbly natural and well placed, and that is in jazz music, both live and studio recordings. It does specially well in terms of tonality on organic instruments, contrasting with the not so natural tonality on digital sounds (digital synths, sampled sounds).
Orchestral music almost sounds exact except for the drums, in which it packs an above average punch making it less natural.
At the start of listening to these, it takes time to understand its tuning. It is very different from the competition, thus becoming interesting and bold, and suits some genres better than others, so it becomes dependent on the user's library.

Technicalities

Soundstage

Rather wider than taller; and has good depth that contributes to that 2 plane positioning of instruments - a closer one and a more distant one. It feels like you are at a small venue concert. This is a very characteristic perk of this set, hence me liking it so much on Jazz and Orchestral Classical music.
It's an immersive experience but you dont get the "outside of the head" feeling you get on sets with bigger soundstage.

Imaging

The Lower Mids and Treble have unimpressive details overall, with not much texture nor separation. The Upper Mids are more detailed in comparison but it is on the Bass domain that you get the best details and textures. Nevertheless separation is only okay on most frequencies, being more evident in the bass domain.
When tracks get busy you can clearly understand you can pinpoint more information on some frequency ranges than others.
Beware this is not a technical/analytical set at all.

Aesthetics

I'm not a fan of the printed art on their units, I think it gives them a toy and cheap vibe. It might be a deal breaker for some people but their blank versions also (without drawings) feel empty or overly simplistic. It's like taking the logo out of a car's front grill - it just feels like something is missing.
This is a very personal aspect, and a minor issue that only some may feel it affects them.

Other Uses

Suitable for immersive gaming including FPS games, but not the best for competitive (still too much bass to be focused on footsteps). Still, it has a good sense of depth and vertical positional audio.

Acceptable use on daily tasks like phone calls or media consumption, yet the timbre is not the most natural.

Final Words:

This set keeps on giving, surprising and being a blow of fresh air among other 50$ sets of its year (2022) and even 2023.
Like the title says, it stands as the perfect Introduction to planar agility while also becoming timeless and unmatched for listening to specific genres like Jazz.
This one will be kept and be referred to a piece of history on IEMs, not by its perfect tuning or technicalities but for a bold move of a company like Celest/Kinera to risk something new and push the envelope on audio gear, allowing us new flavors and means to enjoy the music we love.

Thank you for stopping by,
Miguel

A Modern Take on Laid-back Listening - Tangzu Wan'er S.G. Review

2022 wasn't complete before TangZu shook the audio market with a new 20$ budget competitor, presenting us with the Wan'er S.G. A lot of jokes regarding its name have come by and got stale, but what has stood heroically untouched was its great performance.

This single dynamic driver IEM has lifted up the bar considerably, not only in terms of price to performance ratio, aesthetics, as well as the unboxing experience, which is somewhat unique and unexpected at this price range. I usually just discard the boxes and accessories right away, but this time I took the time and even had to repeat the process just to show friends how ingenious the packaging looks and how much credibility is to be earned here.



As you open the box you are presented with a cleaning soft fabric with a beautiful non-anime printed art on both sides (!), to be followed by a thick foamy IEM receptacle, which then stands on top of two smaller boxes that contain the cable and accessories. I was happy to get a set of 07 tips to complement the set, as these are one of my favorites.
I won't dwell much on specs nor presenting the unit as that is already accessible information at any retailer.

This single dynamic driver IEM set is one I could easily recommend to every audiophile and non-audiophile person, despite me not knowing about their music library. Yes, you can blindly purchase this set and gift it to your grandma. It redefines the notion of fun, without sacrificing tonality by using a versatile U-shape tune that doesn't benefit some musical genres over others. Mind that its tuning is more on the warm side whilst keeping the midrange clean and packing a safe and calm treble.

Bass Domain

This is where it firstly slaps your head into a bobbing motion. The 07 tips that come readily attached to the IEM do bear considerable influence on this domain, so keep in mind that you can shape this bass to your liking by tip rolling.
The Sub-bass is evident, you do get an extra dose of rumble, but without any distorting, rattling or loss of definition.
It has abundant Midbass, right on the verge of becoming boomy except it doesn't. It's smooth and without preliminary tucks, doesn't bleed into the lower mids, so no muddiness to be found.
Although it has a fast attack on bass, I find its decay to be somewhat slow which, alongside considerable midbass amounts, can culminate into a feeling of sluggish details, not to be confused with muddiness. On a busier track, with a lot of instruments with overlapping frequencies, this can translate into a "pasty/slurry" experience. Nonetheless, I consider the Wan'er average in terms of speed and details in this domain when compared to other similarly priced IEMs.

Midrange

Lower Mids are clean as stated before, no noticeable midbass leaks into this area. There is no boxiness nor cheap guitar timbres, even having a considerable dip in this region - the apex of the "U" shape curve.
As we have been accustomed during the past year, we get forward Upper Mids here, so all your vocals and percussion have clarity, are not shy, and are delivered with a lush vibrant presence. I can't find any disparity between male and female vocals. Cymbals are not harsh, but when orchestral strings go into higher frequency registers, entering the lower treble, you start noticing the drawbacks of laid-back tunings, to be described ahead.

Treble

Calm down treble sensitive fellows, this one is a safe haven for you. Now for the treble enthusiasts, this set might not be your cup of tea. For me this is the least interesting part of the set, but on the other hand it's the tame treble that makes it a good all-rounder and a suitable introduction to HiFi. Although, don't expect crisp details in this region.
Overall the mid treble is on the verge of sounding veiled, but once again it doesn't, and seems to sit very comfortably with no sibilance, no fatigue, making it "daily driver" material. But one can notice how higher register piano note attacks weigh less than lower register ones so there is some unbalance here. In contrast, for me it could use a bit more treble air (over 10kHz) so it would improve the instrument layering perception as well as promoting a feeling of a taller and deeper soundstage.

Technicalities

The Soundstage is above average for this price point, specifically on the width. The height and depth are average, still a good bargain for the price.

For the Imaging, I find the layering/separation to be a bit lacking, quite possibly explainable by the combination of tamer treble and intense yet slow'ish bass. Still, I need to bring up the price point and technology factors once again, as these statements are almost nitpicks, because if it had such technicalities along with its warmer tuning, it would have to be a more expensive set. Don't get me wrong here, you are still getting a great stereo non-claustrophobic experience, able to greatly reproduce song dynamics and also capable of a reasonable "outside of the head" effect, but if you were to pick a critical listening budget set, there would be other better choices.


Exploring other uses:

Gaming: I would recommend this set to be used in immersive gaming, as in narrative and action single/multi player content, literally contrasting it with not being suitable for competitive online first person shooters. The extra warmth may indeed bring out the feeling of being drawn into the game, which is also a perk for watching movies, nevertheless it becomes deleterious when trying to isolate and pinpoint footsteps in competitive FPS. It is still suitable for FPS games if you are not playing competitively.

Instrument Playing and Music Production: not suitable. It has added coloration on the bass domain, slow bass decay and slightly attenuated higher register note attacks. Your mixes will sound bright when running them through any reference (or neutral) setup.

Smartphone Daily Use: the sets' timbre is natural so all voice calls, interface sounds and video reproductions will be accurate.

Modding: benefits from silver plated or hybrid replacement cable; slightly wider bore tips than the 07's (for now settling on the Xelastec Azla but will update with more tip rolling as I get a hold of them). Tried Clarion Tips but they ate too much of the midbass' body, yet it did fix the bass' sluggish decay while also amping up the treble. Paired well with Hiby FC1 and Jcally AP10 as both are quite "uncolored" dongles that add power and consequently raise the headroom and widen the soundstage allowing space for ampler dynamics, all this without adding "analogue tint" like other dongles like the Ibasso DC05 do and don't suit this already warm IEM.

Honorable Comparisons

Excuse me for this one but hype exists for a reason and, after being peer-reviewed and confirmed, some IEMs deserve being deemed "Budget Kings". As such, comparisons between Kings are also inevitable so, in today's showdown we present the brave contestor 7hz Salnotes Zero!

In short, one doesn't invalidate the other.
The Zero is an alternative for when you are pursuing a neutral and brighter tune, in which you will get: considerably leaner yet tighter bass, similar mids, more noticeable details and air on the treble domain, a feeling of a taller soundstage, better layering/separation, and a more balanced note weight distribution across the frequency spectrum. This can be useful when you are critical-listening to music or mixes and playing competitive fps games (more focus on mids and treble, better sense of depth in positional audio).
However you will be trading off Wan'ers' most precious perks that you won't find on the Zero: the musicality and smoothness of the tuning, becoming way less fatiguing than the Zero. You can throw anything at it and it will sound engaging, rich sounding and fun whilst not compromising a natural timbre and correctness. This allied to a comfortable fit, the Wan'er wins in terms of versatility and qualifies better for an all rounder daily driver.

Final Comments

Although my personal taste has been diverging from warm tunings for a while now, this set was a pleasant surprise. I'm glad to know laid back sets are still evolving and no longer have to sacrifice basal technicalities in order to provide for fun. Bass doesn't have to be boomy nor muddy on this price range and you can definitely get admirable treble extension out of the same package. Single Dynamic Drivers have been mastered by companies and TangZu Audio gets my sincere congratulations for the work done here.