Reviews by nxnje

Introduction​

Juzear has definitely catched my attention since I tried the 81T Dragonfly. I am not the type of guy who’s usually hyped by collaborations with content creators, but this time I was curious mainly because of the fact that Juzear was involved.
In this review, I will review this collaboration product between the above-mentioned brand and Z Reviews (Zeos) and I will try to compare the IEMs with other products to provide some context.

Disclaimer: the Juzear x Z Reviews Defiant were sent to me by HiFiGO free of charge so that I could write an honest review. This review represents my personal opinion on the set, it isn't promotional or paid content and I don’t get any revenue from the sales of this product.
At the time of the review, the Juzear x Z Reviews Defiant were on sale for about $99,99 at HiFIGO.

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Technical Specifications​

• Driver Configuration → 1DD + 3BA
• Impedance → 32 Ω
• Spec-sheet Frequency Response → 20Hz-20kHz
• Sensitivity → 109 dB/mW @1kHz
• Cable → Juzear x Flare Stock Cable (6N SPOCC+SCCW Cable, 1.25m length) with Interchangeable Connectors and 2-PIN 0.78mm connectors
• Plugs → 3.5mm - 4.4mm modular plugs (both included in the box)

Packaging​

The packaging of the Defiant is simple yet well organized, containing:

• The Juzear x Z Reviews Defiant
• Two sets of silicone tips with different bore width and one pair of foam tips
• A detachable 0.78mm 2-PIN cable with modular plug (both 3.5mm and 4.4mm plugs included)
• A pleather hard carry case
• A small cleaning cloth
• User manual

Design, Build Quality, Comfort and Isolation​

The Defiant look and feel super sturdy and refined in their rainbow painted shells and they’re also among the prettiest sets that I actually own. They’re made of 3D printed resin, they are super comfortable and lightweight and the passive isolation is more than enough for most situations. The nozzle is pretty wide though so if you’re someone who’s bothered by bigger nozzles you’ll probably need to use tips with thicker inner tube.

Cable​

The cable looks good, feels sturdy and durable and it also has modular plugs. Both 4.4mm and 3.5mm plugs are included in the box.
My only “complaint” is that the chin slider should have a smaller inner diameter in order to press on the cable a bit more, as it loses its position very fast, but other than this minor issue I’m very happy with the stock cable.

Sound​

GEAR USED FOR THE TEST

• DAC: Topping E30
• AMP: Topping L30, Fiio A3
• Mobile phones: Samsung Galaxy S7 Edge, Xiaomi Mi A3, Samsung Galaxy S23 Ultra
• Moondrop May’s DSP cable with PEQ=0
• Dongle: Apple Type-C dongle, Fosi DS2, Hidizs XO, Kiwi Ears Allegro Pro, Tanchjim Stargate 2, Dunu DTC480, Dunu DTC800, Truthear SHIO
• Portable DAPs: Snowsky Echo Mini, Benjie S8/AGPTEK M30B
• Bluetooth DACs: Snowsky Retro Nano, FiiO BTR11
• Bluetooth Adapters: KBEAR S1, KZ AZ10
• Other sources: Presonus AudioBox iONE, Elgato Wave XLR

Amplifier needed?
The Defiant aren’t very hard to drive so any entry level dongle is enough in order to reach satisfying sound pressure levels.

Let’s speak about the sound.
The Defiant are fun thanks to their punchy and full bodied low-end, a soft recession in the midrange and a lively treble. It’s a colored set for sure, and that means that if you’re searching for a neutral set these are definitely not for you.
The sub-bass has good extension, the bass is meaty and tight, with pretty nice textures and decent speed as well, and the attack and decay never feel off. The midrange is slightly recessed but the lower mids aren’t as thin as on other U-shaped sets, meaning that the Defiant can reproduce male vocals and acoustic instruments pretty well. Female vocals are spot-on, never fatiguing, and the treble has good energy yet it never reaches that point in which I find it fatiguing. It’s still on the bright side, but it’s a well-balanced brightness also thanks to a healthy amount of low-end. The detail retrieval is generally good for the price range, even though it’s not the most detailed set that you can buy in this price tag.
The soundstage is pretty wide and deep with decent height, and the imaging and layering are pretty good too and easily compete with similarly priced sets.

Are they something I would use considering my taste and preferences?
Yes, yes, yes. I like the tuning, I like the fact that the low-end is punchy and very tight and I love the energetic sound that these reproduce. It’s not that “full basshead” tuning with bass shelf and nothing else, it’s a complete package that features a healthy and fun-sounding low-end along with a nice balance between all the other frequencies.
It’s a keeper for me.

Some comparisons:​

Juzear x Z Reviews Defiant (1DD+3BA) vs Truthear HEXA (1DD+3BA)

The HEXA are more towards the neutral side, with slightly more forward upper mids, less emphasized low-end and a bit more treble quantity.
The Defiant are punchier, warmer, more U-shaped and with a more contrasty sound, resulting in a more engaging and exciting approach with respect to the leaner-sounding HEXA.
The technical performance is good on both sets, with the Defiant being a bit more precise at imaging and soundstage and the HEXA being slightly more resolving when it comes to detail and small nuances.
The build quality is good on both sets and the same applies for comfort and isolation. The Defiant come with a better stock cable.

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Juzear x Z Reviews Defiant (1DD+3BA) vs Kiwi Ears Airoso (1DD+4BA)

The Airoso are a bit thicker sounding in the low-end with a slightly slower bass yet more extended sub-bass. The Defiant sound tighter and with a better bass punch instead, and they sound more “contrasty” overall.
The lower midrange is a touch thicker on the Airoso whereas the upper mids are more lively and exciting on the Defiant. The treble is generally more extended and present on the Airoso, with a bit more air on top. The detail retrieval is very similar, maybe the Airoso have a very small edge over the Defiant but it’s a negligible difference in my opinion.
The soundstage is slightly wider on the Airoso, deeper on the Defiant with similar height. The imaging is good on both but the Defiant are slightly better at pinpointing.
The Defiant look better but the build quality is great on both sets. Comfort and isolation are good on both sets, I’d say it’s a draw in this regard. The stock cable of the Defiant is a lot better and also has modular plugs. The tips’ selection is a bit wider with the Airoso.
Overall, I find the Defiant more fun and engaging to listen to, so they would be my pick over the two (and they are also cheaper than the Airoso).

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Juzear x Z Reviews Defiant (1DD+3BA) vs Simgot EM6L (1DD+4BA)

In a nutshell, the EM6L are leaner and more neutral with a brighter treble and slightly superior resolution. The Defiant instead have a more emphasized sub-bass response, slightly fuller sounding female vocals and a less bright treble.
Overall, the EM6L are still a bit better when it comes to detail retrieval and perceived resolution, and the imaging is a touch better as well (even though the difference is not night and day). The Defiant instead are better in terms of soundstage width and depth, and they are more fun to listen to, with a more impactful bass due to the more contrasty signature.
The build quality is great on both sets, but the EM6L have QDC connectors which are not ideal for most people. In terms of packaging and accessories, the Defiant win hands down, even though the EM6L come with a pretty good cable as well (although not as good as the one included with the Defiant). Comfort is good on both but the EM6L don’t have any nozzle lip so the tips keep popping off when you remove the IEMs from your ears, unless you find tighter tips that have a “stickier” inner tube. The passive isolation of the Defiant is better.
I like the Defiant more for my daily routine, but the EM6L are still slightly better when it comes to those finer details.

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Juzear x Z Reviews Defiant (1DD+3BA) vs Celest Relentless (1DD+6BA)

The Relentless are more V-shaped, they have a thinner midrange and a more emphasized treble while having a similarly tuned low-end. The Defiant sound thicker with better lower mids’ body and timbre and more natural female vocals, and they have a smoother and more tolerable upper range frequencies for most people, even though this comes at the expense of some small nuances which the Relentless, instead, can portray very easily.
In terms of soundstage, the Defiant have a deeper portrayed soundscape, whereas the Relentless are a touch better in terms of width and height. In terms of imaging, the Defiant is have a slight edge over the Relentless. The perceived resolution is superior on the Relentless, as said above when speaking about the treble, although this obviously comes at the expense of a more fatiguing/less natural sound.
The build quality and design are great on both sets, they both come with great cables that feature modular plugs and they both come with a decent set of tips. Comfort and isolation are very similar as well.
I prefer the Defiant most of the times, but I still reach for my Relentless here and there when I want even more sparkle and air on top. If I had to buy one of the two, then I’d definitely pick a pair of Defiant because of their more versatile tuning.

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Final Thoughts​

If you still haven’t understood my thoughts about the Defiant (even though it should be pretty clear from everything I’ve said above), then I'll state it here: I like the Defiant.
I like the overall balance that Juzear and Zeos managed to strike, with a very tight and impactful low-end yet, vivid upper-mids and treble and a softly recessed midrange that doesn’t really impact the overall listening experience, giving just a bit more space to the low-end and upper-end to push a bit more forward and providing for a very engaging and contrasty signature.
The listing price is also correct for what the product offers, especially considering the set of accessories, the cable with modular plugs, and the great looking and well build earpieces.

The Juzear x Z Reviews Defiant get an easy recommendation for me and I’m pretty sure that many will enjoy them as much as I did.

Introduction​

Tanchjim is very popular for their IEMs but they’ve also joined the dongle market a couple years ago. The Stargate 2 is the successor of their older Stargate (which I do not own unfortunately) and this review is going to sum-up all my thoughts about this dongle and about how it compares with its peers.

Disclaimer: the Tanchjim Stargate 2 were sent to me by Tanchjim so that I could write an honest review. This review represents my personal opinion on the set, it isn't promotional or paid content and I don’t get any revenue from the sales of this product.
At the time of the review, the Tanchjim Stargate 2 were on sale for about $37.99 at Amazon.

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Technical Specifications​

• DAC Chip → 1 x DAC (Cirrus Logic CS43131 DAC Chip)
• Input Port → USB Type-C
• Output Port → 3.5mm Jack (Single-Ended)
• Frequency Response → 8Hz - 80kHz
• Impedance → Suitable for headphones with impedance from 16Ω to 300Ω
• Output Power → 82mW@16Ω, 75mW@32Ω
• Total Harmonic Distortion plus Noise (THD+N) → 0.0002%
• Signal-to-Noise Ratio (SNR) → >127dB
• Dynamic Range (DNR) → 127.5dB
• Background Noise → 1.1μVrms
• Impedance → -72dB at 32Ω
• PCM Support → Up to 32-bit/384kHz
• DSD Support → DSD64, DSD128, DSD256
• Weight → 4.3g
• Microphone support → Yes, 48k 24-bit ADC transmission with 84dB SNR
• 8-Band Parametric Equalizer (PEQ) → Audio customization via the TANCHJIM App on both Android and iOS devices

Packaging​

The packaging of the Stargate is rather minimal, containing the dongle itself and no other accessories.

Design and build quality​

The Stargate 2 consists of a small cable with a Type-C connector for the input and a 3.5mm jack output. The portion of the cable between the two connectors is braided instead of being made of rubber only and it looks durable.



On the Type-C side, we can see a squared frame with a transparent plastic through which we can see the internal chip. It’s a cool design in my opinion.

Features and app​

The main feature of the Tanchjim Stargate 2 is the DSP support, which is powered by the internal chip and by the Tanchjim app.
Through the app, you can set:

• Tanchjim Universal presets that are “universal”: these are some basic DSP profiles that provide for small shifts around common target curves
• Tanchjim presets for specific Tanchjim IEMs (if you have an Origin, a 4U, and so on, you can have a personalized EQ for that specific model)
• Custom 8-band EQs by manually adjusting filters or by importing your own profiles
• Gaming profiles for Windows, Android or Nintendo switch games

There’s also a community forum to upload or download specific EQ profiles which is a nice thing.
When you set up an EQ/DSP profile, this gets saved on the cable, so if you disconnect the cable and plug it into a different device, you still maintain the EQ/DSP settings that you’ve set before (so be aware that if you change your headphones, you may need to reset the dongle settings, otherwise you’ll use an unwanted EQ/DSP profile).
It’s probably a very smart dongle if you have an iPhone since you don’t have a system-wide EQ on iOS.

Small sidenote: the app is not available on Play Store, so I had to download the apk installer from Tanchjim’s website. However, the app is not certified and lacks some proper privacy settings so I have installed it and immediately uninstalled it after testing.
I really hope that Tanchjim puts a bit more effort into making the app more secure and officially available through the Play Store.

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Performance​

GEAR USED FOR THE TEST

• Mobile phones: Samsung Galaxy S23 Ultra, Samsung Galaxy S7 Edge, Xiaomi Mi A3
• Windows PC and Lenovo Ideapad Duet Chromebook
• Earphones: SGOR Luna, KZ PRX, Tanchjim Origin, Tanchjim Zero Ultima, Sony MH755, Kiwi Ears Aether, Simgot EA1000, Celest Pandamon, Kotori Audio Vampire, Final E3000
• Over ear headphones: Koss KPH30i (with and without Grado Pads mod), Koss KSC75, Hifiman HE400SE, Cooler Master MH751, Sennheiser HD25-1 II, Meze 99 Neo, Snowsky Wind, Roseselsa Distant Mountain

Power, temperatures and battery drain
The Stargate 2 isn’t the most powerful dongle out there, and in fact it struggles a bit when using some harder cans. My HE400SE play at comfortable levels but you can hear that some more power is needed and somehow I also feel like my KPH30i with Grado Pads would like to have some more juice.
The power consumption is pretty limited, it’s an overall efficient dongle and it never becomes super hot. For sure, the small portion in which you can see the internal chip (from the transparent squared frame) becomes warm overtime, even though it’s not really something to worry about as it’s just about physics (electric current, small space and so on).
When it comes to powering IEMs, I’d say it’s adequate for most sets. If you’re an EQ guy who usually sets pre-amplifying sliders well under 0dB, and if you want to play with EQ on harder to drive planar IEMs, this may not be the most fun dongle to play with.
I guess it’s still okay for 99% of the people out there though, at least when it comes to IEMs, even though there are more powerful options out there such as the FiiO KA11 (which is more than twice as powerful, also thanks to its balanced output).

Sound
There isn’t anything relevant to say about the sound: the Stargate 2 is clean, transparent sounding and it’s super silent even with very sensitive and low-impedance IEMs. I won’t stay here writing tons of words for something that just sounds as it should, which is already a compliment for this product and for the company that produces it.

Some comparisons:​

Tanchjim Stargate 2 vs Apple Dongle (EU Type-C version)

The Stargate 2 is more powerful, no doubt. Both have no issues with sensitive IEMs. I am an Apple Dongle lover since for less than 10$ you can get great quality output even with low-impedance and highly sensitive IEMs, but the Stargate 2 is undoubtedly superior in terms of power. The Apple dongle is a bit better in terms of power consumption but since it’s less powerful it doesn’t really make sense to speak about battery drain.

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Tanchjim Stargate 2 vs Roseselsa RZ200-m

There isn’t any obvious sound difference in terms of sound, but the RZ200-m is noticeably less powerful and doesn’t feature any DSP function. The Stargate 2 seems to have a slightly better end-to-end extension overall, maybe because of the better chip but that’s it. With very sensitive IEMs, the Stargate 2 is completely silent, whereas the RZ200-m can have a negligible (yet present) white noise in the background when nothing is playing.
The power consumption of the Stargate 2 is also lower while providing more power. A thing to say is that the RZ200-m usually comes for free with Roseselsa products so it’s basically a sub-5$ that does pretty well for such a ridiculously low price.

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Tanchjim Stargate 2 vs Moondrop May’s Type-C cable (basically Moondrop FREEDSP Type-C)

You may think there’s no reason to compare a dongle DAC to a Type-C cable, but I think it’s a super fair thing since these cost almost the same and have some similarities (DSP features, wired connection and so on).
The companion app of the Tanchjim Stargate 2 works a bit better when installed, less frills here and there and it’s more intuitive.
One big difference is that you’ll have a remote volume control and microphone with Moondrop’s FREEDSP cable whereas you’ll need your 3.5mm cable to have an in-line microphone if you want to use it for calls in the case you’ll decide to pick-up a stargate 2.
In terms of sound, nothing relevant to be reported, as both are pretty silent and well implemented to my ears.
Just to give you an idea of the power differences, I had to set the volume at 35/100 with the Moondrop cable in order to reach almost the same volume that I can reach setting 25/100 on the Stargate 2: it’s not a huge difference but it’s pretty evident that the Stargate 2 is more powerful (yet not as powerful as other stuff).

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Final Thoughts​

The Stargate 2 is a well-rounded product that provides for some flexibility thanks to DSP settings, the customizable EQ profiles and the official app. It also consumes a limited amount of power so it’s pretty efficient to use with your smartphone and its pitch black background while using very sensitive and low-impedance IEMs is another plus.
Despite all the good things I’ve said, I think the power output is not outstanding considering that products like the FiiO KA11 exist, and the EQ/DSP feature can be easily replaced with some EQ apps such as Wavelet (or Peace GUI + EqualizerAPO on Windows).
It’s a well done product and my rating is definitely positive, but it’s not as positive as, say, the likes of Truthear SHIO, Fosi DS2 and similar products, that offer a lot more value for money considering that you can also use them with full-size cans with no issues whatsoever, even if you do some EQ by playing with pre-amplification.
I like the Stargate 2 but I would have really liked Tanchjim to push their boundaries with this unit.

Introduction​

Kiwi Ears is no slouch when it comes to IEMs, as we have seen with the KE4, the Arioso, the Aether and so on, but this is the first time I’m able to try a type-C dongle DAC from them and I’m quite excited.
In this review, I will be speaking about the Allegro Pro, and I will share my own thoughts on it providing brief, yet hopefully useful, comparisons with similarly priced products.

Disclaimer: the Kiwi Ears Allegro Pro was sent to me by Kiwi Ears free of charge in order to write an honest review. This review represents my personal opinion and it is by no means a promotional or paid content.
At the time of the review, the Kiwi Ears Allegro Pro was available for purchase for about 59$ at Kiwi Ears.

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Technical Specifications​

• DAC Chipset → ES9603 * 2
• Frequency Response → 20Hz - 40kHz
• Signal-to-Noise Ratio (SNR) → ≥ 113Db (@32 Ohms, A-Weighted)
• THD+N → < 0,006% (@32ohms)
• Power Output:
  • Single-Ended: 68mW @ 32Ω
  • Balanced: 170mW @ 32Ω
• Decoding Capability:
  • PCM: 32Bit / 384kHz
  • DSD: DSD128, DSD64
• Indicator Lights:
  • Blue: Game Mode
  • Red: Music Mode
  • Green: Theater Mode
• Input Interface: USB Type-C
• Output Interfaces:
  • 3.5mm Single-Ended
  • 4.4mm Balanced

Packaging​

The box is very simple and compact, containing:

• The Kiwi Ears Allegro Pro
• User manual and warranty card

Design, Build Quality and Buttons​

The Allegro Pro sports a rather unique design, which is a definite plus. Its aluminum frame and form factor pair nicely with devices like the Nintendo Switch (which I don't own, but it's marketed for that), with the 3.5mm and 4.4mm ports on opposite sides. The build quality is solid, with no real complaints.
The circular elements on the top are just for aesthetics; the only button is on the side, used to switch audio modes, with a small LED indicating the active mode.

Performance​

GEAR USED FOR THE TEST

• Mobile phones: Samsung Galaxy S23 Ultra, Samsung Galaxy S7 Edge, Xiaomi Mi A3
• Windows PC and Lenovo Ideapad Duet Chromebook
• Earphones: SGOR Luna, KZ PRX, Tanchjim Origin, Tanchjim Zero Ultima, Sony MH755, Kiwi Ears Aether, Simgot EA1000, Celest Pandamon, KBEAR KS2, Final E3000
• Over ear headphones: Koss KPH30i (with and without Grado Pads mod), Koss KSC75, Hifiman HE400SE, Cooler Master MH751, Sennheiser HD25-1 II, Meze 99 Neo, Snowsky Wind, Roseselsa Distant Mountain

Power, temperatures and battery drain
To get straight to it, while it's not the most powerful dongle out there, especially for its price, it should satisfy most users. 170mW @ 32Ω is plenty for the majority of headphones and IEMs. I had no trouble driving various headphones, though I don't own any extremely demanding models.
Temperature management is good; it only gets slightly warm during prolonged use, which is normal.

Sound
The Allegro Pro delivers an almost uncolored sound, and if I had to trust my ears and my brain only, I’d say that there’s just a very tiny touch of added sparkle, even if very subtle. It could be a placebo, that’s for sure. When using the KBEAR BK2, which is very sensitive, I could hear a subtle yet noticeable background hiss when nothing was being reproduced. This disappears when reproducing music and luckily there aren’t any issues when it comes to plugging/unplugging earphones.
Honestly, I really struggle to spot differences between the game, theater or music mode, and there also isn’t any indication about the sound differences on the official product page; count that this may be me or my setup so your mileage may vary.

Some comparisons:​

Kiwi Ears Allegro Pro vs Fosi DS2

The sound quality is quite similar, but the Fosi DS2 offers significantly more power. To illustrate, the Allegro Pro at maximum balanced output is roughly equivalent to the Fosi DS2's unbalanced output. The Fosi DS2 uses more power from your phone, but it offers more power for your headphones so it really depends on your needs. I haven’t done any proper testing with calibrated instruments, but I can confidently say that the DS2 is capable of pushing the same amount of power with less battery consumption, at least from my non-scientific day-to-day tests.

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Kiwi Ears Allegro Pro vs Tanchjim Stargate 2

Both offer good sound quality, with perhaps a slightly brighter tone on the Allegro Pro (could be placebo, so don’t trust me in this regard). The Allegro Pro has considerably more power. If IEMs are your primary use and you desire DSP features, the Stargate 2 remains a viable option, albeit with less power. Also the Stargate 2 consumes less battery.

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Kiwi Ears Allegro Pro vs Dunu DTC480

Neither is a groundbreaking dongle DAC. The Allegro Pro might have a slightly airier sound (which I repeat, can be a placebo since I’m stating it because of my own experience with the device, so your mileage may vary), and the DTC480 seems to have a touch better dynamics, but overall there aren’t very significant differences if not in terms of raw power, since the Allegro Pro is more the more powerful between the two.

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Final Thoughts​

The Allegro Pro is a solid product with good sound quality and adequate power for most devices. Its form factor is well-suited for devices like the Nintendo Switch, and the dual outputs add versatility.
However, it faces tough competition, particularly from the Fosi DS2, which offers superior performance at a similar price thanks to its 2*CS43131, which is able to peak at a whopping current of 510mA@32Ohms.

While the Allegro Pro's design and DAC configuration are quite unusual nowadays, since the market is basically filled by standard-looking CS43131 and CS43198 dongle DACs, the overall value proposition is comparable to that of the Dunu DTC480: both are very solid products that would seriously benefit from a price cut or discount. Ultimately, in a price-conscious and mature market, where consumers have a plethora of options, they are likely to gravitate towards the most powerful device within their budget.

Introduction​

Kiwi Ears has been releasing a lot of stuff recently and the new Aether falls among the latest ones. The company has designed these with a whopping 15.3mm planar driver, which is currently the biggest planar driver in the “affordable” range (yet not the biggest around, think about the Audeze Euclide that feature a 18mm planar driver, just to make an example, even though these cost a lot more), and after trying them for a few weeks I think that I’m ready to share my own thoughts.

Disclaimer: the Kiwi Ears Aether were sent to me by Kiwi Ears so that I could write an honest review. This review represents my personal opinion on the set, it isn't promotional or paid content and I don’t get any revenue from the sales of this product.
At the time of the review, the Kiwi Ears Aether were on sale for about $169,99 at Kiwi Ears.

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Technical Specifications​

• Driver Configuration → 1 x 15.3mm Planar Magnetic Driver
• Impedance → 14 Ω
• Spec-sheet Frequency Response → 20Hz-20kHz
• Sensitivity → 105 SPL/mW @1kHz
• Cable → 1.25m cable with 0.78mm 2-PIN connectors
• Plugs → 3.5mm jack

Packaging​

The packaging of the Aether is pretty simple honestly and I like the fact that it’s not excessively fancy nor does it include any waifu pic or similar things. Keep things simple, that always works! This is what you’ll find in the box:

• The Kiwi Ears Aether
• Nine pairs of tips (three different sets of three tips each, with similar bore width yet with different stiffness)
• The detachable 0.78mm 2-PIN cable
• A hard carry case
• User manual

Design, Build Quality, Comfort and Isolation​

The Kiwi Ears Aether are enclosed in pretty big shells since they have to accommodate a cumbersome 15.3mm planar driver, and for this reason I would not suggest these to those who have small ears. The earpieces are made of 3D printed resin with an aluminum faceplate frame. They look good indeed, even though I would have preferred a full-resin shell at this point, just like Celest did with something like the Relentless.

The comfort is nice to me, I don’t have any particular issues with IEMs (much more when it comes to earbuds) and even though the stock tips weren’t the best out there I have done some tip-rolling and found my ideal pairing with the Dunu S&S.
The isolation is average, let’s say that there are IEMs that insulate better from external noises but at medium volumes (which are a must for these) I can easily use them in my daily commuting routine.

Cable​

The cable is not the best cable you can find in this price range, but it looks and feels enough considering the overall package that you get with the Aether (sound, packaging and so on). There’s a chin slider, the cable doesn’t tangle like crazy and it feels durable, so no real criticism here, just a minor rant considering that some competitors include better cables (i.e. nylon/braided ones) even at lower price tags.

Sound​

GEAR USED FOR THE TEST

• DAC: Topping E30
• AMP: Topping L30, Fiio A3
• Mobile phones: Samsung Galaxy S23 Ultra, Samsung Galaxy S7 Edge, Xiaomi Mi A3
• Moondrop May’s DSP cable with PEQ=0
• Dongle: Apple Type-C dongle, Fosi DS2, Hidizs XO, Kiwi Ears Allegro Pro, Tanchjim Stargate 2, Dunu DTC480, Dunu DTC800, Truthear SHIO
• Portable DAPs: Snowsky Echo Mini, Benjie S8/AGPTEK M30B
• Bluetooth DACs: Snowsky Retro Nano, FiiO BTR11
• Bluetooth Adapters: KBEAR S1, KZ AZ10
• Other sources: Presonus AudioBox iONE, Elgato Wave XLR

Amplifier needed?
Well, the sensitivity and impedance of the Aether suggest that they’re a very efficient planar set, and in fact I can say that I’ve been able to use them on most sources. However, I would at least consider buying a cheap CX31993 dongle for a bit more juice since this is a set that likes more volume to shine.

Let’s speak about the sound.
The Aether sound very, very good. They don’t sound the most polite and inviting, nor do they hug you with a special warmth or delicacy, instead they are very incisive, precise, quick during busy passages and the low-end sounds very entertaining.
The sub-bass extension is notable for a planar set, especially because most planar sets tend to have a more evident bass shelf with some sub-bass roll-off. It’s not a super sub-bassy set but it delivers just right. The bass, on the other hand, isn’t left behind, with very nice textures, solid punch, and it contributes to the overall note weight in a positive manner. You can definitely hear that you’re listening to a planar set, but not in a bad way, and the more you crank up the volume, the more the low-end makes your feet move. Let’s say that it sounds “planar” but the fact is that it’s not a weakness because this is exactly what I expect when using a planar set (we used to listen to a lot of planars that somehow didn’t have this level of maturity and that was the moment in which we developed a sort of negative accent to “planar sound” term).
The transition between the bass and the midrange is smooth, with the lower midrange having some added warmth in order to maintain a natural depth and timbre for male vocals, as opposed to very U-shaped tunings that provide for super clean and transparent lower mids by sacrificing male vocals and bass guitars’ thickness.
The upper midrange has some added spice, with violins and female vocals that tend to play close to the listener in a very energetic way. However, I think that there’s a small lack of extension in female vocals, which is noticeable when you have “decrescendo” moments of female singers (basically, when their vocals slowly fade out in a delicate way): in these occasions, the Aether lack that last bit of information. This is usually caused by a 4KHz dip in the frequency response, a thing that characterizes the Aether as well.
The treble is a big “no” for those who are treble sensitive, especially if you also factor that this set likes to play at medium/high volumes (not that I suggest that, but I had to try that during my tests): the treble can become very spicy and could make the overall sound more fatiguing, so I really suggest you looking for other IEMs if you are treble sensitive.
To all the others, the added space is still worth it, since you get loads of information up top and you also get a very nice sense of resolution.

The soundstage is, surprisingly, not that big, and even though I expected these to render a more spacious soundfield I think it’s a well-rounded stage. The imaging, instead, is very precise and I really appreciate the pinpointing capabilities during my gaming sessions as well.

Are they something I would use considering my taste and preferences?
Yes. I am up for some brightness up top if counterbalanced by a healthy low-end shelf, and these provide for it. They need some juice to shine, but they really have a potent yet speedy low-end that keeps me reaching for them. The S&S pairing also provide for a better seal in my case, and even though there’s an additional (small, yet relevant) treble enhancement, there’s also a better seal which grants a more solid low-end response to my ears.
I will keep experimenting with more tips to see if I can get a similar fit with a slightly tamer upper-end (not that the upper end really “bothers me” but morning and late nights are not the best to listen to spicy IEMs so that would solve this).

Some comparisons:​

Kiwi Ears Aether vs Hidizs MP145

The differences aren’t night and day but it’s worth speaking about them.
The Aether have better bass impact and better textures, and the low-end also feels a tad snappier. The lower midrange is similarly tuned but the upper mids on the Aether give a bit more life to female vocals, which sound less vivid on the MP145. The MP145 have a touch more air in the upper treble, which translates in a wider perceived soundstage, even though some cymbals sound less natural than on the Aether. In terms of imaging, I think that the Aether take the lead. The Aether sound more resolving, more precise overall, as if they are a notch above in terms of overall maturity and performance.
The build quality is good on both sets, but the Aether look and feel less delicate, while the MP145 are more prone to scratches due to their opaque shells. Comfort goes to the Aether hands down, whereas the MP145 (if you find the right tips, since they are bulkier and trickier to wear than the Aether) provide for better isolation from external noises. The MP145 have interchangeable filters, the Aether don’t. The MP145 come with a slightly wider tips’ choice and with a slightly better cable.
Overall, I would pick the Aether.

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Kiwi Ears Aether vs ARTTI T10 Pro

Big differences honestly, since the timbre is totally different: the T10 Pro are way more polite and “wet” than the Aether, with a denser low-end and a more controlled treble response. The Aether are more contrasty, faster, more articulate during busy passages, more spacious and effortless at portraying small nuances, but this also comes at the expense of a more aggressive sound signature that may not be for everyone.
The overall technical superiority of the Aether is evident in some ways (especially when it comes to soundstage, imaging a detail retrieval), but this also depends on the tuning, which is more easy-going on the warmer and more relaxed T10 Pro. When comparing them, the T10 Pro sound more “dampened” and more similar to DD set with respect to the drier and more technical Aether.
The build quality is very good on both sets, but the T10 Pro are generally easier to suggest to anyone due to their smaller and more rounded shells. In terms of packaging and accessories, the T10 Pro come with a similar set of tips but the included stock cable is better and has modular plugs. The isolation is similar, maybe a touch better on the Aether.
Overall, the Aether are more resolving and technically superior, but the T10 Pro are less bright and generally smoother so they may be more appealing to those who usually seek for more relaxed sets.

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Kiwi Ears Aether vs NiceHCK F1 Pro

The Kiwi Ears Aether are like a more “mature” version of the F1 Pro: the note weight is better, the bass quality is similar but Aether’s bass is a bit more textured, the upper midrange is similarly energetic yet less shouty and less prone to be sibilant on the Aether, and the mid-treble and upper treble are a touch more controlled on the Aether as well.
The soundstage is a lot bigger on the Aether (especially when it comes to height, which is a weakness of the F1 Pro), and the imaging is also more precise.
The build quality is great on both sets. The comfort is better on the F1 Pro, the isolation is better on the Aether. In terms of packaging and accessories, the F1 Pro win thanks to the better cable and the wider choice of tips.
The Aether are the better sounding IEMs of course (they are more resolving and more refined overall), but they also cost 2x the price of the F1 Pro.

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Kiwi Ears Aether vs SGOR Luna

Well, this is a very hard call but it could be useful, for those who are interested,to understand something like the Luna can be a cheap alternative to the Aether.
The short answer is “yes”, and in fact the Luna is a very compelling option considering what you can get for that price (we’re speaking about 40$ nowadays, more or less).
The biggest difference is the level of refinement that you get with the Aether, as we are not only speaking about pure technical performance (which would be more obvious).
The SGOR Luna sound generally thinner with slightly less low-end power and a bit more energy in the treble region. This makes them stand-out in terms of perceived resolution and detail retrieval, even though the kinda lack the density and note weight that the Aether can be proud of. In terms of soundstage and imaging, the Aether are superior but the differences aren’t mindblowing and this is a very big compliment for the Luna.
In terms of build quality, comfort, packaging and accessories, the Aether win hands down, whereas the Luna do better when it comes to isolation.
If I have to be completely honest, I really struggle not to recommend the Luna, especially to those who are starting their planar IEMs’ journey and want a good example to start from: there are noticeable differences if I compare the Luna against pricier planars, but it’s really amazing to hear what the Luna can do for such an affordable price, and I think that they really set the bar for cheap planars along with the KZ PRX (which are slightly different yet similarly capable).

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Final Thoughts​

The Aether are very incisive, very resolving, and even though this comes at the expense of a less relaxed sound, it’s totally worth it. From the potent yet fast bass to the energetic vocals and the wide soundstage, the Aether raise the bar for planar IEMs in the sub-200$ range, and even though they are not perfect (no IEM is perfect, but it’s a way to point out that these still have a few weaknesses) I am pretty sure that other brands will need to put a lot of effort to beat these gems.

Introduction​

Kiwi Ears is among the most popular brands in the Chi-Fi landscape right now, and they’ve recently released their new model: the Airoso. Featuring a hybrid setup and placed in the 100-150$ bracket, the Airoso has reached my hands and in this review I will share my own thoughts on it.

Disclaimer: the Kiwi Ears Airoso were sent to me by Kiwi Ears so that I could write an honest review. This review represents my personal opinion on the set, it isn't promotional or paid content and I don’t get any revenue from the sales of this product.
At the time of the review, the Kiwi Ears Airoso were available for purchase for about $129,99 at Kiwi Ears' Official Website.

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Technical Specifications​

• Driver Configuration → 1DD + 4BA
• Impedance → 15 Ω
• Spec-sheet Frequency Response → 20Hz-20kHz
• Sensitivity → 105 dB/mW @ 1kHz
• Cable → 1.25m cable with 0.78mm 2-PIN connectors
• Plugs → 3.5mm jack

Packaging​

The packaging of the Airoso doesn’t have any waifu on it and instead there’s only a pic of the IEMs with a purple background and the logo. It contains:

• The Kiwi Ears Airoso
• Three sets of eartips that slightly differ in terms of overall stiffness and nozzle width
• A detachable 0.78mm 2-PIN cable
• A hard carry case
• User manual

Design, Build Quality, Comfort and Isolation​

The Kiwi Ears Airoso come in very sturdy shells (looks like resin but feels more solid than resin, so I guess it’s probably black coated aluminum) with a titanium faceplate.
They are pretty lightweight and the shells are medium-sized, so those who have small ears will likely be able to wear these without much trouble, even though the nozzle is pretty wide (it doesn’t bother me but I know that some people can’t stand wide nozzles, so if you are that type of person just skip this set).

Cable​

The cable is “okay”, it doesn’t surprise considering the price and the competition and I really wish Kiwi Ears included a better stock cable (I am just speaking about the overall appearance and feeling, sound isn’t influenced at all).

Sound​

GEAR USED FOR THE TEST

• DAC: Topping E30
• AMP: Topping L30, Fiio A3
• Mobile phones: Samsung Galaxy S7 Edge, Xiaomi Mi A3, Samsung Galaxy S23 Ultra
• Moondrop May’s DSP cable with PEQ=0
• Dongle: Apple Type-C dongle, Fosi DS2, Hidizs XO, Kiwi Ears Allegro Pro, Tanchjim Stargate 2, Dunu DTC480, Dunu DTC800, Truthear SHIO
• Portable DAPs: Snowsky Echo Mini, Benjie S8/AGPTEK M30B
• Bluetooth DACs: Snowsky Retro Nano, FiiO BTR11
• Bluetooth Adapters: KBEAR S1, KZ AZ10
• Other sources: Presonus AudioBox iONE, Elgato Wave XLR

Amplifier needed?
The Airoso aren’t hard to drive and in fact can be easily driven from most sources, but I recommend using a cheap dongle DAC for better volume scaling. A cheap CX31993 dongle is sufficient to push these a bit more and will do the job very well.

Let’s speak about the sound.
Starting from the low-end, we have a controlled yet deep sub-bass, a nice bass punch with pretty good textures and note weight. There’s a soft yet perceivable mid-bass into the midrange, and in fact male vocals sound very warm thanks to this, even though those who prefer a cleaner lower midrange would probably turn their nose up. Female vocals sound very good instead: they’re energetic, they are not shouty and there’s no trace of sibilance. The treble is also tuned pretty well and the timbre isn’t artificial nor fatiguing; if anything, the detail retrieval is average. The naming of this set kind-of reflects what I’m hearing, and in fact this is a pretty airy set that never feels congested.
The soundstage is pretty wide, the imaging is in-line with the price range and, overall, we can say that the technicalities are very respectable for the asking price.

Are they something I would use considering my taste and preferences?
Yes, even though they don’t have that “wow” factor that I search for. It’s a good sounding, coherent hybrid set, but I am a type of listener that searches for that “guilty pleasure” sometimes, even if that means sacrificing technicalities and/or fidelity.
In any case, I have been using the Airoso continuously for a couple weeks and there isn’t any single genre that I haven’t enjoyed with them so I guess it gets a solid thumb up from me.

Some comparisons:​

Kiwi Ears Airoso (1DD+4BA) vs Truthear HEXA (1DD+3BA)

Straight to the main difference: the HEXA are leaner, more neutral (and more “sterile” for many) whereas the Airoso aim for a more engaging sound. In fact, the Airoso have a punchier low-end that has more body and slightly better textures, and there’s also a bit more brightness and air up top; this leads to a sound signature that pushes the midrange a bit backwards with respect to the HEXA in order to achieve better dynamics and a more spacious stage. In this regard, the soundstage is bigger on the Airoso, the imaging is very very similar with a slight edge for the Airoso.
Accessories and cable are similar, the build quality is good on both, the comfort and isolation are very similar as well.

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Kiwi Ears Airoso (1DD+4BA) vs Simgot EM6L (1DD+4BA)

The Airoso have better note weight due to the punchier low-end and the better sub-bass extension. The bass on the Airoso sounds more fun and full-bodied, but the EM6L have faster attack and decay and that results in a higher quality and quicker bass. The EM6L sound slightly cleaner with faster transients and less midbass bleed into the midrange, which also means that male vocals sound slightly less warm than on the Airoso. The upper mids are more energetic on the EM6L, with more forward female vocals, and the treble is also perceived as brighter than on the Airoso. The main difference in the treble region is that even though the Airoso still have a few peaks and dips that provide for an airy and sparkling upper range, the EM6L have a more “linearly” boosted treble that has less low-end counterbalancing it, so the overall response of the Airoso is perceived as less bright.
The soundstage is better on the Airoso thanks to the better width and height, whereas the imaging is just a tad more precise on the EM6L (probably because of the smaller stage as well, since the Airoso need to pinpoint small nuances in a bigger space).
The build quality is good on both sets and the same applies for comfort. The Airoso provide for better isolation. The EM6L come with a slightly better cable.

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Kiwi Ears Airoso (1DD+4BA) vs Celest Relentless (1DD+6BA)

Both are V-shaped yet at a different degree: the Relentless have more contrast between bass and treble and this means that the midrange on the Airoso is slightly more forward. In terms of overall thickness, the Airoso sound slightly thicker in the lower mids, whereas the Relentless sound a bit faster and cleaner during busy passages.
I think the main reasons to prefer one or the other come from the upper midrange and treble regions, where the Relentless sound more forward, brighter, more energetic and more detailed, yet with some compromises such as being more aggressive and prone to show some cases of sibilance. To my ears, the Relentless sound slightly better in terms of perceived resolution and impact since there is more contrast between the lows and the highs (and this creates this sense of better “dynamics”), but this also comes down to personal preferences since I like bright sets in general if they also provide a potent and punchy low-end. My playlist plays a role also.
Soundstage is slightly wider on the Airoso, imaging is mostly on par with a slight edge for the Relentless.
Build quality and comfort are very similar, but the Relentless manage to provide for more isolation and they also come with a better stock cable.

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Kiwi Ears Airoso (1DD+4BA) vs KZ ZA12 (2DD+4BA)

The Airoso is a better tuned set as the low-end counterbalances the highs and this provides for a more tonally appealing signature overall. Unfortunately, this doesn’t happen on the ZA12, which sound brighter, more fatiguing and thinner than the Airoso.
The soundstage is good on both sets but the Airoso manage to render a wider soundstage.
The detail retrieval is similar even though the ZA12 seem to pack more information, even though this comes at the cost of some treble fatigue in comparison to the more polite Airoso.
The overall technical prowess of the ZA12 is undeniable, and in fact they sometimes come close to the precision of the Airoso, but the main difference is that the Airoso manage to do this without sounding unnatural and without making excessive compromises, especially when it comes to the balance between lows and highs.
The Airoso look and feel more premium, and they also come with better packaging and accessories. Comfort and isolation are very similar.

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Final Thoughts​

The Kiwi Ears Airoso are a set that doesn’t really “excel” at anything in particular, but it’s a mixture of many good things that bring a very solid product to the table. It’s a well-tuned, fun V-shaped set that packs a good low-end, a wide soundstage, and pretty good technical performance overall along with a well-balanced timbre. The lower midrange has some thickness, which differentiates these from your average U-shaped Harman IEM, but other than this the Airoso struggles to give you any real reason to pick them over something similar. At that point, it all comes down to price and sound preferences.

Overall, I think that Kiwi Ears has done a good work with the Airoso, creating a “jack of all trades” that sounds fun and dynamic and that works pretty well with most genres, without necessarily focusing on a single differentiating factor that would have made them targeted to a specific type of user.

Introduction​

Tanchjim is very popular among the Chi-Fi community and if you’re here to read about the Origin, there’s a high chance you’ve heard/read people speaking about the Tanchjim Oxygen or Hana. The Origin is their single-DD spearhead and after some time around it’s my turn to write down some of my thoughts about the set.

Disclaimer: the Tanchjim Origin were sent to me by Tanchjim so that I could write an honest review. This review represents my personal opinion on the set, it isn't promotional or paid content and I don’t get any revenue from the sales of this product.
At the time of the review, the Tanchjim Origin were on sale for about $259 at Amazon.

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Technical Specifications​

• Driver Configuration → 1 x DD (DMT5 Dynamic Driver Diaphgram)
• Impedance → 16 Ω ± 10%
• Spec-sheet Frequency Response Range → 2Hz-48kHz
• Sensitivity → 126 dB/Vrms
• Cable → detachable 1.25m OFC silver plated cable with 0.78mm 2-PIN connectors
• Plugs → 3.5mm jack

Packaging​

The packaging of the Tanchjim Origin is well organized and contains:

• The Tanchjim Origin
• 6 pairs of tips (2 different types in 3 different sizes for each type)
• 3 nozzle filters
• The detachable cable
• A very spacious PVC storage box
• User manual

Design, Build Quality, Comfort and Isolation​

The Origin are built exceptionally, the design is elegant, the shells are super sturdy and the overall feeling when picking them from the box is that you’ve bought a premium product. The full metal shells have their drawbacks for sure, such as being fingerprint magnets, being prone to scratches (especially on the faceplate, which has an opaque texturing) and also being pretty cold to wear during winter, but other than that I cannot find real faults here.
The comfort is exceptional as well thanks to the edge-free shape of the earpieces, whereas isolation is not the best out there so it’s not something I really dig using when practising outdoor activities or during my daily commuting.

Cable​

The cable is of good quality, it looks and feels durable and even though I’ve seen better cables shipped with some cheaper products, I think this meets the expectations considering the price range. There’s a chin slider, the pre-made hooks aren’t annoying and all makes up for a decent stock cable overall.

Sound​

GEAR USED FOR THE TEST

• DAC: Topping E30
• AMP: Topping L30, Fiio A3
• Mobile phones: Samsung Galaxy S23 Ultra, Samsung Galaxy S7 Edge, Xiaomi Mi A3
• Moondrop May’s DSP cable with PEQ=0
• Dongle: Apple Type-C dongle, Fosi DS2, Hidizs XO, Kiwi Ears Allegro Pro, Tanchjim Stargate 2, Dunu DTC480, Dunu DTC800, Truthear SHIO
• Portable DAPs: Snowsky Echo Mini, Benjie S8/AGPTEK M30B
• Bluetooth DACs: Snowsky Retro Nano, FiiO BTR11
• Bluetooth Adapters: KBEAR S1, KZ AZ10
• Other sources: Presonus AudioBox iONE, Elgato Wave XLR

Amplifier needed?
The Tanchjim Origin are very efficient and they play very well from weak sources as well. Some might prefer using these along with a warm source due to their bright nature but that’s up to personal preference.

Let’s speak about the sound.
The Origin is probably among the best sets I’ve tried in terms of how the overall sound is managed. You can literally hear that the tuning was carefully done, everything is well counterbalanced, everything is at its place, and from the first listen I thought that this is a great example of how IEMs evolved during the years.
The sub-bass is rolled-off, and it’s probably my only “gripe” with the Origin, but this is also a part of the tuning intentions so I am not going to really complain about this, it’s just that my usual playlists involve lots of low-end viscerality and that makes these less appealing for my day-to-day usage. You can feel the sub-bass when it’s being reproduced but it does not provide a very visceral and fat rumble. I have tried EQing the low-end and the driver can do very well without distortion so I guess it’s just a matter of preference.
There is a mid-bass shelf that makes the bass pop-out a bit adding some dynamics, and the bass is pretty speedy and controlled with decent textures. It’s not the meaty, dense and super punchy bass you’re probably used to but it’s extremely clean so beware if you’re someone that likes thick-sounding IEMs like me (these aren’t thick sounding IEMs, just to point out).
The lower midrange is pretty lean and natural, without too much coloration (if anything, some may prefer a bit more warmth in this region), and the upper-mids have a generous emphasis that make vocals pop-out extremely well with lots of intimacy, energy and small nuances. There isn’t any hint of sibilance, but those who are not used to upper-midrange glare will probably find the Origin a bit too forward for long listening sessions.
The treble is very detailed with good upper-end extension. There isn’t any lack of air between instruments and what I really like about the Origin is that they are resolving in an effortless way, being capable of extracting some small nuances and fine details without multiple fatiguing and unnatural peaks.

The soundstage isn’t the most expansive I have heard in this price range, and in fact the Origin are meant to be more intimate overall. The imaging is solid yet not the most impressive in this price range. The instrument separation is very good.

What about the tuning filters?
I intentionally skipped talking about them because of one reason: they make no difference at all. I have tried to swap them multiple times and heard no difference, and since I do not have a measuring rig I will trust my ears and I will tell you that they make no difference, at least on my unit.

Are they something I would use considering my taste and preferences?
It depends on my mood, on the playlist that I am listening to and on the place where I am.
If I am sitting at my desk and I want to listen to a full Sia or Halsey album, then these are a must, but if I am commuting and I am listening to my usual old-school rap and/or EDM (especially Drum’n Bass and Dubstep) then these are not ideal.
I usually prefer thicker-sounding IEMs at the expense of some technicalities.

Some comparisons:​

Tanchjim Origin (1 x DD) vs Simgot EA1000 (1 x DD + 1 x Passive Radiator) w/ Red Filter
The Origin sound better with vocals and some instruments since the overall timbre is more natural than on the EA1000. The EA1000 are more colored and dynamic, with a meatier, more textured and impactful bass than the Origin. The Origin win when it comes to long listening sessions since the EA1000 sound more fatiguing.
In terms of soundstage, the Origin can portray a more natural and well-rounded stage, whereas the EA1000 struggles a bit with soundstage management. The imaging, however, is great on both sets but the EA1000 are slightly better.
Build quality is great on both sets, and the same applies for comfort. The EA1000 provide for a slightly better isolation from external noises. The stock cable of the EA1000 is a bit thicker whereas the packaging and accessories are on the same level more or less. The tuning filters actually make a difference on the EA1000 even though the Red one is the one you’ll probably put on and never remove again.

Tanchjim Origin (1 x DD) vs Kiwi Ears Aether (1 x Planar Dynamic Driver)

There’s a driver difference so it’s not really a fair comparison but at least you can have a sort of reference when comparing the two.
The Origin sounds more natural, with better vocals and instruments timbre and a more “effortless” sound reproduction. The Aether sound thicker with better and more realilstic bass (more textured, more impactful than on the thinner Origin) and a warmer lower midrange. In terms of detail retrieval and small nuances, I’d say the Origin sound more transparent, with less spice in the mid-treble while being “constantly” brighter. I prefer the Aether as it sounds more expansive and fuller but your mileage may vary.
Soundstage and imaging are not that different even though the Origin sounds like the more intimate one.
The build quality is great on both sets although the materials are different (metal vs 3D printed resin). Comfort goes to the Origin if you have small ears, isolation is an easy win for the Aether. Packaging and accessories are good with both sets.

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Tanchjim Origin (1 x DD) vs Dunu Kima 2 (1 x DD)

This comparison may seem unfair as well but the Kima 2 are among the most discussed and appreciated single DDs out there right now so it could be useful for some to know if the Origin could be a smart step-up or not.
Short answer: the Origin can be an upgrade from the Kima 2 for some… kind-of.
The overall sound signature is very similar although the Origin sound is more detailed and transparent. The Kima 2 are a tiny bit less bright and their lower mids are a tad warmer, and this makes up for an overall warmer set with a thicker feeling, which is where the Origin may lose some points for some folks out there who have similar tuning preferences to mine (in fact, I prefer Kima 2’s tuning for my personal playlists). Let’s say that you get a bit more space between instruments and vocals on the Tanchjim Origin than on the slightly warmer Kima 2 at the expense of a bit less body to the sound.
The soundstage is a touch more expansive on the Origin (even though it’s not very spacious either) and the imaging is slightly better on the Origin as well.
Build quality is great on both. I’d pick Kima 2’s stock cable over Origin’s stock cable any day. Comfort is good on both sets but the Kima 2 are slightly smaller and some may prefer them. Packaging and accessories go to the Kima 2 that also come with a much wider selection of tips.
If you want something that sound similarly tuned to the Origin and you don’t have enough money to pick up a set of Origin, then the Kima 2 are an excellent piece of hardware even if inferior in terms of technical performance.

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Tanchjim Origin (1 x DD) vs Moondrop LAN (1 x DD)
(BONUS: probably BIASED comparison)

Why this comparison?
Well, because I consider the Moondrop LAN a very well tuned set and it’s my personal reference for neutral tunings, simple as that (so take this comparison with a grain of salt since there’s some of my preference involved).
The Origin are undoubtedly better in terms of overall technical performance, detail retrieval, separation, soundstage, imaging, but I think that there is one thing for which I prefer the Moondrop LAN: the sub-bass and its overall impact on the sound.
The sub-bass on the Moondrop LAN is more present in the mix even though it’s extremely controlled and its quantity is just spot-on. If you EQ the Origin and push the sub-bass, you can definitely hear that their driver is superior, but the fact that the LAN have a more visceral sub-bass response out-of-the-box is a plus for me.
The impact on the overall sound tuning is that although the LAN have even more upper midrange glare than the Origin, the 8KHz region is a touch less emphasized, and combining this to the sub-bass lift we obtain a slightly thicker sound profile that works better for me.
It’s a very subjective thing, sure, but it’s something I really wanted to share.
I am not going to spend time comparing the packaging and so on, just know that the Moondrop LAN is still an awesome set for what it costs even though it cannot be technically compared to the Origin, which are ages ahead in terms of overall technical performance and play in a different league.

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Final Thoughts​

The Tanchjim Origin is among the most carefully tuned sets you can buy right now, and even though it’s not perfect there are more strengths than weaknesses. My main gripe is the lack of proper thickness in the lower midrange, because it sounds extremely transparent and balanced but lacks that heft that would make male vocals and lower bass guitar notes pop-out a bit more, but that’s a tuning choice that you may or may not like.
Other than that, I really liked the Origin and its way to uniquely portray music in a very natural and effortless way, a thing to which I wasn’t used to anymore and that I wish many brands would pursue with some of their products.

Introduction​

Tanchjim is a very popular brand in the Chi-Fi industry, so I guess there’s no need to speak about the brand itself. Better jump straight into the review, in which I’ll be speaking about the Tanchjim Zero Ultima, a single DD bullet style earphone that was recently released.

Disclaimer: the Tanchjim Zero Ultima were sent to me by Tanchjim so that I could write an honest review. This review represents my personal opinion on the set, it isn't promotional or paid content and I don’t get any revenue from the sales of this product.
At the time of the review, the Tanchjim Zero Ultima were on sale for about $15.99 at Amazon.

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Technical Specifications​

• Driver Configuration → 1 x DD
• Impedance → 30 Ω +10%
• Spec-sheet Frequency Response → 20Hz-20kHz
• Sensitivity → 123 dB/Vrms
• Cable → fixed, 1.2m Litz Copper Silver-plated cable
• Plugs → 3.5mm jack (there also exists a type-c DSP version, but it's not this one I'll be reviewing)

Packaging​

The packaging of the Zero Ultima is pretty basic and contains:

• The Tanchjim Zero Ultima
• Two sets of different tips (different bore diameter)
• A soft carry pouch
• User manual

Design, Build Quality, Comfort and Isolation​

The Zero Ultima keep it simple with traditional bullet style shells, a fixed cable and plastic build. It’s a well built product but it’s also very easy to understand that we’re speaking about a budget set.
The shells are very lightweight, the nozzle length is spot-on and it’s angled to provide decent comfort (even though I can understand that some would like an even thinner shell to push them even deeper), and overall we’re talking about an IEM that will fit most users with no issues. The isolation is not the best around, but if you’re a mid-volume listener this won’t really be an issue since a few steps of volumes are enough to make up for it.

Cable​

The cable is fixed and it’s not really the best fixed cable that I’ve had the chance to see on this kind of product. The main issue, I think, is that it looks and feels solid enough not to fail very soon, but it has an annoying microphonics effect that is unpleasant if you use the IEMs while walking (since the cable rubs on clothes and you can hear that annoying noise in your ears).
Despite the fixed cable, which is something I do not really dig, there’s a chin slider and a remote microphone on the cable, which are nice additions.

Sound​

GEAR USED FOR THE TEST

• DAC: Topping E30
• AMP: Topping L30, Fiio A3
• Mobile phones: Samsung Galaxy S23 Ultra, Samsung Galaxy S7 Edge, Xiaomi Mi A3
• Moondrop May’s DSP cable with PEQ=0
• Dongle: Apple Type-C dongle, Fosi DS2, Hidizs XO, Kiwi Ears Allegro Pro, Tanchjim Stargate 2, Dunu DTC480, Dunu DTC800, Truthear SHIO
• Portable DAPs: Snowsky Echo Mini, Benjie S8/AGPTEK M30B
• Bluetooth DACs: Snowsky Retro Nano, FiiO BTR11
• Bluetooth Adapters: KBEAR S1, KZ AZ10
• Other sources: Presonus AudioBox iONE, Elgato Wave XLR

Amplifier needed?
There’s no need for an amplifier as the Zero Ultima are easily driven from most sources. If you want to use an amplifier, do it as it could lead to some benefits, but don’t use a warm source since these are already pretty warm-sounding.

Let’s speak about the sound.
The sound of the Zero Ultima follows a soft V-shaped signature with a generous amount of mid-bass that makes these sound very punchy and gives them a pleasant warm timbre. I think that my only gripe with the midbass is the lack of proper texturing, as the last bit of punch/upper bass is often veiled (for example, high pitched kicks aren’t that “clear” and transparent sounding), and that it’s not the fastest around. It’s a pretty dense and weighty bass though, a satisfying one, and apart from what I’ve underlined above, the overall roundness of the bass is satisfying and there’s enough power and viscerality so I quite enjoy the Zero Ultima in this regard.
The lower midrange has a touch of recession even though this doesn’t really impact male vocals’ timbre, instead it impacts their quantity in the mix, pushing them slightly behind the bass and behind female vocals, and the same thing happens with most instruments the play around the lower midrange region (especially acoustic ones). Female vocals are more forward and sometimes have a bit of spice that could not be appealing for some listeners, but overall they sound pretty good and energetic at the right point.
The treble doesn’t have the best extension out there, since there are a few boosts between the lower treble and the mid treble, whereas the upper treble has an evident roll-off. This, combined with the bass shelf, provides for a very warm signature that doesn’t really shine in terms of air and sparkle, but I gotta say that they never sounded congested to my ears although they don’t have that out-of-your-head feeling.

The soundstage isn’t very big but there is a sense of space in this small space rendered. The imaging is mostly ok, even though the lack of proper sparkle doesn’t help with super precise pinpointing, so you get correct directional clues but the depth and height are a bit messy when pinpointing vocals and instruments.

Are they something I would use considering my taste and preferences?
Yes, I like their warm approach along with the punchy bass and a bit of spice between the upper mids and treble. If they didn’t have a fixed cable with some microphonics issues going on, I would have used them for my commuting routine. I am using them with a clip while commuting but I prefer other IEMs for that purpose, and I prefer using the Zero Ultima at home when I am sitting at my desk or when I want to relax on the couch.

Some comparisons:​

Tanchjim Zero Ultima vs Tanchjim Tanya (both 3.5mm versions)

The Ultima is a more mature set, with better managed upper mids, a fuller low/end, slightly better comfort, a better and less “sticky” cable, and a more controlled and coherent treble response. The detail retrieval isn’t much better, but it’s clear that the Zero Ultima are more refined and that they’re a newer product. Soundstage is a touch more realistic on Zero Ultima, imaging is a bit better on the Ultima but the difference is negligible.
Build quality is good on both sets. Packaging and accessories are similar but the Tanya used to come with a set of spare filters, which was a nice addition.
In my opinion, the Zero Ultima just take the place of the older Tanya, as it’s the most affordable set from Tanchjim and offers a similarly smooth and warm sound while performing in a better way.

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Tanchjim Zero Ultima vs Soncie Meory SM1 Lite

Get the Zero Ultima: fuller low-end, warmer mids, more natural treble response. The SM1 Lite are superior when it comes to imaging, but other than that the Zero Ultima are just superior, period.
Build quality is similar, comfort and isolation are better with the Zero Ultima in the ears.
The cable of the SM1 Lite is detachable and it’s of superior quality, and they also come with two sets of spare nozzle filters and a type-c to 3.5mm jack cable. The Zero Ultima come with a much better set of tips.

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Tanchjim Zero Ultima vs KZ Saga Bass

I am a fan of the Saga Bass because they’re tuned similarly to the older Blon BL-03: bassy, warm and super fun. However, the Tanchjim Zero Ultima sound more refined and better tuned to my ears, especially because of the slightly richer midrange with respect to the Saga Bass, which instead have more recessed mids, and the less spicy yet more extended treble response. Soundstage and imaging are mostly on par.
The KZ Saga Bass have better build quality and detachable cable, whereas the Zero Ultima are cheaper to the touch and have a fixed cable. In terms of comfort and isolation, the Saga Bass have a slight edge but the difference is negligible in my opinion.
The packaging and accessories of the Zero Ultima are better.

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Final Thoughts​

The Tanchjim Zero Ultima is a well-done bullet-style set that, in my opinion, brings very good value to the table. The response is not fatiguing, the bass is punchy and has good viscerality, the midrange is softly recessed but this doesn’t really impact the overall timbre. Sure, the fixed cable might be a problem for some folks, and the limited technical performance and transparency could not be satisfying for those who usually search for more analytical sets, but if you’re on the market for a fun sounding cheap bullet-style set then stop here and give the Zero Ultima a chance.

Introduction​

KZ doesn’t need any introduction, and nowadays they’re releasing tons of interesting IEMs that really made many change their mind with respect to the brand. Will the ZA12 be no exception?

Disclaimer: the KZ ZA12 were sent to me by KEEPHIFI so that I could write an honest review. This review represents my personal opinion on the set, it isn't promotional or paid content and I don’t get any revenue from the sales of this product.
At the time of the review, the KZ ZA12 were on sale for about $62 at KEEPHIFI.

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Technical Specifications​

• Driver Configuration → 2DD (10mm DD x1 + 8mm DD x1) + 4BA (30019 Balanced Armature x 2 + 31736 Composite Balanced Armature x 1)
• Impedance → 16.5 Ω
• Spec-sheet Frequency Response → 20Hz-20kHz
• Sensitivity → 96 dB/mW @1kHz
• Cable → 1.2m OFC cable with 0.78mm 2-PIN connectors
• Plugs → 4.4mm + 3.5mm modular plugs

Packaging​

The packaging of the KZ ZA12 is the same old and simple small box with a pic of the earphones on the front. It contains:

• The KZ ZA12
• One set of KZ starline tips (S, M, L sizes)
• The usual stock KZ cheap cable
• One pair of foam tips
• User manual

After the Zenith, Sonata and so on, which are shipped inside better-looking boxes and with better accessories organization, it seems like KZ went back to the roots in terms of packaging (unfortunately).

Design, Build Quality, Comfort and Isolation​

The design of the KZ ZA12 follows what KZ has been doing for a long time now, and in fact these look like the Symphony, the Sonata and similar products.
The build quality is pretty good, the isolation is good as well and they are comfortable as well as long as you don’t have very small ears.



This is the switch version as you can see from the previous photos, and here's a sum-up of the various positions:

Cable​

The same cheap cable all over again. KZ, c’mon, time to step up!

Sound​

GEAR USED FOR THE TEST

• DAC: Topping E30
• AMP: Topping L30, Fiio A3
• Mobile phones: Samsung Galaxy S7 Edge, Xiaomi Mi A3, Samsung Galaxy S23 Ultra
• Moondrop May’s DSP cable with PEQ=0
• Dongle: Apple Type-C dongle, Fosi DS2, Hidizs XO, Kiwi Ears Allegro Pro, Tanchjim Stargate 2, Dunu DTC480, Dunu DTC800, Truthear SHIO
• Portable DAPs: Snowsky Echo Mini, Benjie S8/AGPTEK M30B
• Bluetooth DACs: Snowsky Retro Nano, FiiO BTR11
• Bluetooth Adapters: KBEAR S1, KZ AZ10
• Other sources: Presonus AudioBox iONE, Elgato Wave XLR

Amplifier needed?
The KZ ZA12 don’t strictly need a desktop amplifier but they need more juice than your average IEM, so I would at least use a decent dongle.
If you follow the impedance adapter route (I will explain very soon, read below) then you’ll definitely need some power to drive these properly.

Let’s speak about the sound.
I will be speaking about the 1100 configuration (or UUDD if you prefer).
The ZA12 sound very technical, with very good micro detailing capabilities, good resolution, a wide stage that also have notable height for the price, pretty good imaging as well.
Where’s the issue? The overall out-of-the-box tonality, in my opinion.
The upper-mids and treble have some noticeable boost whereas the bass is kept very controlled and this results in a slightly shouty response that becomes thinner the more you increase the volume. In fact, I think this is perfect for those who want a low-volume set for music that has lots of sounds playing in the upper-midrange and treble regions, but if you’re someone who wants something to listen to music on the move, these can be risky since they can get fatiguing quite easily. The vocals sound very forward and I really loved listening to female vocals on these, except for the fact that they can become hot and fatiguing pretty fast. Male vocals, instead, could use a bit more depth and warmth as there isn’t a proper bass shelf to warm things up. The low-end doesn’t have that “wow” factor that I was expecting: the fast decay also doesn’t help at making kickdrums very punchy and incisive, and if you add this to the already bright nature of this set (and the perceivable BA timbre that comes up when increasing the volume) it’s not very easy to recommend this IEM to anyone out there, as only a specific range of users would make good use of this.
BUT… there is a BUT…
I have tried these with a 75ohm impedance adapter and well, these really become another thing. The low-end gets a lot of punch, depth, thickness, and this perfectly counterbalances the upper midrange and treble boost that also decrease a little bit. They still retaining a good sense of resolution and staging and even though they become a bit slower, the tonality is improved by a huge margin and it’s a pleasure to listen them at that point.

Are they something I would use considering my taste and preferences?
If using an impedance adapter wasn’t an issue on the move (and it is, in my case, since it’s not flexible and I don’t want that in my pocket) then these IEMs would be a very good set to keep in my backpack. However, it’s not a plug ‘n play set for me because they still have that thin character even in the bassiest setting, so I would not use it for my daily routine.

Some comparisons:​

KZ ZA12 (1100) vs Truthear HEXA
Straight to the point, the HEXA sound better out of the box: more controlled, slightly less detailed yet a lot more effortless and with a less “forced” resolution. The low-end is also fuller yet very balanced on the HEXA. The soundstage and the imaging are better on the KZ ZA12. With an impedance adapter, the ZA12 become a lot fuller, but they also sound much different than in their original state, with a more V-shaped response and this puts them in another bracket with respect to the HEXA, which instead maintain their controlled, tendentially neutral approach.

KZ ZA12 (1100) vs CCA Rhapsody
The KZ ZA12 are way faster, more technical, more resolving, they have a bigger stage and the imaging is better as well. The Rhapsody have a slightly better timbre overall thanks to the fuller low-end that makes them thicker than the ZA12 (which instead sound thinner and slightly more fatiguing on average). Both have some BA timbre going on unfortunately.
With a 75ohm impedance adapter, the Rhapsody are completely blown away in the low-end region as well, there’s no chance for real.

KZ ZA12 (1100) vs Simgot EM6L
The EM6L tuned much better than the ZA12, and the technical prowess is also slightly better (although not by a huge margin). The soundstage goes to the ZA12, whereas the imaging is mostly on par.
With an impedance adapter, the ZA12 blow the EM6L away out of the water in terms of low-end, even though they become more V-shaped and less “neutral” than the EM6L (not that the EM6L are really neutral, but they tend to sound more “audiophile-ish” with respect to the ZA12 with the impedance adapter).

Final Thoughts​

The KZ ZA12 weren’t able to blow my mind right out of the box, and this is probably because I was expecting much more from KZ, especially considering that I have really liked some of their latest releases (such as the Sonata, Zenith, CCA Trio and so on).
The sound is thin for the most part, with great technical ability yet with a bright tonality that is not properly counterbalanced by a healthy amount of low-end.

The impedance adapter really changed my mind, though, and I was able to enjoy the ZA12 like I’ve done very few times with a KZ IEM: the 75ohm adapter gave them a real life, with a super deep and punchy bass, a warm and slightly recessed midrange and a detailed, sparkling and vivid treble that creates a very dynamic sound counterbalancing the rich low-end.

I can’t give the ZA12 a super positive rating, because they aren’t something you pick from the box, connect to your phone and call it a day, but if you’re able to snag a cheap impedance adapter for a couple dollars, then the ZA12 get my instant recommendation as a super fun and competent set that can really rule its price range.
So I’ll put it this way: this set scores a solid 3.5/5 on my side, which is an average between a 3/5 (which would be my out-of-the-box vote) and a 4/5 (which would be the vote I’d give with the 75ohm impedance adapter).

Introduction​

Dunu is a very popular brand in the Chi-Fi industry, mostly thanks to their well-designed and good sounding IEMs that were praised by many people around the globe.
This time, I will be testing the DTC800, which is one of the new dongle DACs that joined their products’ portfolio.

Disclaimer: the Dunu DTC800 was sent to me by Dunu free of charge in order to write an honest review. This review represents my personal opinion and it is by no means a promotional or paid content.
At the time of the review, the Dunu DTC800 was on sale for about 99$ at HiFiGO.

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Technical Specifications​

• Size → 48mm * 24mm * 12mm (L x W x H)
• Net weight → 20g
• DAC Chipset → CS43198 * 2
• OPAMPs → SGM8262 * 2
• Signal-to-Noise Ratio (SNR):
  • Single-Ended: 125 dB
  • Balanced: 126 dB
• Dynamic Range (DNR):
  • Single-Ended: 120 dB
  • Balanced: 125 dB
• THD+N: 0.0002%
• Power Output:
  • Single-Ended: 180mW @ 32Ω
  • Balanced: 450mW @ 32Ω
• Decoding Capability:
  • PCM: 32Bit / 384kHz
  • DSD: DoP 128 / Native 256
• Input Interface: USB Type-C
• Output Interfaces:
  • 3.5mm Single-Ended
  • 4.4mm Balanced

Packaging​

The box is very simple and small and it contains:

• The Dunu DTC800
• A cloth-sheathed Type-C to Type-C cable
• A Type-C to USB-A adapter
• User manual and warranty card

Design, Build Quality and Buttons​

The Dunu DTC800 is like "Cyberpunk 2077 meets a coffin", which is… weirdly interesting. The build quality is superb and I have no complaints whatsoever.



There are two dedicated buttons for the volume control (and other functions), which are independent from the source volume (increasing the volume on the dongle doesn’t affect the source volume, so I just increase the source volume 100% and then adjust the volume directly on the dongle).



There’s also a LED which indicates the various functioning states of the dongle, including the used filter, even though there isn’t anything that differentiates a filter from each other so it’s pretty hard (especially because the sound differences are also negligible).

Performance​

Power and temperatures
The DTC800 packs a good amount of power, and it’s able to power my HE400SE with no issues whatsoever (and basically every single IEM) from the 3.5mm unbalanced port. Activating the High Voltage mode, it’s possible to add even more juice although the power is already more than enough without activating the High Voltage mode through the 3.5mm output, so this small amount of added power won’t make the difference in most cases.
The balanced output is even more powerful, it easily drives my HE400SE and they become very loud without necessarily pushing the dongle to its limits.

When it comes to temperatures, the DTC800 doesn’t have particular issues: it becomes just a bit warm when using the Balanced output and/or the High Voltage mode and the power consumption slightly increases, but the shell never becomes “hot”.

Sound
The DTC800 delivers an uncolored response with very good transparency overall. There isn’t any hiss in the background even with very sensitive IEMs so it’s basically a well-implemented portable DAC/AMP that does its job with no frills or annoyance.
There isn’t any kind of smoothening out-of-the-box on either side of the spectrum and overall it's a very resolving dongle with a wide soundstage.

Some comparisons:​

Dunu DTC800 vs DTC480

Is it worth jumping from the DTC480 to the DTC800? Well, kind-of.
The short answer would be “yes” because the DTC800 is objectively superior, especially when it comes to output power since they sound very similar, but the price of the DTC800 is also pretty high and almost double the price of the DTC480 so the choice should also be weighted considering other products from different brands on the market.

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DTC800 vs Fosi DS2

The Fosi DS2 has a better value proposition imho: more lightweight, slightly more powerful and a much lower price. The sound is very hard to distinguish even though the DTC800 seem to play in a slightly bigger soundstage and with a bit more body in the low-end, whereas the Fosi DS2 sounds a touch leaner.
The DTC800 has a few filters (which I find honestly unrecognizable, even though those with finer ears or measuring units will maybe be able to distinguish), a slightly higher maximum sampling rate and UAC 1.0 support and consumes less power than the DS2.
Products like the Fosi DS2 still hold the value-for-money crown but that doesn’t mean that products which cost a bit more than expected are automatically bad. However, the DTC800 is listed for about 99$ while the Fosi DS2 retails for about 60$ so… I would still pick the DS2 because I am not a source guy so I just go for the better value for money, but I can really see reasons why one would prefer the DTC800.

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Dunu DTC800 vs Truthear SHIO

The design and build quality of the DTC800 are definitely a step-up, it’s a more refined product overall but if you look for performance only, then the SHIO is still a notch above in terms of output power. I can’t hear noticeable sound differences.
One thing has to be said: the SHIO was half the price of the DTC800, and it was released back in January 2023, so the fact that it still punches way above its price nowadays is a good example of how long do great products last. Nowadays, it’s basically impossible to find one so it won’t be easy to get it instead of the DTC800, but if you have a chance to get your hands on a SHIO, then go for it.
Otherwise, the DTC800 have a few advantages, such as the lower power consumption, UAC 1.0 support and the presence of a few filters (that, again, I cannot distinguish).

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Final Thoughts​

The DTC800 is a very good product, and there are no doubts about this: there’s plenty of power for every IEM you can think of (except for rare exceptions) and also for some over-ear cans, the sound is neutral and detailed, the build quality is superb and Dunu’s reputation speaks for itself. There are some options that look more attractive, such as the Fosi DS2 which hasn’t been dethroned yet, but there are also products like the Simgot DEW4X that are usually sold for about the same price while also offering the same output power that you can find on the DTC480 (the right question would be: do you really need that much power?).
I am not saying that the DTC800 is the best bang for your buck (because there are some products with better value-for-money ratio) but it’s a well done product and the price is fair for the complete package and considering the specs.

Introduction​

Dunu is a very popular brand in the Chi-Fi industry, mostly thanks to their well-designed and good sounding IEMs that were praised by many people around the globe.
This time, I will be testing the DTC480, which is one the new dongle DACs that joined their products’ portfolio.

Disclaimer: the Dunu DTC480 was sent to me by Dunu free of charge in order to write an honest review. This review represents my personal opinion and it is by no means a promotional or paid content.
At the time of the review, the Dunu DTC480 was on sale for around $55.99$ (the original retail price is $69.99) at dunu-topsound, which is their official website.

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Technical Specifications​

• Size → 44mm * 22mm * 11mm (L x W x H)
• Net weight → 20g
• DAC Chipset: CS43198*2
• Signal-to-Noise Ratio (SNR):
  • Single-Ended: 125 dB
  • Balanced: 130 dB
• Dynamic Range (DNR):
  • Single-Ended: 125 dB
  • Balanced: 130 dB
• THD+N: 0.0002%
• Power Output:
  • Single-Ended: 65mW @ 32Ω
  • Balanced: 150mW @ 32Ω
• Decoding Capability:
  • PCM: 32Bit / 384kHz
  • DSD: DoP 128 / Native 256
• Input Interface: USB Type-C
• Output Interfaces:
  • 3.5mm Single-Ended
  • 4.4mm Balanced

Packaging​

The box is very simple and small and it contains:

• The Dunu DTC480
• A cloth-sheathed Type-C to Type-C cable
• A Type-C to USB-A adapter
• User manual and warranty card

Design, Build Quality and Buttons​

The Dunu DTC480 has a futuristic design and kinda looks like a small Cybertruck model car with no wheels. The build quality is superb, the painting has no chips or imperfections and the buttons feel very sturdy.




There are two dedicated buttons for the volume control (and other functions), which are independent from the source volume (increasing the volume on the dongle doesn’t affect the source volume, so I just increase the source volume 100% and then adjust the volume directly on the dongle).



There’s also a LED that indicates the various states and filters, even though it doesn’t really help with filters since there isn’t anything that differentiates a filter from another (and the sound differences are usually negligible).

Performance​

Power and temperatures
The DTC480 packs decent power, and it’s able to make me reach moderate volumes with my HE400SE. At max settings (both on the phone and on the dongle without High Voltage mode) the sound is loud enough for the average user, even though I would still use them at lower volumes as I find it loud enough. But if you still think it’s not loud enough, turning ON the High Voltage mode makes the HE400SE even louder without going for the balanced output, even though going for the balanced output should still be the better option.
The balanced output, instead, has enough power to drive the HE400SE without turning ON the High Voltage mode, so if you use this dongle with IEMs you won’t have any issue whatsoever with most IEMs.

When it comes to temperatures, the DTC480 doesn’t have particular issues: it becomes just a bit warm when using the Balanced output for very prolonged sessions but the shell never becomes “hot” even after very long listening sessions.

Sound
The DTC480 delivers a full end-to-end experience with a very natural timbre and very good transparency. There isn’t any hiss in the background even with very sensitive IEMs so it’s basically a well-implemented portable DAC/AMP that does its job with no frills or annoyance.
I can’t hear any kind of smoothening on either side of the spectrum, so this is a plus for me, and the DTC480 doesn’t even sound like the treble is particularly bright or emphasized.

Some comparisons:​

DTC480 vs Fosi DS2

The Fosi DS2 has a better value proposition imho: it’s lighter, it’s more powerful and the listing price is basically about 10$ below the Dunu DTC480. In terms of sound, the differences are very hard to spot. Maybe, the DTC480 play in a slightly wider soundstage but that may also be placebo. The Fosi DS2 sounds a touch leaner also. The bass sound a bit fuller on the DTC480 to my ears. The DTC480 has a few filters (which I find honestly unrecognizable, even though those with finer ears or measuring units will maybe be able to distinguish), a slightly higher maximum sampling rate, UAC 1.0 support and draws less power. The DTC480 is now on sale for 55.59$, so I would still pick the Fosi DS2 because of the higher power output and the better value for money. However, the DTC480 sounds a bit more natural and consumes less power so if I was going to use the dongle for IEMs only then the choice wouldn’t have been so easy.

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Dunu DTC480 vs Hidizs XO

The Hidizs XO is less powerful, slightly more colored than the DTC480 with a bit of added warmth (which can be a “Pro” for some but leads to an objectively less transparent sound), it consumes a lot more power and also become very warm to the touch after some minutes.
Straight to the point, just get the DTC480 if you have to decide between these 2 models: there isn’t any single reason to buy the XO (if not for the MQA support, which I don’t even consider as a true advantage) today so I am not even covering the other technical aspects.

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Dunu DTC480 vs Truthear SHIO

The design and build quality of the DTC480 make it look like a better unit, especially because the pleather-covered chassis of the SHIIO feels cheaper. However, the SHIO is a couple notches above in terms of raw power and soundstage.
It’s basically impossible to find the SHIO nowadays, but if it was possible to get one then it would be a better option because of the higher output power and overall sound. The DTC480, instead, has some technical advantages such as the lower power consumption, the UAC 1.0 support and the presence of a few filters that, unfortunately, only provide for negligible differences.

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Final Thoughts​

The DTC480 is a well done product that comes in a very refined, well built and good looking shell, and that provides for an uncolored and transparent sound along with a fair amount of power to drive the majority of IEMs. The main "problem" about it is that it's a super safe bet that doesn't actually "risk" on anything, so it's very hard to surprise the user in this way especially considering the price (which is higher than competitors' products that have gone a bit more far).
It may not be the best bang for your buck since, for a similar amount of money, you can get better products nowadays, and so could you do back in January 2023, when the Truthear SHIO paved the way for many others (if we do not factor the overall efficiency, of course).
It’s not bad at its listing price, and in fact it's slightly above average in terms of pure sound quality, but if the DTC480 was priced at $35/$40 (I know it’s a very hard call, but the competition is very tough) this could have been a much more attractive option.

Introduction​

Another Snowsky product, another review.
This time, I’ll be taking a look at the Snowsky Retro Nano, a bluetooth dongle from Fioo’s sub-brand Snowsky and I will try to share my experience including some comparisons with alternative and/or similar products.

Disclaimer: the Snowsky Retro Nano was sent to me by Fiio free of charge in order to write an honest review. This review represents my personal opinion and it is by no means a promotional or paid content.
At the time of the review, the Snowsky Retro Nano was on sale for about $60 at FiiO's Official Aliexpress Store.

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Technical Specifications​

• Bluetooth Chip → QCC5125 (CPU + DSP dual core architecture)
• Bluetooth version → 5.1
• Bluetooth codec → AAC/SBC/aptX/aptX LL/aptX Adaptive/aptX HD/LDAC
• In-line controls → Supports microphone, volume adjustment, play/pause controls in CTIA protocol
• DAC Chipset → CS43131 * 2
• USB DAC → Driver-free up to PCM 96k
• Output interface → 3.5mm single-ended/4.4mm balanced
• Output power 1: L+R ⩾ 100mW + 100mW (32Ω single ended, THD + N<1%)
• Output power 1: L+R ⩾ 220mW + 220mW (32Ω balanced, THD + N<1%)
• Signal to noise ratio (SNR): ⩾ 128dB (A-weighted)
• THD+N → 0.0018% (1kHz/-4dB@32Ω)
• Noise Floor → PO < 1µV (A-weighted); BAL < 1µv (A-weighted)
• Output impedance → < 0.3Ω (32Ω load)
• Frequency response → 20kHz-40kHz (-3dB)
• Battery → 3.7V rechargeable lithium battery (compatible with similar 10440 batteries), NOT COMPATIBLE with AAA (1.5V) batteries
• Power supply parameters → DC 5V ⎓ 1A
• Charging time ≤ 2 hours
• Declared battery life → about 7.5 hours on a single charge
• Size → 55.1mm * 37.5mm * 13.7mm (L x W x H)
• Colors → White/Blue
• Net weight → 28.3g (including battery)
• Display →0.96-inch 80x160 color IPS

Packaging​

The box is small and you can see the small and cute Retro Nano thanks to transparent plastic on the front. The package contains:

• The Snowsky Retro Nano
• A Type-C to Type-C cable (for charging and data transfer)
• A single 10440 battery (already installed in the battery slot)
• One battery storage case
• Lanyard
• 2 sets of stickers for the Retro Nano body (random colors as stated on the official site)
• Quick start guide
• Warranty card
• Warning card

Design, Build Quality and Buttons​

The Retro Nano looks like an old mini-cassette player, it’s very compact and lightweight, and even though it’s mostly made of plastic it feels sturdy in the hands.
On the front, a very small yet effective display shows some basic information about the status of the device (connection mode, battery life and so on), whereas on the back we there’s a battery slot (and the battery is replaceable since the lid can be opened, but we’ll talk about this in the battery section).



There are 5 buttons in the upper part of the device:

• A multifunction button (mode selector, UI skin switch, enter/exit menu)
• Play/pause button
• Pext track/volume down/switch submenu button
• Previous track/volume up/switch submenu button
• Power Push button

There’s also a microphone hole near the buttons, as the Retro Nano is equipped with a microphone that can be used for calls, voice recording and so on (we’ll talk about the overall recording quality in the sound section).



Unfortunately, there isn’t any “lock” button, which would prevent accidental inputs while the device is in your pocket.

The Type-C port is located on the right side, while on the left side there are the two outputs: a single-ended 3.5mm port and a balanced 4.4mm port.



The lanyard has to be placed at the bottom left of the device, since there’s the lanyard hole.

With the included stickers, you can customize it and make it even more vintage-looking:

UI navigation, features and battery life​

The UI is pretty basic, clean, well organized, you can set between different themes and visuals and navigating through the various menus feels pretty quick and intuitive.

By a prolonged press of the multifunction button, we get to the main menu (and in the same way, you exit from the menu), where we can find:

• CHGPR: option to activate or deactivate charging protection. If this option is active, the USB will stop charging the battery when it’s at 80%. The USB will still provide power for the device system.
• Gain: high or low gain selector.
• EQ: 8 presets + 3 user EQs are supported: Jazz, Pop, Rock, Dance, Class, Hip-Hop, Retro, USER1, USER2, USER3. The USER settings can be customized through the FiiO control app on your phone and it works both in Bluetooth and USB mode.
• Dimmer: this option serves the purpose of adjusting the brightness level and has 4 different levels of brightness.
• OFF-DISO: if no key is pressed within the set time, the screen will automatically turn off. There are 5 options: 15s, 30s, 1min, 5min, NEVER.
• MODE: switch between Bluetooth, PC and phone modes.
• Language: you can choose between Chinese and English
• RESET: this option resets all the settings and pairing information from the Retro Nano.
• VER: Retro Nano firmware version.

At the time of the review, I’m using the V4.6 version of the stock firmware and I haven’t been able to verify if there are newer versions since the “online update” selection on the FiiO app doesn’t work (nothing happens when clicking on it).

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A car mode is present, and it’s also possible to use the device without the battery by using the Type-C cable. In fact, if you remove the battery from its slot, you can still use the device if it’s connected to your phone or PC through the Type-C cable as that allows for direct power delivery to the device.
This is a very smart move from Snowsky, as they have basically created a Bluetooth DAC that can be used as a standard Type-C wired dongle DAC.

Battery life​

From my tests, the battery life of the Retro Nano has been quite satisfying, reaching about 9 hours from the 3.5mm output and around 6.5 hours from the 4.4mm output on a single charge.
The battery is replaceable if you’ll ever have any issue in the future (batteries don’t have an infinite lifespan), and in that case make sure you’re grabbing the right battery. In fact, the Retro Nano uses a 10440 3.7V lithium battery, which is different from your average AAA 1.5V battery both in terms of voltage and size.

In any case, as said above, remember that when the battery runs out or if you’ll have any issue with the stock battery, you can still use the Retro Nano as a wired DAC (it’s not as convenient as it is in Bluetooth mode, that’s for sure, but it’s another way to use the device).

Performance​

Power
For a bluetooth DAC, it’s certainly powerful. Most of the stuff I have runs fine from the Retro Nano, and I am speaking about the Hifiman HE400SE, the Cooler Master MH751 (which are basically a modded version of the Takstar Pro 82), the KSC75, the KPH30i with and without Grado pads, the Snowsky Wind, the Meze 99 Classics and the Sennheiser HD25-1 II. I also had the chance to try the Beyerdynamic DT770 Pro 80Ω version, and they ran fine as well.

The 3.5mm output is more than enough for most IEMs, whereas the 4.4mm output can push a whopping 220mW@32Ω which is pretty good for such a small and portable bluetooth dongle.

Sound
No background hiss even when using high-sensitivity/low-impedance IEMs, no strange noises when connecting/disconnecting the earphones/headphones, no issues from the main ports in general.
For a Bluetooth DAC, I can say this is satisfying. Both in Bluetooth and DAC mode, I can hear that the device is just a small step behind similarly priced wired dongles, especially in terms of overall precision. In fact, the resolution and detail retrieval aren’t as good as on dedicated wired dongles (yet very good and perfect for 99% of the people out there), but that was somehow foreseeable since for the same price you also have a dedicated display, a battery, a bluetooth chip, and so on. It’s a device that goes for more versatility and I kinda like the value proposition in this case.
I can’t hear particular coloration too, so I can say that the Retro Nano outputs a neutral sound overall, something that those who don’t like warmer or brighter sources will definitely appreciate.

The microphone records similarly to the FiiO BTR11: same overall recording quality and similar (non) effectiveness of the electronic noise cancellation of the environmental noises. I have tried to use it for calls outside and it's barely usable in very quiet places.

Some comparisons:​

Snosky Retro Nano vs Fiio BTR11

The BTR11 is priced way below the Retro Nano and it’s pretty easy to notice that: the power output is lower on the BTR11, the sound quality lags behind the Retro Nano (even though it’s still super respectable as the BTR11 costs only about 20$), and the feature-pack of the Retro Nano is just superior, also offering better Bluetooth codecs, parametric EQ, USB DAC mode, removable battery and so on.
The integrated microphone is also a touch better on the Retro Nano, even though the noise-cancellation of the surrounding noises is still below the expectations.
Overall, the Retro Nano is worth the price jump and I strongly suggest getting the more expensive device because this is one of those cases in which putting more cash on the table means having something better in your pocket.

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Snowsky Echo Mini vs Snowsky Retro Nano

Straight to the point, I think that the Echo Mini sounds better than the Retro Nano both in bluetooth and wired mode. It’s a bit more powerful and less lean with better dynamics, better end-to-end extension, and it sounds “fuller” overall.
However, the Echo Mini still needs some proper updates to the firmware to become as practical and functional as the Echo Mini, since the Echo Mini can work as a USB DAC (even without the battery, you can connect it through the Type-C cable and use it) for your PC or phone, you can use it just like the Fiio BTR11 as a bluetooth DAC with LDAC compatibility, you can use it for audiobooks or very long live-recorded tracks thanks to the fast-forward and rewind functions, you can set customized EQ profiles… there are a lot more things you can do with it, let’s put it this way, and it also has a removable battery!
I find myself using the Retro Nano a lot more, I am not gonna lie.

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Snowsky Retro Nano vs Fosi DS2, Truthear SHIO and Dunu DTC480 dongles

I’ll be straightforward: in terms of sound quality, the Retro Nano can’t beat any of these devices. All of them sound slightly fuller, more refined, more detailed and more capable when it comes to portraying a bigger soundstage, and they are generally more resolving overall. However, in terms of power, the DTC480 lags behind the Retro Nano, which is something for which we have to endorse the Retro Nano.
I think these devices have different purposes and the main reason why I have decided to write a small comparison is because most people need to understand that some products exist because they satisfy a different need.
The people at FiiO know that the Snowsky Retro Nano isn’t going to blow the Truthear SHIO, the Fosi DS2 and the Dunu DTC480 out of the water, nor do they think that they have released something that can completely replace the above mentioned dongles.
The Retro Nano exists because there are people who want a strong Bluetooth DAC contender, who’s able to guarantee a no-wires, no-frills experience to those who want a versatile option to carry outside when using a wired dongle would be uncomfortable.

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Final Thoughts​

I have spent most of the good words in the previous paragraphs, so there isn’t much left to say down here, and all I can say is that the Retro Nano is a very interesting, good looking and full-packed Bluetooth dongle with a strong value proposition.
If you are in the market for a Bluetooth DAC that could also work as a wired dongle, look no further: Snowsky has raised the bar again and I cannot wait to see new things from them and also how competitors will respond to this release.

Introduction​

Snowsky, as many of you probably already know about, is a new FiiO owned sub-brand that’s focusing on old-school looking portable gear. Together with the Snowsky Echo Mini and Retro Nano, the Snowsky on-ear headphones were released targeting those who like vintage-looking headphones like the ones that used to be shipped with older walkman players.
In this review, I’ll be sharing my own opinion on the Snowsky Wind and I will try to compare it with some of its peers.

Disclaimer: the Snowsky Wind were sent to me by FiiO so that I could write an honest review. This review represents my personal opinion on the set, it isn't promotional or paid content and I don’t get any revenue from the sales of this product.
At the time of the review, the Snowsky were sold for $19.99 at FiiO's Official Aliexpress Store.

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Technical Specifications​

• Driver Configuration → 1 x 40mm Dynamic Driver (Japan Imported PET Composite Diaphgram)
• Impedance → 32 Ω
• Spec-sheet Frequency Response → 20Hz-20kHz
• Sensitivity → 116 dB/Vrms@1kHz
• Cable → 1.25m braided fixed cable
• Plug Type → 3.5mm

Packaging​

The packaging of the Snowsky Wind is very colored yet pretty basic inside. In fact, it only contains:

• The Snowsky Wind
• A pair of spare/replacement pads
• User manual

I want to add that some brands include very few tips or no accessories, yet FiiO still included one pair of spare pads for such a cheap price (and this is a big plus).

Design, Build Quality, Comfort and Isolation​

The combination between the plastic ear cups and the metal headband makes up for a good looking, lightweight and sturdy set for your everyday usage. The design kind-of reminds me the old Sony MDR-3, a vintage pair of headphones that were sold together with their TPS-L2 cassette player (curiosity: this is the cassette player from which Moondrop has designed the case of their Golden Ages 1979 TWS set).
The pads can swivel a bit, the clamping force is not a problem at all, the comfort is amazing and they don’t become uncomfortable on the head even after very long sessions.
Isolation is not a thing, just like with any other on-ear headphone.

If anything, despite the very light pressure applied on the ears can seem like an overly positive thing, having a bit more clamping force would help keeping the headphones in a more stable fit while running or doing some activity that involves moving.
Since I use this set mostly when I am sitting at my desk, this doesn’t bother me and instead I’m super happy that they gently stay on my ears without bothering me even after very long sessions.

Cable​

The cable is fixed, it’s very flexible and lightweight and my only complaint is that there isn’t any strain relief near the earcups. I am very careful with every set that I get my hands on, but those who aren’t should be careful while carrying these in a backpack without any sort of case/cover (and, well, I am not going to complain for the absence of a case, especially considering the price of the Wind).
There is a remote mic on the cable and I will try to include a test in the sound section so that everyone can have an idea on its recording performance (don’t expect studio-grade recording capabilities, so keep your expectations on the lower side).

Sound​

GEAR USED FOR THE TEST

• DAC: Topping E30
• AMP: Topping L30, FiiO A3
• Mobile phones: Samsung Galaxy S7 Edge, Xiaomi Mi A3, Samsung Galaxy S23 Ultra
• Moondrop May’s DSP cable with PEQ=0
• Wired Dongles: Apple Type-C dongle, Fosi DS2, Hidizs XO, RZ200M dongle
• Bluetooth DACs: Snowsky Retro Nano
• Portable DAPs: Snowsky Echo Mini, Benjie S8/AGPTEK M30B
• Bluetooth Adapters: KBEAR S1, KZ AZ10
• Other sources: Presonus AudioBox iONE, Elgato Wave XLR

Amplifier needed?
No, it’s not strictly needed, even though using a good source is always a good idea.

Let’s speak about the sound.
The Snowsky Wind are V-shaped with some emphasis on the bass and treble regions.
Since these are on-ear headphones, the sub-bass isn’t as visceral as it is on some closed-back cans or IEMs, but it’s there and you can hear it even though you don't really “feel” the rumble. The bass, instead, is punchy and adds some proper dynamism to the overall sound. It’s not the fastest or most textured bass around, but it sounds fun.
The midrange is slightly scooped in but this doesn’t really cause any coherency issue whatsoever; the main issue is that the vocals are pushed backwards so if you’re searching for a pair of on-ear cans to listen to your favourite singer’s voice, then these are not for you (or, better said, these could be for you if you’re able to accept this compromise).
The treble is spicy and this adds some air and sparkle to the overall sound, but I think these could and should have been smoother. The detail retrieval is pretty good too, but this comes at the expense of a slightly more fatiguing treble. The main point isn’t about these being brighter, the point is having some mid-range recession and then some treble peaks, which cause some spiciness that doesn’t translate in a constantly bright sound (which would be somewhat “smoother”).
I honestly like them anyway as treble peaks don’t really bother me if the sound is still fun and far from being like a sewing needle in my ears, but I get that some may not like the treble tuning here.

The soundstage rendering is pretty wide yet with very limited depth and height, and the imaging is fairly precise as well, especially considering the price range and the type of product.

Is “Grado Pads mod even a thing here?”
No, it isn’t. The Wind become very sibilant, super bright and the bass decreases so much that they become unusable, at least in my opinion.

Are they something I would use considering my taste and preferences?
Yes. The fun-oriented tuning and the exceptional comfort make up for a great day-to-day set, especially when you don’t need outstanding performance or when you need to have a soft music background while doing other things. Low volume daily companion, this is what I consider them.

Sound​

Snowsky Wind vs ROSESELSA Distant Mountain

The Wind play in a league on their own when it comes to comfort, since the Distant Mountain have a lot of clamping force and become uncomfortable after about 15 minutes of listening. Sure, you can always stretch them over books for some time, but if we speak about the out-of-the-box experience, the Wind are much more comfortable. If we speak about pure technical performance, the Distant Mountain take the lead: better low-end punch and textures, faster bass, superior resolution, and even better imaging. The Wind, instead, have a wider soundstage and they are slightly less weird when it comes to vocals, even though they still have a pretty spicy treble that treble-sensitive folks aren’t gonna like.
If you like EQing, the Distant Mountain are very good since the driver quality is superior, but if you want a ready-to-play set, then the Wind are very good for the price (the Distant mountain costs about 3.5x times the price of the Wind, so…).
The build quality of the Distant Mountain is a lot better than the Wind, but we’re talking about a much higher price as well.
The Distant Mountain come with better packaging and accessories and a better cable, which is also detachable (the Wind, instead, have a fixed cable).

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Snowsky Wind vs Koss KSC75

Everyone wants to know if the Wind can beat the budget on-ear king aka Koss KSC75, and the short answer is “nope”. The Wind provide for a more traditional wearing experience thanks to the flexible metal headband, but if you don’t dislike clip-on earphones the true advantages of the Wind end here.
The Wind are more V-shaped, with a more recessed midrange and a spicier treble. The KSC75, on the other hand, still have some low-end, but the fact is that the midrange isn’t as recessed as on the Wind so they end up having less “body” in the low-end. The KSC75 still dominate when it comes to the midrange and treble, with more forward and more lively vocals, better resolution and slightly superior detail retrieval, along with a more coherent response that is constantly on the brighter side without true peaks, so they end up being smoother and more natural overall. The Wind seem to play in a more open sound field because the midrange recession helps in this regard, and the low-end is a tad punchier, but the KSC75 win on every other aspect in my opinion.
The build quality is better on the Wind, that also look and feel more flexible for the day-to-day usage.
Comfort is great on both, depending on what you prefer. The cable of the KSC75 is worse and doesn’t even have an in-line microphone (which is a missed opportunity). The Wind come with a better packaging and a pair of spare pads, whereas the KSC75 come with nothing else in the box.

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Snowsky Wind vs Koss KPH30i

The KHP30i are warmer, they have better note weight and slightly superior textures, and this mostly because the more polite treble makes up for a warmer, more mature and slightly fuller sound. The midrange is less recessed on the KPH30i, with slightly leaner vocals and a more mature yet less detailed treble response. The Wind, on their side, play in a wider soundstage and can extract a few more bits of information, but this comes at the expense of a more fatiguing sound overall, especially if you listen at medium to high volumes.
The imaging is mostly on par with a slight advantage for the Wind, mostly because of the more emphasized treble and the wider soundstage.
When it comes to comfort, the Wind are easier to like because they have very little clamping force, whereas the KHP30i have some clamping (even though it’s not dramatic), but I like the fact that the KPH30i clamp a bit more because this gives the bass more weight (the driver pushes a bit more on the ears) and the headphones are a bit more stable on my head while I am walking or doing something at home. Isolation is not a thing on both, maybe the KPH30i insulate a tad more because of the slightly stronger clamp.
The build quality is so-so on the KPH30i and the Wind look and feel more flexible and less delicate for daily usage.
Packaging and accessories are better on the Wind, since they also come with a set of spare pads, whereas the KPH30i’s in-line microphone is better.
You can do the Grado Pads mod on the KPH30i, you can’t with the Wind.
The KPH30i cost almost twice as much as the Wind, at least here in Europe, but I would honestly spend what I’ve spent for the KPH30i again, again and again.

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Snowsky Wind vs Shini S520

It’s surprising to see the Shini S520 compared with pricier on-ear sets, especially because it costs as much as a coffee-break.
Even though you can’t expect the same level of performance of the Wind, I’d say that the S520 are a great starting point, with a very respectable tuning for such a low price. I am not even going to discuss about the technical aspects since the Wind completely delete the S520 when it comes to soundstage, imaging and detail retrieval, but if I have to give the edge to the S520 on something in particular, then it’s the midrange, which is more forward and more natural than on the Wind. The Wind sound a bit more “old-school”, more V-shaped, more technical yet less neutral.
The S520 come in a plastic bag, so packaging isn’t even a thing. Comfort goes to the Wind hands down, isolation is non-existent on both sets.

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Final Thoughts​

If we consider that the Wind are the first on-ear headphone from Snowsky, I can only say that they’ve done a good job: this vintage-looking set sounds fun, it’s super lightweight, the technical performance is pretty good for the price and the price itself is very attractive. I don’t think it’s a perfect set because of the spicy treble and the recessed midrange that cause some timbrical inconsistencies, especially at higher volumes, but everything else makes up for an affordable set that is correctly priced and that sounds fun enough to be worth picking up.

In my opinion, the KSC75 and KPH30i still dominate in their respective price tags, but the Wind is a breath of fresh air and I really hope to see Snowsky releasing an upgraded/improved version of the Wind, trying to face and beat Koss’ products that are still the undisputed kings of the affordable on-ear market.

Introduction​

Well, a lot of time has passed since the last time I’ve tried a portable DAP. In fact, I do not own any DAP right now besides my old yet functional AGPTEK M30B (a.k.a. Benjie S8), so receiving the Snowsky Echo Mini is a breath of fresh air for me.
In this review, I will try to share what I think about this new DAP from Snowsky, a new brand under Fiio’s hat that focuses on portable gear with a focus on nostalgia-driven devices and vintage designs. I will also try to provide some comparisons between this solution and the more common pairing between a phone and a good dongle DAC, so let’s get straight into the review.

Disclaimer: the Snowsky Echo Mini was sent to me by Fiio free of charge in order to write an honest review. This review represents my personal opinion and it is by no means a promotional or paid content.
At the time of the review, the Snowsky Echo Mini was on sale for about $60 at Fiio’s website.

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EDIT: increased rating from 4/5 to 4.5/5, they are updating the device, they're adding functions and correcting bugs. It's a super device (not perfect yet great for the price).

Technical Specifications​

• DAC Chipset → CS43131 * 2
• Built-in Storage → 8GB
• External storage → TF Card (Micro SD), support up to 256GB
• Bluetooth codec → SBC
• Bluetooth version → 5.3
• Supported formats → DSD (64/128/256), WAV (24bit/192k), FLAC (24bit/192k), APE (24bit/96K), MP3, M4A, OGG
• Output interface → 3.5mm single-ended/4.4mm balanced
• Output power 1: L+R ⩾ 100mW + 100mW (32Ω single ended, THD + N<1%)
• Output power 1: L+R ⩾ 250mW + 250mW (32Ω balanced, THD + N<1%)
• Signal to noise ratio (SNR): ⩾ 131dB (32Ω A-weighted)
• THD+N → 0.0004%
• Noise Floor → 0.8Uv
• Battery capacity → 1100mAh
• Declared battery life → 15 hours
• Size → 80mm * 54.5mm * 14.5mm (L x W x H)
• Colors → Black/Cyan/Pink
• Net weight → 55g
• Display → 1.99-inch color LCD

Packaging​

The box looks super cool thanks to the “young-age” colors thanks to the reference to the golden ages of walkmen. It includes:

• The Snowsky Echo Mini
• A Type-C to Type-C cable (for charging and data transfer)
• User manual and warranty card

Since there’s also a lanyard hole on one side, not including one is a missed opportunity.

Design, Build Quality and Buttons​

The Echo Mini looks like an old cassette player and this is already a good selling point: those who are nostalgic about the golden era of cassette players and/or walkmen will definitely fall in love with the design. The build quality is exactly what you’d expect from a budget DAP: a well assembled plastic body, plastic buttons, an LCD screen and that’s it. It’s sturdy, it looks pretty durable, just make sure you’ll take care of it (at least the bare minimum attention).

The back shows a battery slot that is (unfortunately) not usable, so you can’t open it to hot-swap the battery and it’s there just for the sake of the design.



There are six buttons on top:

• A multifunction button (power on/off, screen on/off and so on)
• Volume up (also operates as a UI navigator and “previous track” button)
• Volume down (also operates as a UI navigator and “next track” button)
• A play/pause button (also operates as “enter” while navigating and operating in the UI)
• An “options” button (speaks for itself)
• A “back” button (another one that speaks for itself)

There is no lock button as accidental inputs can happen while keeping the player in your pocket.



On the right side of the player we find a 3.5mm port (single-ended), a 4.4mm port (balanced) and a reset button that requires a sewing needle or something very thin to be used.



On the left, instead, we find the memory card slot, the Type-C port and a lanyard hole.

UI navigation, features and battery life​

The UI looks pretty clean and well organized, and there is basically a white theme and a black theme to choose from. Navigating through the various menus and options doesn’t feel laggy and instead it’s a quite responsive device that provides for a very intuitive and no-frills user experience.

There’s a file browser, a playlist menu, a “now playing” section, a “music settings” menu and a “system settings” menu.
One by one:

• The file browser lets you navigate through the various folders (both in the root folder and in the microSD) and eventually delete the files that you don’t want anymore.
• The playlist section speaks for itself
• The Now Playing section moves you to the track that’s being reproduced
• The music settings menu lets you select an equalizer preset, a filter, a different type of repeat/shuffle function, the max volume limit and there’s also a gain adjustment (which is set to high by default)
• The system settings menu has some “general” settings such as the bluetooth pairing (you can pair the device with an output device such as bluetooth speakers or TWS earphones), screen and brightness settings, energy saving settings, date and time, interface style, language, factory reset and format functions and there are also some informations about the current software version and about the supported formats.

What’s missing?

• Parametric EQ
• Rewind and fast forward in tracks (big no for those who like audiobooks or those who listen to very long live-recorded tracks.
• USB-DAC mode (this is a missed opportunity)
• Gapless playback: this is a pretty annoying lack since some albums are made to be listened continuously and with no pause between each track
• 256GB max for the microSD card is not a lot of space if you want to carry a lot of albums, DSD files and so on
• only SBC as bluetooth codec

I think that Fiio still needs to invest some time and effort in this new Snowsky Echo Mini: the overall software is very intuitive and runs smoothly but some features need to be added and/or refined to provide for a fuller user experience.

At the time of the review, I’m using the 1.2.7 version of the stock software that includes some fixes from the previous 1.1.0, from which I have upgraded. You can find the firmware updates on Fiio’s website and they are very easy to install: download the zip, unzip it, put the firmware file into the root folder, remove the memory card from the player and turn it ON. The installer has no percentage of completion but it doesn’t take a lot of time (around 20-25 seconds on my sample to update from 1.1.0 to 1.2.7) and when the device turns OFF just turn it ON again and check if the new version has been installed.

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Battery life​

The declared battery life of 15 hours is not impossible to reach, but I doubt it will be possible to use the Echo Mini for 15 hours from the balanced output and at sustained volume levels. From my experience, I have been able to average around 12 hours using IEMs from the balanced output, whereas 8-9 hours are a more realistic average when it comes to driving my HE400SE (all with .flac files, gain level set to high and level 3 brightness) at medium volume levels. Be aware that my average listening time wasn’t measured with continuous reproduction tests and I am mostly speaking about real-life usage in multiple days.
In any case, it's a very respectable battery life and I can see myself carrying this device around without worrying too much about the battery life.

Performance​

Power
There’s a good amount of power from the two outputs, and I gotta admit that the 3.5mm was already enough to play some proper music with my HE400SE. At medium volume, it was already pretty high and above my average level of loudness for sure.
From the balanced output, the sound was clearly louder even though the differences in terms of sound weren’t very noticeable. The HE400SE sound a tad better through the balanced output but the loudness was the major differentiating factor.
I’d say you’re not going to have any issues with most IEMs (I’d also expose myself by saying that you’ll be able to drive basically every IEM) and a good number of over-ear cans except for a few cases that require stronger sources.
The KSC75 aren’t hard to drive, but for reference, they are VERY loud after 30/60 volume from the 3.5mm single-ended port of the Echo Mini; going above 35/60 would mean putting my own hearing at risk, so there’s plenty of power.

Sound
There is no background hiss even when very sensitive IEMs are connected, there isn’t any pop or strange noise when plugging-in/unplugging earphones from the output ports and overall everything sounds clean.
The sound is mostly on the neutral side, the resolution is very good for the price, and considering that we’re speaking about a digital player (that also sports a screen and some other features), I am pretty happy with the performance.
If I compare it with some of the most interesting dongles from 50$ to 100$, then the sound is a touch below in terms of detail retrieval and resolution, but they aren’t standalone products and this is probably the real selling point of this tiny yet well packed piece of tech.

Some comparisons:​

Snowsky Echo Mini vs Retro Nano
Straight to the point, I think that the Echo Mini sounds better than the Retro Nano both in bluetooth and wired mode. It’s a bit more powerful and less lean with better dynamics, perceivable superior end-to-end extension, and it sounds a tad “fuller” overall.
However, the Echo Mini still needs some proper updates to the firmware to become as practical and functional as the Echo Mini, since the Echo Mini can work as a USB DAC (even without the battery, you can connect it through the Type-C cable and use it) for your PC or phone, you can use it just like the Fiio BTR11 as a bluetooth DAC with LDAC compatibility, you can set customized EQ profiles… there are a lot more things you can do with it, let’s put it this way, and it also has a removable battery!
I find myself reaching for the Retro Nano a lot more, I am not gonna lie.

Snowsky Echo Mini vs Smartphone + Fosi DS2, Truthear SHIO and Dunu DTC480
Since I do not have other comparable DAPs, I think that clarifying the main differences between the two “choices” could be useful for some.

Some people periodically ask me why they should buy a portable DAP instead of just getting a dongle DAC and connecting it to a phone.
Well, there is a big difference, and that’s basically the willingness of the listener to have a device that is dedicated to music listening and that doesn’t have any other distraction on it.
On the other hand, suggesting to buy a dongle DAC and using it paired with your day-to-day smartphone is a very good idea and nowadays it’s what I suggest the most.

The Echo Mini has a very interesting price and this question will probably get raised again, so how does it compare with some well-equipped dongles that can be bought for the same price as the Echo Mini?
The Fosi DS2, for example, is more powerful and has better resolution and extension on both sides of the spectrum overall, and the same applies for the Truthear SHIO. The DTC480, for example, is not more powerful than the Echo Mini, but the sound quality is a touch better overall with better note weight overall and slightly superior end-to-end extension.
The Echo Mini shines in its category because it’s a unique product that focuses on its “stand-alone” usability, a thing that was basically disappeared in its price range in the latest years (after Benjie players progressively faded out), and even though it’s not the strongest performer in terms of technical prowess, it still has a category on its own, providing for a breath of fresh air in a market that is filled by dongle DACs only.

Final Thoughts​

The Echo Mini is a very interesting, well-packed and great sounding portable DAP that’s born to be a standalone device, a thing that is in contrast with the actual market trend of releasing and selling tons of dongle DACs that still need a phone or similar device to be used on the go.
It’s not a perfect product, and in a very short time-frame a few updates have already fixed some things and added a few controls, so I am confident that Fiio will improve this little device with future updates. In fact, there are things like the lac of fast forward/rewind and the gapless playback that would contribute at making this a lot more interesting, features that I was honestly expecting by the Echo Mini along with some other things that I am missing.

Overall, after mentioning all the strengths and weaknesses of the Echo Mini, I am happy to recommend it for this price: it’s a concrete device that does most things well and that provides for a very intuitive user experience along with powerful outputs and great sound quality.
Cannot wait to see newer products from Snowsky.

Introduction​

ARTTI is not new in the Chi-Fi landscape, but their IEMs are certainly “new” for me since I have never been able to test anything from this company.
The T10 Pro is the first IEM that I am able to try from this brand, and in this review I will dig deep into the latest T10 Pro and compare them with some peers.

Disclaimer: the ARTTI T10 Pro were sent to me by ARTTI so that I could write an honest review. This review represents my personal opinion on the set, it isn't promotional or paid content and I don’t get any revenue from the sales of this product.
At the time of the review, the ARTTI T10 Pro were on sale for about $135 at ARTTI’s official website.

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Technical Specifications​

• Driver Configuration → 1 x 14.2mm Planar Magnetic driver
• Impedance → 16.5 Ω
• Spec-sheet Frequency Response → 20Hz-20kHz
• Sensitivity → 96 dB/mW @ 1kHz
• Cable → 1.2m OFC cable with 0.78mm 2-PIN connectors
• Plugs → 4.4mm + 3.5mm modular plugs

Packaging​

The packaging of the ARTTI T10 Pro is full-packed and well accessorized. There isn’t any kind of anime girl painting or other useless gadgets (at least, I find some of them very useless when included), and instead useful things only.
The box is very simple overall and contains:

• The ARTTI T10 Pro
• The detachable cable with modular plugs (you can use either the 3.5mm jack or the 4.4mm jack)
• One set of wide bore tips (S, M, L sizes)
• One set of narrow(er) bore tips (S, S-M, M, L sizes)
• An ARTTI-branded hard carry care
• User manual

Design, Build Quality, Comfort and Isolation​

The design is very simple and elegant, the shells are made of stainless steel and they are well assembled, the shells don’t have any sharp edges and are quite small so they can fit into smaller ears as well.

Isolation is average and with the right tips there’s no need to excessively increase the volume to cover outside noises.

Cable​

The cable has modular plugs so you can either use it with 4.4mm jack or 3.5mm jack based on your source port. The cable is of good quality and it’s basically in-line with the price range, even though there are some IEMs sold for lower prices that include better cables (i.e. the Dunu Kima 2, the Rose Technics QuietSea and so on). If anything, the ear-hooks could have been softer and/or have a more rubberized texture.

Sound​

GEAR USED FOR THE TEST

• DAC: Topping E30
• AMP: Topping L30, Fiio A3
• Mobile phones: Samsung Galaxy S7 Edge, Xiaomi Mi A3, Samsung Galaxy S23 Ultra
• Moondrop May’s DSP cable with PEQ=0
• Dongle: Apple Type-C dongle, Fosi DS2, Hidizs XO
• Portable DAPs: Benjie S8/AGPTEK M30B
• Bluetooth Adapters: KBEAR S1, KZ AZ10
• Other sources: Presonus AudioBox iONE, Elgato Wave XLR

Amplifier needed?
The ARTTI T10 Pro don’t strictly need a powerful source to play, but I think they need one to shine and to fully show their potential.

Let’s speak about the sound.
The ARTTI T10 Pro is basically the smoothest and most natural planar IEM in my collection, but it’s also the thicker-sounding one.
The T10 Pro won’t be your favourite IEM for detail retrieval and smallest nuances, and this is because it’s not a treble-boosted IEM with a very forward upper end. The treble is there, it’s well-extended on the far right of the spectrum and the T10 Pro can actually retrieve a good amount of details without the need of an aggressively boosted treble or upper midrange boost, but everything is kind-of toned down providing for a non-fatiguing and polite treble. This doesn’t only make them smoother, but it also makes sure that they don’t sound thin and that the bass comes out as richer and more “present” in the mix, with nice punch and textures for a planar unit without sacrificing transients’ speed. I can somehow understand that I am listening to a planar driver because DDs usually have that “special sauce” when it comes to the bass slam and sub-bass depth, but this gets so close that I don’t really care and just enjoy. Sure, the sub-bass doesn’t dig as deep but the low-end extension here is very satisfying for a planar unit and those who like bass will definitely like this.
The midrange is natural with proper male vocals’ body and on-point female vocals that never become hot or sibilant. The instruments have the right body and presence in the mix, they’re well separated and there aren’t timbrical inconsistencies.
The soundstage is pretty spacious with good depth and width, even though the height is only average. The imaging is very precise and this provides for a correct placement in the (already good) portrayed soundscape.

I haven’t had the chance to try the older T10, but the specs kind-of tell me that the Pro version could use the same driver basically (or a very similar unit, if I am not mistaken), so if you come from the cheaper model I’d suggest you to try EQing your unit.

Are they something I would use considering my taste and preferences?
Yes, and in fact I am using them a lot.
Great day-to-day set considering my playlist (it ranges from D’nB to dubstep, then vocal-centric music, then Pop-Rock, old-school rap and also some Country Pop and old-school Rock). The low-end is rich, just as I like.
I haven’t found a single genre that doesn’t work with the T10 Pro, especially considering my playlists, but I can also understand that some would prefer a touch less low-end and more sparkle.

Some comparisons​

ARTTI T10 Pro vs NiceHCK F1 Pro

The T10 Pro comes on top when it comes to tonality and timbre, with better coherency along the spectrum and smoothness. The F1 Pro sounds a bit more detailed and a touch faster, but they have a sharper and more fatiguing treble, a more forward and emphasized upper midrange and they generally sound thinner than the T10 Pro. The F1 Pro also has a great bass reproduction but there’s less body than on the T10 Pro so that also plays a role into the overall sound reproduction by directly impacting the timbre and tonality. Soundstage, imaging and separation are better on the T10 Pro.
When it comes to build quality, design and overall size, both are super sturdy and pretty small, so they feel and fit pretty well even in smaller ears. Isolation is basically the same.
The F1 Pro come with a wider selection of tips and a slightly softer cable, even though it doesn’t have modular plugs like T10 Pro’s stock cable.

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ARTTI T10 Pro vs Hidizs MP145

Unfortunately, my sample of the MP145 suddenly died and even after asking for some help from the brand I haven’t been able to get an answer or assistance. Luckily, though, I have a close friend who bought the MP145 so I can use his sample for the comparisons.
The T10 Pro sound a touch more natural and effortless than the MP145, with slightly better timbre and more correct tonality, and this probably because of the 8kHz peak that characterizes the MP145. The bass is perceived as slightly thicker and the absence of the 8kHz peak makes things smoother and adds body to most vocals. From a technical perspective, the MP145 have a wider soundstage but the imaging and instrument separation is very similar.
The MP145 come with interchangeable filters so there’s a bit of versatility even though one is basically gonna settle with one filter only in most cases.
Build quality is good on both but the T10 Pro are less prone to scratches. The MP145 are big and bulky, whereas the T10 Pro are smaller and more lightweight and will fit even in very small ears. The overall packaging and accessories are basically of the same level, except for wider tips selection of the MP145.
I would pick the T10 Pro any day as the only thing for which I prefer the MP145 is the bigger soundstage, even though the T10 Pro are already capable of portraying a pretty spacious soundscape.

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ARTTI T10 Pro vs KZ PRX

The PRX are among my favourite sets because of their scaling capabilities and, honestly, because they are tuned very well considering the past sets from KZ.
Actually, you can tell that the T10 Pro are priced above the PRX from the first moment, but I bet you’d struggle to tell by how much.
The overall response of the PRX is slightly brighter with a touch less mid-bass and similar sub-bass levels, with the T10 Pro sounding smoother and more refined and with better tone weight. On the other hand, the PRX are a touch more engaging when it comes to cymbals and female vocals, even though the treble extension is slightly better on the T10 Pro.
Soundstage is wider and deeper on the T10 Pro with similar height, imaging is a bit more precise on the T10 Pro even though the PRX performs very well for the price and honestly goes toe-to-toe with the T10 Pro. In some ways, especially when it comes to the overall dynamics, I prefer the added brightness on the PRX, even though this comes at the expense of a more perceivable planar timbre with respect to the T10 Pro.
Build quality, packaging and accessories go to the T10 Pro.
Are the T10 Pro worth almost twice as much as the PRX? I doubt it, as the law of diminishing returns is undeniable, but those who are willing to save up and get the pricier one will definitely benefit from the smoother and more refined sound.

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ARTTI T10 Pro vs SGOR Luna

The price difference here is really big as we’re speaking about a 40$ set vs a 135$ set, but I think it’s worth comparing these to give an idea of the difference.
The T10 Pro are smoother, warmer, more natural, more refined, with better note weight and more emphasized low-end. The overall tuning of the Luna is more neutral and leaner with more emphasized upper-mids and treble and thinner notes. The soundstage and imaging are better on the T10 Pro.
It’s pretty curious to use the Luna and then plug the T10 Pro immediately after, as it’s pretty clear that you pay for the better quality and the superior refinements. However, it’s also very evident that Luna’s capabilities are crazy considering their price, with a technical ability that is perfectly comparable during busy passages. What makes more expensive planars better than cheaper ones is basically how they’re implemented and how is the company able to fine tune the sound, things that usually directly impact the price and thus are not done with the same attention in lower price brackets.
The build quality of the Luna is very solid, but the T10 Pro are smaller, more comfortable, and they also come with better cable and accessories.

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Final Thoughts​

The T10 Pro may not be the strongest planars out there in terms of technical prowess, micro-detailing capabilities and dynamics, but they sound super smooth, thick and refined and this makes them stand out much more than many other planar IEMs on the market.
I don’t know about the ARTTI T10, and I would probably refuse to upgrade from it to the “Pro” model if I had the OG model, but I perfectly know what I’m hearing with the T10 Pro and my ears are liking them so far; so, if you are on the market for a punchy, smooth sounding planar set with a pleasant and non-fatiguing response, look no further as these could have everything you search for.

Introduction​

ROSESELSA, formerly known as Rose Technics, isn’t a new brand in the Chi-Fi landscape. They have produced and sold many IEMs but this is the first time they come out with a pair of on-ear headphones.
Let’s see how they perform and how they fare against similar products.

SPOILER: THEY COULD BE AN EASY 4.5/5 BUT THERE ARE A FEW THINGS THAT KILL ONE STAR OUT OF FIVE (WHICH CAN BE EASILY FIXED).

Disclaimer: the ROSESELSA Distant Mountain were sent to me by HiFiGO so that I could write an honest review. This review represents my personal opinion on the set, it isn't promotional or paid content and I don’t get any revenue from the sales of this product.
At the time of the review, the ROSESELSA Distant Mountain were sold for $64.99 at HiFiGO.

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Technical Specifications​

• Driver Configuration → 1 x 40mm Dynamic Driver
• Impedance → 32 Ω
• Spec-sheet Frequency Response → 20Hz-20kHz
• Sensitivity → 115 dB
• Cable → 1.25m braided cable with MMCX connectors
• Plug Type → 3.5mm

RZ200M dongle specs:

• Plug Type: 3.5mm to Type C
• Chip: ALC5686 Decoder Chip
• Signal-to-Noise Ratio (SNR): 124 dB
• Total Harmonic Distortion (THD): -95 dB
• PCM Sampling Rate: 32bits/384KHz
• Frequency Response Range: 20Hz – 20000Hz
• Dynamic Range: 113 dB
• Output Load: 3.0V – 5.5V
• Output Power: 22.5mW @ 32Ω

Packaging​

The packaging of the ROSESELSA Distant Mountain looks very good and well designed. It contains:

• The ROSESELSA Distant Mountain
• A pair of Donut Pads (this is the first time I see donut pads of this size)
• The RZ200M Type-C dongle
• A plastic anime gadget (a lot of brands are including something like this nowadays, even though I don’t think it’s a useful addition)
• User manual

Design, Build Quality, Comfort and Isolation​

The Distant Mountain are very solid, they feel premium in the hands and they also look very unique also thanks to the well managed combinations between the materials (metal, plastic and pleather) and colors.
The headband is adjustable and feels sturdy while adjusting it and the two drivers are hidden by a metal mesh. The driver shells are perforated leading to an open-back design.



Comfort is so-so, they feel super safe on the head and I haven’t experienced any situation in which they were falling off my head. However, the two pads don’t have any headroom to slightly move horizontally or vertically, so they basically push on the ears while remaining flat with no swivel at all (and this can cause some discomfort after some time), and the pressure is mostly concentrated on the lower part of the earpieces. Not only that, this can also cause sound differences depending on how they sit on the ears and this may vary from user to user.



Isolation is not a thing when speaking about on-ear headphones, and the Distant Mountain are no exception: they don’t isolate from the surrounding environment so you can hear everything around and everyone can catch what’s being reproduced. I bet that I will be able to fully appreciate them for my daily commuting during summer season thanks to their breathable pads.

The cable is not fixed (good thing) and in fact MMCX connectors have been used.

Cable​

The cable is detachable and it looks and feels very good. It was very hard for me to connect it before the first usage, so be careful as you may break it if you don’t have enough patience. Once connected, though, it’s super solid and I am happy that ROSESELSA designed the Distant Mountain with a detachable cable.
There’s a remote control and microphone on the cable as well, so you can use it for calls and similar tasks.

Sound​

GEAR USED FOR THE TEST

• DAC: Topping E30
• AMP: Topping L30, Fiio A3
• Mobile phones: Samsung Galaxy S7 Edge, Xiaomi Mi A3, Samsung Galaxy S23 Ultra
• Moondrop May’s DSP cable with PEQ=0
• Dongle: Apple Type-C dongle, Fosi DS2, Hidizs XO, RZ200M dongle
• Portable DAPs: Benjie S8/AGPTEK M30B
• Bluetooth Adapters: KBEAR S1, KZ AZ10
• Other sources: Presonus AudioBox iONE, Elgato Wave XLR

Amplifier needed?
The ROSESELSA Distant Mountain don’t strictly need amplification, even though some proper amplification can help with the overall dynamics. I suggest pairing them with a warm source since they’re a bit bright overall, as this would provide for a richer low-end (counterbalancing the brightness).

Let’s speak about the sound.
Straight to the point, the ROSESELSA Distant Mountain have one big issue: the 2.5k peak.
It kinda seems like ROSESELSA tried to tune these just like they would do with IEMs but the fact is that the ear-gain is very delicate when it comes to on-ear headphones.
The result is a set that doesn’t sound “terrible” but the overall signature isn’t natural and comes across as slightly thinner than average and unnatural in terms of timbre.
The bass is punchy and has some proper weight (especially considering the fact that these are open-back on-ear headphones), the detail retrieval and overall resolution are very good and the treble has some good sparkle. It’s a fun V-shaped set actually, and it could really rule this price range, but as soon as the volume increases the upper midrange becomes more and more prominent, the female vocals start sounding more nasal and shoutier and the sound becomes thinner and loses some body.
I am not saying that they sound “bad” per se, but the tuning is characterized by a strange timbre and tonality that I’m sure many won’t find appealing.

The soundstage is on the intimate side and the imaging is pretty good considering the very tight space in which every instrument or singer plays.

What have I done for my personal listening sessions?
I have set a personal equalization profile with PK@2500Hz and 2 as Q (Quality Factor) and set a -9dB value to correct the upper-midrange, and with this small refinement I was able to enjoy female vocals without completely shutting them off and without making them too lean to be enjoyable, and all of this while retaining the good value proposition of the Distant Mountain when it comes to other frequencies.
Another thing I’ve done (which I quite liked) was playing with low-end and upper-end EQ, and noticed that these take EQ very well so I will probably use these with my own preset even though I am not a big fan of EQ. I was able to hear some sub-bass also, which is something that I had never experienced with a pair of on-ear headphones.

What about the donut pads?
Don’t use them. The sound is already very forward as it is, the donut pads make the headphones sound more forward in the upper mids and treble and also tame the bass so you get an even thinner response, with less body and more shout.

What about the included dongle?
It's very good for the money (a few dollars more for the variant with the included dongle), it's more powerful than the european version of the Apple dongle and sounds pretty clean as well. I have better dongles around but it comes for less than 10$ and I can't really find true cons.

Are they something I would use considering my taste and preferences?
Not without EQ. I like some forwardness in the upper midrange but this is too much for me also. When I activate my personal EQ profile I quite like the way these sound, and I am also progressively reducing the pressure of the pads by stretching them over some books: this old trick reduces the overall clamp and makes them more comfortable to wear.

Sound​

ROSESELSA Distant Mountain vs Koss KSC75

The KSC75 are more comfortable, more natural and neutral sounding out of the box. The Distant Mountain, if properly equalized, offer better technical performance, a “fuller” sound and they also take EQ in a more effective way.
When it comes to build quality, cable, packaging and accessories, the Distant Mountain offer a lot more even though you’ll have to pay more than two times the price of the KSC75 in order to get it.
I personally love my KSC75 but when equalized and “stretched over books” the Distant Mountain can offer a bit more overall, especially in terms of overall resolution, and they also feel sturdier and less delicate to carry outside.

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ROSESELSA Distant Mountain vs Koss KPH30i

The KPH30i sound darker, more compressed and less resolving but also A LOT more relaxed and easy-going. The timbre and tonality aren’t natural on any of them, so this also comes down to personal preferences.
The Distant Mountain have better detail retrieval, better air and sparkle, superior resolution but they sound thinner and shoutier than the KPH30i.
Soundstage isn’t very different, imaging is better on the Distant Mountain.
Build quality is ages better on the Distant Mountain, and the same applies to comfort, accessories and overall packaging. However, comfort goes to the KPH30i hands down.

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Final Thoughts​

The ROSESELSA Distant Mountain showed some issues and these probably depend on the fact that these are the first on-ear headphones that ROSESELSA releases. The upper-midrange tuning has some evident issues that are easily fixable with an effortless and easy EQ, but this is not going to justify the out-of-the-box tuning. However, I can actually see the value here and it’s pretty obvious that with a few refinements here and there these could have been a true hit.
That's what I mean in the title: sometimes you gotta stand on your toes and try to do that little push that provides for the better view.

If you are willing to download a simple EQ app to tone down the 2.5kHz, and if you are also willing to wait a few days for the Distant Mountain to stretch a bit over books, these will be a super sturdy, good looking and good sounding bargain with very good technical chops and a fun, punchy sound. If you want a plug’n play set with proper out-of-the-box tuning and stellar comfort, instead, the good old KSC75 and similar products still provide more bang for your buck.

Introduction​

Dunu is among the most famous (and well-recognized) brands in the Chi-Fi industry and therefore an introduction is probably unnecessary.
In this review I’ll be covering the Kima 2 IEMs, which are a refresh of their older Kima (that I haven’t tried unfortunately), and I will try to compare them with other similarly priced IEMs.

Disclaimer: the Dunu Kima 2 were sent to me by Dunu so that I could write an honest review. This review represents my personal opinion on the set, it isn't promotional or paid content and I don’t get any revenue from the sales of this product.
At the time of the review, the Dunu Kima 2 were sold for about $119 at dunu-topsound.com, which is Dunu’s official website.

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Technical Specifications​

• Driver Configuration → 1 x DD (External Magnet DLC Composite Diaphragm)
• Impedance → 20 Ω
• Spec-sheet Frequency Response → 5Hz-40kHz
• Sensitivity → 108 dB/mW @1kHz
• Cable → 1.25m Four-Core Monocrystalline Copper and Silver-Plated Monocrystalline Copper 2-PIN connectors
• Plug Type → 3.5mm

Packaging​

The packaging of the Dunu Kima 2 follows the recent “waifu” trend, and even though I am not a fan of this I kinda understand the reasons behind these marketing things.
The Kima 2 come with lots of accessories too, and specifically the box contains:

• The Dunu Kima 2
• The detachable cable with modular plug (you can use either the 3.5mm jack or the 4.4mm jack)
• One set of Dunu Candy (S, M, L sizes)
• One set of Dunu S&S (S, S-M, M, L sizes)
• Two sets of narrower bore tips with the blue and red inner tube
• A spacious and good looking Dunu branded carry case
• User manual

Design, Build Quality, Comfort and Isolation​

The Dunu Kima 2 are super sturdy thanks to their stainless steel CNC-machined shells.
The rounded shape and the absence of sharp edges provides for great comfort once the right tips are found.
The isolation is not the best out there, but it is still solid enough for daily commuting.

Cable​

The cable is a Dunu Lyre Mini, and it’s among the most interesting cables that I’ve seen included in the box as stock cables in this price range, both because of the fact that it’s braided before the Y-split and because the jack plug is interchangeable (you can use either the 4.4mm jack or 3.5mm jack by twisting it off and placing the other one instead).
Hands down among the most comfortable cables to wear and use outside as well.

Sound​

GEAR USED FOR THE TEST

• DAC: Topping E30
• AMP: Topping L30, Fiio A3
• Mobile phones: Samsung Galaxy S7 Edge, Xiaomi Mi A3, Samsung Galaxy S23 Ultra
• Moondrop May’s DSP cable with PEQ=0
• Dongle: Apple Type-C dongle, Fosi DS2, Hidizs XO
• Portable DAPs: Benjie S8/AGPTEK M30B
• Bluetooth Adapters: KBEAR S1, KZ AZ10
• Other sources: Presonus AudioBox iONE, Elgato Wave XLR

Amplifier needed?
The Dunu Kima 2 don’t strictly need an amplifier but they can benefit from some good amplification.

Let’s speak about the sound.
It’s a super well rounded set that sounds “correct” and natural, so the bigger strengths of the Kima 2 are basically the timbre and the tonal accuracy.
Starting from the sub-bass, the Kima 2 sound very controlled yet not lacking in terms of extension. The bass doesn’t sound as punchy and chest-hitting as on other sets, instead every kickdrum has a very controlled, fast and clean response that leads to well-managed transients in fast basslines. It’s not the most-textured bass in this price range, but the textures are very good considering the overall bass speed, as usually brands have to thicken the bass in order to extract a good amount of textures from it.
The midrange is not recessed, and it’s presented in a mostly neutral manner with no particular focus. Male vocals sound spot-on, female vocals sound energetic and intimate, and every instrument is where it should be, even though the various sound sources seem to be very near each other.
The treble is tuned wonderfully in my opinion, as it really strikes a lot of balance between energy and control: you can hear that the treble is kind-of airy and sparkling, but it’s not harsh or annoying, it’s not fatiguing at all, and there is no trace of sibilance. If anything, I don’t think that the Kima 2 are very good at rendering the smallest nuances, but the treble is so well-tuned that I really had to focus on analyzing the sound to understand that I was missing out on a few small details.
The soundstage is on the smaller side, so if you listen to orchestral tracks or live recording I would search for something else, but the imaging is pretty good in the small space that these are able to portray.

Are they something I would use considering my taste and preferences?
Yes, mostly because of their tuning, their timbre and their tonal accuracy.
Sometimes I miss that super big and boomy low-end (I am a diehard basshead inside) but I also love to sit and listen to various genres and these are perfect for that: they are super balanced and versatile and it’s very easy for me to pick them and put them in my backpack.

Comparisons​

Dunu Kima 2 vs Tanchjim 4U (Pop)

The Kima 2 is a Tanchjim 4U on steroids, with better timbral accuracy, better speed and better timbre. The tuning is very similar but there are two key differences: the sub-bass on the Kima 2 has better extension (whereas the 4U have slightly better bass impact than the Kima 2) and the treble on the Kima 2 is a bit less airy yet more natural than on the 4U. The 4U instead play in a slightly bigger stage but except for this and for the slightly punchier bass, the Kima 2 are just better under every other aspect.
Build quality is good on both sets and the isolation and comfort are similar, but the stock cable and the other accessories are an easy win for the Kima 2.

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Dunu Kima 2 vs Simgot EA1000

Everyone knows how much the EA1000 are loved and how well do they perform, and well it’s pretty easy to state that they are technically superior than the Kima 2, hands down: the details, the resolution, the imaging, the bass quality, everything that involves technical performance is better on the EA1000.
But if there’s something at which the Kima 2 do better, then it is the overall timbre and the masterfully done tuning: the Kima 2 are so well tuned that it’s very easy to recommend them to everyone, whereas the EA1000 are pretty bright and this poses some issues when recommending them if the listener is not a treble lover.
I would pick the EA1000 any day for my personal taste, especially because I love the treble extension of the EA1000, their quality bass, their resolution and the treble brightness, but the Kima 2 are hands down more versatile and controlled.
Stock cable is good on both sets, but I prefer Dunu Lyre Mini as stock cable (the interchangeable plug is a very good feature).
The build quality feels more premium on the EA1000 and comfort and isolation are similar, but again the Kima 2 come super well packed with lots of tips and this is something on which the Kima 2 win with no issues.

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Dunu Kima 2 vs Oriveti Dynabird

Do you wanna know what’s better on the Dynabird? The overall resolution and detail retrieval. Do you know what price you pay for that? Artificial timbre, sibilance and extreme brightness.
Just skip the Dynabird, go for the Kima 2 (the latter also come with better accessories and they are more comfortable to wear).

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Dunu Kima 2 vs KZ Zenith (0000)

I have heard people online speaking about the Zenith as the better set, but I don’t think so. They are similarly tuned but the Zenith sounds warmer, with a touch more low-end quantity and slightly less extended upper treble.
The Kima 2 sound faster, cleaner, more transparent, more natural and more resolving overall whereas the Zenith sound super well balanced yet not as tonally accurate as the Kima 2. The Zenith behave a touch better in terms of male vocals, bass impact and soundstage and they provide for more versatility thanks to the switches.
The build quality is good on both sets, comfort and isolation go to the Kima and the same applies to the overall set of accessories (including the cable, since Zenith’s cable is pretty bad).
The Zenith are very good, it’s just that they are not as effortless and refined as the Kima 2.

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Final Thoughts​

This was my first time trying a Dunu product and I was very happy to have the Kima 2 in my ears for the last few weeks.
They are extremely well tuned, nothing feels out of place and at the same time they provide for almost everything you can ask from a properly balanced set. The bass impact has some headroom for improvement, and the same applies for the overall detail retrieval and soundstage rendering, but I think the asking price is spot-on considering the level of refinement that you get with the Kima 2, especially if you also take into account the fact that they come with lots of accessories and a great cable (with interchangeable plugs).
Well done Dunu… Well done!

Introduction​

KZ has been changing something in the direction of their products lately, and the KZ Sonata follows this trend. It should be KZ’s flagship multi-BA set and in this review I am going to write down all my thoughts on them and how they compare with some similarly priced sets.

Disclaimer: the KZ Sonata were sent to me by KZ so that I could write an honest review. This review represents my personal opinion on the set, it isn't promotional or paid content and I don’t get any revenue from the sales of this product.
At the time of the review, the KZ Zenith were sold for about $159 at kztws.com.

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Technical Specifications​

• Driver Configuration → 14 x BA (per side)
• Impedance → 23 Ω
• Spec-sheet Frequency Response → 20Hz-40kHz
• Sensitivity → 108 dB
• Cable → 1.25m OFC cable with QDC 2-PIN connectors
• Plug Type → 3.5mm

Packaging​

The packaging of the KZ Sonata is another thing that follows their recent trend, being it one of the “newest” boxes. We finally see decent packaging from KZ as well, which is good news. The box contains:

• The KZ Sonata
• The detachable cable
• One set of starline silicone tips (S, M, L sizes)
• One set of foam tips (S, M, L sizes)
• One set of tips with a slightly larger bore than starline tips yet not really wide-bore
• Hard carrying case
• A small tool to move the switches
• User manual

Design, Build Quality, Comfort and Isolation​

The KZ Sonata look pretty good, they are well built and if anything one could only complain about these having QDC 2-PIN connectors instead of standard 2-PIN uncovered connectors.
The shells are comfortable yet a tad on the bigger side, so be careful if you have very small ears, and they are unvented, so the isolation is usually very good once the right tips are found. I have found better isolation on 3D-printed resin BA sets such as the AFUL MagicOne, but the Sonata still have very good noise isolation from external noises so I am not going to bother.

Cable​

The cable is not up to par with the expectations, especially if we consider the asking price for this model. There are tons of IEMs with great cables under 100$, let alone those that are priced above that price tag.
KZ should really do the jump and provide better stock cables, and I am not even talking about sound quality (this is another controversial topic from which I wanna keep the distances), it’s mostly about the perceived quality of the cable, the materials and so on.



KZ provided one of their “upgraded” cables in the package so that I could evaluate that as well, and even though that’s much better than the stock one, it’s still something for which you have to pay more money and it’s basically toe-to-toe with most 50-100$ IEMs’ stock cables (hence, they should include it as stock cable).

Sound​

GEAR USED FOR THE TEST

• DAC: Topping E30
• AMP: Topping L30, Fiio A3
• Mobile phones: Samsung Galaxy S7 Edge, Xiaomi Mi A3, Samsung Galaxy S23 Ultra
• Moondrop May’s DSP cable with PEQ=0
• Dongle: Apple Type-C dongle, Fosi DS2, Hidizs XO
• Portable DAPs: Benjie S8/AGPTEK M30B
• Bluetooth Adapters: KBEAR S1, KZ AZ10
• Other sources: Presonus AudioBox iONE, Elgato Wave XLR

Amplifier needed?
An amplifier is not strictly needed for the Sonata, they are very efficient and are driven pretty well by most sources. I would suggest using a decent dongle DAC at least, since the Sonata are technically capable and a good source is always preferable.

Let’s speak about the sound.
I will refer to the 0000 configuration for this review, since the stock tuning is already very balanced and I’ve spent a lot of time using the Sonata with this switches’ configuration.

Straight from the beginning, the Sonata didn’t appear like “just another KZ release”. Instead, they surprised me with a very balanced signature and a cohesive, full sound, especially considering the number of drivers involved. It’s a set that, in its stock tuning, can tick all the boxes of a mature, good sounding mid-centric set. Yes, it might sound strange to you but this is really how the Sonata perform.
The low-end is not missing punch or impact, but it’s evident that it’s not meant to be visceral and rumbly like on some of their previous sets. The bass follows up with proper texturing and nice speed, adding some weight to the notes and giving the sound the dynamics it needs, but it never feels emphasized or out of place. I don’t really dig this kind of bass as it sometimes lacks some weight and depth and that’s where the switches come in handy.
The midrange is clear, resolving, with natural instrument reproduction, forward vocals and no timbrical issues. If anything, those who are used to deeper male vocals will find these a bit on the leaner side and since the midrange is very forward the soundstage depth feels a bit compressed thus leading to an improvable layering. Not something that dramatically changes what I think about the Sonata, but it’s something to point out.
The treble is another area in which KZ did a good job: the treble is detailed, not emphasized to the point that it sounds fatiguing yet not extremely rolled-off. It’s an approach that I like since I don’t want my ears to bleed with super sharp and annoying treble spikes but I don’t want a dark treble response as well. The Sonata sit in between, let’s say that KZ found the sweet spot.

The technical performance is good and they compete very well with sub-200$ earphones. The imaging is accurate for the most part, also thanks to the nice instrument separation, but the layering could be slightly better as said above. If anything I could say that the soundstage feels a bit on the smaller side also, probably due to the mid-centric signature. It isn’t bad by any means but if you’re looking for a very spacious stage then these are not the IEMs to get.

How do the switches affect the sound?
This is how it works:

• First switch ON → +1dB bass boost
• First and second switches ON → +2dB bass boost
• Third switch ON → -1dB in the upper treble region
• Third and fourth switches ON →-2dB in the upper treble region

I like the Sonata in their stock configuration (all switches OFF) but I like them even more if I turn the first switch ON only, even though this makes bass textures “softer” and a bit more blurred.
We finally get to try effective and useful switches with properly designed combinations between their operativity, which is something that many reviewers (including me) have been complaining with respect to how KZ was managing their tunable units.

Are they something I would use considering my taste and preferences?
Yes, and I am actually using them a lot.
Very good sound quality, versatile tuning, excellent isolation, good comfort. I mean, the boxes are fully ticked.
No DD bass, that’s for sure, and since I am a DD bass guy I will probably always take a single DD earphone over something like this because of my personal taste, but these have a pretty impactful bass so sometimes I don’t really miss my usual DD sets.

Sound​

KZ Sonata (UUDD) vs Celest Relentless

The Sonata sound more refined and more balanced than the Relentless, with a more forward midrange and less fatiguing treble. The Relentless win in terms of detail retrieval, even if this is achieved at the expense of a more fatiguing treble response, soundstage and imaging.
Isolation goes to the Sonata whereas build quality, comfort, cable and everything else go to the Relentless.
I like the Relentless more because of my personal preferences (also because of the DD bass), but the Sonata are a lot easier to recommend to most folks out there.

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KZ Sonata (DDDD) vs Juzear 81T Dragonfly

The Sonata are more versatile and balanced-sounding, whereas the 81T Dragonfly have better sub-bass extension and more information up top with better air and sparkle.
If we speak about bass, then the KZ Sonata can be punchier and perform better when reproducing male vocals, thanks to the more emphasized mid-bass that provides for warmer lower mids, whereas the Juzear 81T Dragonfly provide for better technical performance, a bigger soundstage, better detail retrieval and better female vocals.
In terms of sub-bass, the Sonata can be improved with the first switch but the sub-bass quality of the Juzeat 81T Dragonfly will still be better thanks to the superior control, better timbre and more viscerality when digging into the lowest registers.
Are the 81T Dragonfly worth the price jump? Probably not, and this is a big endorsement for the Sonata, but the 81T Dragonfly are superior indeed.
Except for isolation, everything else (build quality, cable, packaging and comfort) are better on the Juzear 81T.

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Final Thoughts​

KZ has been releasing some serious sets and the Sonata is no slouch. The 14BA (per side) units are very good and show the competition that KZ can actually make good IEMs. This set is also among the few sets with switches that was actually pleasant to play with, especially because the most important combinations are highlighted on the user manual and on Sonata’s official webpage (and the switches are finally usable in a smart way).
One thing that bothers me is the need of using 14 drivers when there are some competitors who can still do better with less of them, but it’s also true that the Sonata sound great and don’t really “lack” somewhere. They are not perfect and some improvements are needed, but it’s a very nice set and I think that complaining about the number of drivers would be redundant: if something sounds good, it sounds good.

Good job KZ!

Introduction​

KZ has been changing something in the direction of their products lately, and the KZ Zenith is another one that popped out from nowhere during this silent revolution of the brand’s portfolio.

Disclaimer: the KZ Zenith were sent to me by KZ so that I could write an honest review. This review represents my personal opinion on the set, it isn't promotional or paid content and I don’t get any revenue from the sales of this product.
At the time of the review, the KZ Zenith were sold for about €70 at KZ-audio.com.

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Technical Specifications​

• Driver Configuration → 1 x DD
• Impedance → 23 Ω
• Spec-sheet Frequency Response → 20Hz-40kHz
• Sensitivity → 108 dB
• Cable → 1.25m OFC cable with QDC 2-PIN connectors
• Plug Type → 3.5mm

Packaging​

The packaging of the KZ Zenith represents a steep change of direction in the packaging. It’s a well done packaging considering that we’re talking about a KZ set, and it’s much better than their classic packaging. The box contains:

• The KZ Zenith
• The detachable cable
• One set of starline silicone tips (S, M, L sizes)
• One set of foam tips (S, M, L sizes)
• Hard carrying case
• User manual

Design, Build Quality, Comfort and Isolation​

The KZ Zenith are probably the best-looking KZ IEMs to date, especially when it comes to the design. The manufacturing is honestly excellent as well and I struggle to say something wrong about it (in fact, there aren’t any complaints in that regard).
Unlike other KZ sets, it’s the first time KZ speaks about the ventilation and the grills underlying the faceplate look like they are perforated. Since this should lead to a semi-open back design, this would explain why the isolation from external noises isn’t excellent with the Zenith in the ears.
The earpieces are also pretty comfortable, even though the angle near the golden screw could probably bother those with very small ears during prolonged listening sessions (no issues at all in my case).

Cable​

The cable is the same low quality cable all over again, and I really suggest KZ to upgrade it. It’s not only about the appearance, it’s also a matter of perceived quality and absence of a chin slider (which is usually good to have instead).

Sound​

GEAR USED FOR THE TEST

• DAC: Topping E30
• AMP: Topping L30, Fiio A3
• Mobile phones: Samsung Galaxy S7 Edge, Xiaomi Mi A3, Samsung Galaxy S23 Ultra
• Moondrop May’s DSP cable with PEQ=0
• Dongle: Apple Type-C dongle, Fosi DS2, Hidizs XO
• Portable DAPs: Benjie S8/AGPTEK M30B
• Bluetooth Adapters: KBEAR S1, KZ AZ10
• Other sources: Presonus AudioBox iONE, Elgato Wave XLR

Amplifier needed?
An amplifier is not strictly needed but I felt like the Zenith were performing slightly better with a tighter and cleaner low-end and better overall dynamics while using a good quality dongle with respect to the average jack port of a laptop or older phone.

Let’s speak about the sound.
I will refer to the 1110 configuration since I really think it’s the most attractive for this set. I will then speak about the impact of the various positions so that you can have an idea on how the sound changes when the switches are used.

The Zenith are the result of what KZ has been changing lately: it’s a well balanced, full-sounding set that never feels overly bright nor too dark, not lacking bass without being bassy, not lacking treble without being annoyingly bright. And yes, the mids are there!
Starting from the low-end, in fact, we get a proper sub-bass extension that is far from sounding exaggerated: it retains nice control even when reaching very low notes, and even though it’s not the most surprising set you can buy if you want to dig super deep, you won’t feel it’s lacking something.
The bass has good weight, it’s present in the mix yet not to the point of being the star of the show, which is surprising if we consider that this is a KZ set. The bass texturing is nice for the price, there’s enough punch to the bass and what surprises me more is the overall naturalness and realism of the bass (I have never heard such good bass quality on a KZ DD set).
The midrange is not as recessed as on other KZ sets, and thanks to the well mannered bass you get the benefits of the added warmth in the lower-midrange without having a bloated midrange. Male vocals are well done with the right amount of warmth and female vocals sound natural without becoming hot nor sibilant. If anything, a touch more air during the reproduction of female vocals would have been the icing on the cake.
The treble is another selling point of the Zenith being non fatiguing, very smooth and natural. The Zenith aren’t detail-monsters but they aren’t even treble cannons like KZ IEMs used to be, and this natural manner of managing the whole treble (and its extension) without extracting artificial detail is probably what really distinguishes the latest KZ sets from their older products.

The technical performance is pretty good for a single DD set, with a well-rounded soundstage, on point imaging and enough space between the instruments to have proper instrument separation. If anything, the layering is only average as it struggles a bit with multiple instruments’ layers (its peers in the same price range are almost on the same level).

How do the switches affect the sound?
Basically, all the switches off mean basic curve with a very linear bass. I think that the basic curve lacks some depth and weight in the low-end, but maybe those who don’t really dig a thicker low-end will like it.
Then this is how it works:

• First switch ON → +1dB bass boost
• First and second switches ON → +2dB bass boost
• First, second and third switches ON → +3dB bass boost.

The last switch, in combination with the other switches, provides for a full range boost. So if you have all the switches ON you will basically boost the low-end also and have a louder sound.
If you use the first 3 switches separately, then you still get small bass boosts depending on how many of the 3 switches you're activating, and if you activate the 4th switch alone then you just make the earphones louder no matter the position of the other switches.

I think the basic curve has its own advantages, such as a tighter and slightly speedier low-end, and maybe the upper end has slightly more recognizable smaller nuances. However, the +3dB bass boost with all the three switches on provides for a fuller, richer and more mature sound with better note weight and depth, even though some tightness and speed are partially lost.

Are they something I would use considering my taste and preferences?
Yes, of course.
It’s a well done IEM overall: solid technicalities for the price, natural timbre, smooth treble, enough bass and good midrange presence. It’s a set of IEM that does most things right and I would really struggle to find reasons not to use them if I didn’t have more expensive (and well tuned) sets around me.

Some Comparisons​

KZ Zenith (UUUD) vs KZ Saga Bass

Upgrade or not? Well, if you like the super energetic and fun-sounding Saga Bass, you may find the Zenith “too balanced” at times, but in terms of timbre and technicalities the Zenith are way above. Comfort is good on both sets, isolation is better with the Saga Bass in the ears. Even though the Zenith come with better packaging, the cable is the same and this is weird.
I find the Saga Bass more fun to listen to, but the Zenith are technically superior and this is undeniable.

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KZ Zenith (UUUD) vs Kefine Klean

The Kefine Klean have a touch more extension in the sub-bass region and slightly more treble energy, so the Zenith actually end up being “thicker” in comparison since the smoother and more rolled-off upper end provides for an overall warmer sound. Bass quality and textures are better on the Zenith, female vocals are more energetic and emotional on the Kefine Klean.
Imaging and instrument separation are mostly on par whereas the soundstage is bigger on the Zenith. Build quality is good on both sets, Klean’s stock cable is better, comfort is better on the Zenith and isolation is better with the Klean in the ears.

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KZ Zenith (UUUD) vs Sivga Que

Go with the Zenith.
The Sivga Que are nice and kind-of unique in their price range but in terms of technical performance and overall sound, the Zenith sound fuller and more mature with a smoother and more versatile tuning. Technicalities are also slightly better on the Zenith.
Build quality is very good on both sets, comfort is better on the Zenith and isolation is better with the Que in the ears. The Que come with a much better cable.
It’s not that I don’t like the Que, in fact I actually do, but you get a higher value for a similar price if you buy the Zenith.

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KZ Zenith (UUUD) vs Simgot EW200

The Zenith sound pretty warm, the EW200 sound pretty bright.
The low-end response is kinda similar but the emphasis on the mid and upper treble on the EW200 make the Zenith sound a bit thicker overall. Male vocals and acoustic instruments are better on the Zenith, whereas female vocals, violins and electric guitars are better on the EW200: pick your pill.
Technical performance is on par more or less, even though the resolution of the EW200 is still amazing for the price, especially considering that spring 2025 will mark their 2years anniversary. The soundstage, however, is bigger on the Zenith, as they can offer better width, depth and height.
Build quality is good on both sets but the Zenith have a unique design. EW200’s stock cable is better. Comfort goes to the Zenith, whereas isolation is a tad better with the EW200 in the ears.
As a small sidenote, I’d really like to point out how good the EW200 are, being able to compete with recent IEMs without struggling too much. Hopefully we’ll see more sets like it in the future as we really need stuff that stands the test of time.

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Final Thoughts​

The Zenith were a surprise, both thanks to the tuning and to the technical capabilities. It’s a set that has so many good things, such as the timbre, the bass quality, the treble tuning and everything lead to an IEM that is hard to dislike or criticize.
If anything, the basic curve isn’t very attractive or particularly inviting and female vocals aren’t the most refreshing out there, but I really struggle to find real cons and it wasn’t usually the case with KZ.
I really like the new roads that KZ is exploring and hopefully we’ll see better and better stuff from them.

Introduction​

NiceHCK isn’t among the most discussed brands around when it comes to IEMs (except for a few models) but their flathead earbuds and cables have always been very popular on the web. In this review, we’re taking a look at the NiceHCK YDSmall, which is one of their budget sets.

Disclaimer: the NiceHCK YDSmall were sent to me by NiceHCK so that I could write an honest review. This review represents my personal opinion on the set, it isn't promotional or paid content and I don’t get any revenue from the sales of this product.
At the time of the review, the NiceHCK YDSmall were sold for about €11 at NiceHCK’s official website, Amazon US and Aliexpress.

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Technical Specifications​

• Driver Configuration → 1 x 14.8mm DD (PEI Diaphgram)
• Impedance → 32 Ω
• Spec-sheet Frequency Response → 20Hz-20kHz
• Sensitivity → 119 dB
• Cable → 1.25m copper fixed cable
• Plug Type → 3.5mm (there's also a type-c version)

Packaging​

The packaging of the NiceHCK YDSmall follows the most recent box design arts from NiceHCK, featuring an anime girl on the front. As a guy who isn’t actually attracted to anime girls, I only see another brand trying to ride the wave under this point of view, even though it’s a bit late now.
Here’s what the box contains:

• The NiceHCK YDSmall
• 2 pairs of full pads
• A set of stickers
• User manual

Design, Build Quality, Comfort and Isolation​

I love the pink shells, I really have to admit it, but other than that I can only say that the build quality is average. Plastic shells with no metal involved, very lightweight to wear and decently comfortable to wear.
The isolation is a big no just like with any other flathead earbud, so if you plan to listen to music while commuting, be aware that this is not the right product. Otherwise, if you just want something to sit on the sofa or in some public park with only a few soft surrounding noises around, flathead earbuds like these can be an interesting option.

Cable​

The cable is “ok” for the price, it doesn’t have any chin slider and it feels pretty cheap. It’s a cheap set of flathead earbuds for an affordable price so I am not gonna complain about it.

Sound​

GEAR USED FOR THE TEST

• DAC: Topping E30
• AMP: Topping L30, Fiio A3
• Mobile phones: Samsung Galaxy S7 Edge, Xiaomi Mi A3, Samsung Galaxy S23 Ultra
• Moondrop May’s DSP cable with PEQ=0
• Dongle: Apple Type-C dongle, Fosi DS2, Hidizs XO
• Portable DAPs: Benjie S8/AGPTEK M30B
• Bluetooth Adapters: KBEAR S1, KZ AZ10
• Other sources: Presonus AudioBox iONE, Elgato Wave XLR

Amplifier needed?
I don’t think an amplifier is strictly needed for these to shine, and I would not invest on that since the YDSmall are entry level earbuds so the benefits won’t be very evident.

Let’s speak about the sound.
The lower part of the spectrum is not overly present, the kickdrums have some punch but they are not as tactile as I’d like. Speed is average, nothing to scream about yet not slow.
The lower midrange sounds natural but male vocals aren’t very deep, and it really seems like they sound upfront with very little information about depth. The upper midrange sounds okay, there aren’t signs of sibilance or moments in which female vocals become hot, but it’s clear that there is less focus on them than on male vocals. Vocals never sound congested, though, which is good news.
The treble is controlled except for a few peaks which add a bit of spice that never become annoying. The detail retrieval is average for the price and so applies for the upper treble extension, but I can say that the treble tuning is pretty good and I have never found the YDSmall to be fatiguing during long listening sessions.
The soundstage is pretty small despite the YDSmall being a pair of flathead earbuds; instrument separation and imaging are average as well, so if you care about resolution, layering and pinpointing of the various instruments, you should increase your budget a little bit.

Are they something I would use considering my taste and preferences?
Well, I am not a flathead guy, but this one is pretty comfortable since the shell isn’t very big. Compared to some other sets, I find these to fit in my ears pretty well and to cause the least discomfort after long usage. For sure, it’s not as comfortable as most of my IEMs, but I can stand these and I have also had the chance to use them for online meetings and similar occasions (even though I still prefer the old wired Apple Earpods for that purpose, since they are super comfortable).

Some comparisons:​

NiceHCK YDSmall vs NiceHCK EB2S

The timbrical differences are very evident, with the EB2S focusing on clarity, resolution and basically on the mids and treble regions while the YDSmall adopts a warmer signature with more bass presence and a less emphasized treble. The EB2S shine when it comes to female vocals, whereas the warmth of male vocals on the YDSmall is a bit more pleasant, even though the small nuances in every type of vocal line are clearer on the EB2S. Technicalities are way better on the EB2S under every aspect, there’s basically no competition.
Comfort is good on both sets, but the YDSmall are more comfortable and easier to fit due to them being a bit smaller. The build quality of the EB2S is better, and although the design is very subjective I have to say that the EB2S look more premium and refined, especially considering that the YDSmall look and feel like an entry level set.

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NiceHCK YDSmall vs NiceHCK B80

The B80 have better technical performance, fuller bass, a deeper and more expansive soundstage, and it’s an overall better set compared to the cheaper YDSmall. The YDSmall are still fun to listen to and non-fatiguing.
The B80 are better in terms of build quality but the NiceHCK YDSmall are much more comfortable to keep in the ears.
Do the B80 deserve the price jump? Yes, they do: the difference is noticeable from the first moment and I highly suggest increasing the budget if possible.

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Final Thoughts​

The YDSmall look and feel cheap, but they are honestly easy to recommend: they are comfortable to wear, they come in very fancy colors, the microphone is usable, the sound is natural and strikes a good balance between all the frequencies. If you don’t expect to spot the smallest nuances in every track and if you are not the type of guy who really wants the best layering, separation or soundstage on a flathead unit, then the YDSmall represent good value and something you can definitely consider.

Introduction​

NiceHCK isn’t among the most discussed brands around when it comes to IEMs (except for a few models) but their flathead earbuds and cables have always been very popular on the web. In this review, we’re taking a look at the NiceHCK EB2S, which is one of their most beloved and popular sets.

Disclaimer: the NiceHCK EB2S were sent to me by NiceHCK so that I could write an honest review. This review represents my personal opinion on the set, it isn't promotional or paid content and I don’t get any revenue from the sales of this product.
At the time of the review, the NiceHCK EB2S were sold for about €27 at NiceHCK’s official website, Amazon US and Aliexpress.

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Technical Specifications​

• Driver Configuration → 1 x 15.4mm DD (LCP Diaphgram)
• Impedance → 32 Ω
• Spec-sheet Frequency Response → 20Hz-25kHz
• Sensitivity → 112 dB
• Cable → 1.2m OFC fixed cable
• Plug Type → 3.5mm

Packaging​

The packaging of the NiceHCK EB2S follows the most recent box design arts from NiceHCK, featuring an anime girl on the front. As a guy who isn’t actually attracted to anime girls, I only see another brand trying to ride the wave under this point of view, even though it’s a bit late now for this type of packaging design.
Here’s what the box contains:

• The NiceHCK EB2S
• 3 pairs of full pads
• One cloth carrying pouch
• Cartoon card piece
• User manual

Design, Build Quality, Comfort and Isolation​

The EB2S look elegant in this black variant, very minimal and clean with no fancy colors or showy logos.
The shells are both made of plastic and metal and feel sturdy, even though they are on the bigger side due to the need of containing a 15.4mm driver. In fact, they always feel a bit slippery in my ears, and once I find a sweet spot in terms of fit I try not to move too much in order to keep them in the same exact position (foam help with this, even though they make them even bigger to insert in my ears).
Isolation isn’t good just like with any other flathead earbud.

Cable​

The cable is “ok” for the price, and I was honestly expecting something better. It feels cheap in the hands, but at least it features an in-line microphone and a chin slider.

Sound​

GEAR USED FOR THE TEST

• DAC: Topping E30
• AMP: Topping L30, Fiio A3
• Mobile phones: Samsung Galaxy S7 Edge, Xiaomi Mi A3, Samsung Galaxy S23 Ultra
• Moondrop May’s DSP cable with PEQ=0
• Dongle: Apple Type-C dongle, Fosi DS2, Hidizs XO
• Portable DAPs: Benjie S8/AGPTEK M30B
• Bluetooth Adapters: KBEAR S1, KZ AZ10
• Other sources: Presonus AudioBox iONE, Elgato Wave XLR

Amplifier needed?
I don’t think an amplifier is strictly needed for these to shine, but I suggest using a warmer source with these as it will compensate for the bright nature of the EB2S.

Let’s speak about the sound.
The lower part of the spectrum is probably the part that wasn’t as impressive as I was expecting, with the bass lacking some punch and sometimes not having proper note weight. It’s still a speedy low-end, but if you want some body then the EB2S are not ideal as they aren’t tuned in a way that would make this region shine. The midbass is there, it has some impact on the sound, but it’s not as lively and dynamic as it should be, especially with genres that require a bit of power in the low-end.
The midrange is probably the star of the show: clean, natural and with nice resolution as every instrument is portrayed with a good amount of detail. The lower midrange could use a bit more warmth since male vocals would benefit from that, whereas the upper midrange sounds very vivid with airy and energetic female vocals that are hard to dislike.
The treble is another focus of this tuning, and in fact the EB2S do really well with details, cymbals management and overall resolution. The upper treble could use a bit more extension to catch that last bit of information, but it would be really unhappy to blame NiceHCK for this as that could have been risky for the overall tonal balance. In any case, there is a sort of bright tint to it, but it’s not an annoying-type of brightness, instead is a mature focus on the high frequencies to guarantee that the least information is lost.
The soundstage is pretty wide, which isn’t really surprising as we’re talking about a pair of flathead earbuds, but it kinda lacks some depth. The imaging and instrument separation are good, but some tracks require a bit more depth and in some cases this means some instruments are well separated yet not properly distanced between the listener and the stage. It’s a minor complaint but it’s something that’s fair to point out.

Are they something I would use considering my taste and preferences?
I am not a flathead guy and I don’t find these very comfortable (especially because the shells are even wider than average due to them needing to contain a bigger driver) but I like the sound signature for some use cases. If I had smaller ears, I would probably use them more often as an escape from bassier sets, especially for female vocals or jazz music.

Some comparisons:​

NiceHCK EB2S vs NiceHCK YDSmall

The timbrical differences are very evident, with the EB2S focusing on clarity, resolution and basically on the mids and treble regions while the YDSmall adopts a warmer signature with more bass presence and a less emphasized treble. The EB2S shine when it comes to female vocals, whereas the warmth of male vocals on the YDSmall is a bit more pleasant, even though the small nuances in every type of vocal line are clearer on the EB2S. Technicalities are way better on the EB2S under every aspect, there’s basically no competition.
Comfort is good on both sets, but the YDSmall are more comfortable and easier to fit due to them being a bit smaller. The build quality of the EB2S is better, and although the design is very subjective I have to say that the EB2S look more premium and refined, especially considering that the YDSmall look and feel like an entry level set.

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NiceHCK EB2S vs NiceHCK B80

Main differences are probably in the overall timbre: the B80 have better not weight and a more natural timbre, with a bassier, less analytical response than the EB2S; the EB2S, in comparison, are leaner in the bass region with less warm male vocals, more vivid female vocals and a brighter, more detailed and open treble.
Soundstage is pretty wide on both, but the EB2S play in a wider and higher soundstage even though the depth is better on the B80. Imaging and instrument separation is slightly better on the EB2S, although the B80 surpass the EB2S when it comes to positioning instruments and vocals at different depths on the stage.
The build quality on the EB2S is superior, even though the B80 (in their balanced version) sport a much better cable that unfortunately doesn’t have an in-line microphone.
While I can’t really speak about comfort, I find the EB2S to be more comfortable for some reason, despite them being a tad larger, and to look better. The EB2S are also a bit more resolving and transparent, offering better value for money if you seek for better technical performance.

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Final Thoughts​

The EB2S look and feel minimal and elegant, and sport a pretty big driver that can surprise those who seek for good resolution and transparent sound along with energetic vocals and forward midrange. They aren’t super easy to fit because of the shells being on the wider side, nor are they “a complete sound package” since the low-end lacks some note weight and punch, but if you have bigger ears and like brighter sounding sets then the EB2S will deliver.