Reviews by NymPHONOmaniac

TONALITY: 7.8/10
TECHNICALITIES: 8.8/10
TIMBRE: 7/10
SOUNDSTAGE: 8.5/10
IMAGING: 8.8/10
MUSICALITY (subjective): 8.2/10
CONSTRUCTION: 8/10
ACCESSORIES: 8.5/10
SOUND VALUE: at 290$= 8/10 at 200$=8.5/10

INTRO

Rose Technics is an IEM company based in China that create IEMs for near 10 years. They specialize in hybrid earphones and make their come back lately with the release of QT9 MK2 which I review and enjoy.

Today I will review the follow up of this QT9 serie which is the QT9 MK3.




Like the MK2, this is a 1 dynamic driver + 4 balanced armature drivers hybrid earphones but with a different tuning, upgraded construction and new 10mm LCP dynamic driver as well as upgraded tesla grade magnet that promise effortless powerfull transient current.
With a MSRP of 280$ but easily findable for as low as 200$, the QT9 MK3 promise high sound value.

Let see in this review if the Rose Technics come back worth to be follow and even praise.

CONSTRUCTION&ACCESSORIES



The construction is minimalist yet elegant and well crafted. The housing is very small, it's made of medical grade thick resin plastic and a metal back plate, Nozzle is made of metal and not very long so more appropriate for shallow fit than deep fit. Connector are MMCX and quite tight, it feel solid and well embeded in resin plastic, not prompt to getting loose easily.
The shell is half transparent and smooth, this is the kind of IEM you can forget you wear due to very small size which is impressive for a 5 driverss IEM.

The included cable is just OK built wise but sound transmission wise it's quite good. It's a 5N OCC single crystal copper cable with 3.5mm single ended plug, which is main con for me because I mostly use balanced cable.



Packaging and accessories are excellent and quite generous. We have 9 pairs of ear tips in 4 models. An excellent carrying case with enough space for 2 cables and extra IEMs. The basic yet good ''sounding'' cable. A 6.35mm adaptor plug. And this nice MMCX disconnector tool which is a welcome addition.




SOUND IMPRESSIONS



The MK3 offers a bright U shape bassy tonality with plenty of slam and rumble as well as open airy spatiality. Instrument presence is clean and crisp, resolution is vivid and lively and musicality is fun and near analytical at the same time.

These are one of those IEM that offer both bass quantity and quality and I think the tesla magnet has a lot to do with this, the sub bass control, flexibility and deep, clean extension is something truly captivating, and though i would not suggest Mk3 to treble or upper mids sensitive listener, the bright bassy tuning is well balanced in it’s own right. Those are for rumble lover as well as treble lover, and when it comes to mids. It's spacious and quite well resolved too.

The bass is dominated by the sub bass, so it will add slam resonance to attack and mellow hard punching of kick but this isn’t a boomy or muddy bass due to fast transient response that permit good layering of bass line and other instruments.
The extension of rumble release is very well controlled even if boosted in dynamic and loudness it doesn’t go upfront in bleeding and offer a long, dense and vibrant sustain that is clean and transparent, not euphonic and opaque, we got a subwoofer effect that don’t feel detached from rest of spectrum.
The double bass extends to its lowest range with natural resonance release that is full of air and hyper realist, the attack bite is slightly scooped but not to the point of feeling sloppy, tone presence is full while gently textured, again very realist. The Mk3 are quite enjoyable for jazz trio and quartet.
The electric bass too is good, we have the lowest tone ‘’oomph’’ that adds energy to rhythm and has thick and well layered attack.
Then the trade off is about acoustic kick dynamism which is less weighty and thick than sub bass.
Another acoustic instrument that shines with the MK3 is the cello, this is logical if double bass sounds great, we can’t confound cello with violin due to vibrant and dense attack release of infra bass.

The mids are very open and crisp with impressive multi layering of center stage instruments. The note weight is on the light side and presence of instrument and vocal is boosted in upper mids and quite upfront in loudness.
Yet, vocals aren’t sibilant nor wonky in texture balance, intelligibility of lyric is in monitor level, very easy to follow each word of both male and female vocal. Male are brighter than warmer and thicker, while for female vocals the timbre isn’t very lush. I’m impressed by how wide open the vocal release is. It's not shouty or compressed in sound pressure, it stretches very widely and embraces the listener with good transparency that permits other instruments to cohabit in an holographic spatiality. Personally I prefer softer and lusher vocals with more lower mids warmth and fullness but the hybrid drivers implementation delivers a very readable macro dynamic even if presence is bright and forwards, it doesn’t overshadow other mids instruments in lower range that have slightly leaner dynamism but crisp layering.
The piano is fast and thumpy in attack with good control and non blurry attack lead and release, it’s clean and transparent, a bit light in note weight and even in jazz trio where it’s supposed to be main instrument focus, it isn’t, it’s just a hint clinical in rendering, but we can say technical too, so it charm more my mind than my heart.
Again, I need to underline the mids are aggressive and soprano singer at high volume can be borderline shouty, but not in a rough way so it’s more problematic for those listening at very high volume, we don’t have sibilance added to this loud vocal, but this mean some part of piano range will suddenly sound notably louder too.


The treble is the most energetic part of the sound spectrum with the bass, it’s where the BA timbre and limitation are revealed too since while the attack is fast, crunchy and snappy, we don’t have a lot of sparkle and brilliance. Still, metallic sound will have minimal brilliance unlike some other hybrids, it’s just the sparkly resonance that cuts short.
The high timbre is a bit dry too, this can make trumpet a bit boxy sounding, percussions on the other hand are loud and agile, with good control that avoid splashing.
We have a lot of lower treble boost too, this put forwards instrument presence and permit a very lively macro dynamic that has energetically articulated layering, but this mean some might find highs a bit unbalanced and distracting when it come to percussions or high pitch instrument, it can feel forced at the listener and as noted with jazz trio, mids instrument like piano will not be as focus and loud as percussions or guitar.
Yes, we are in near analytical treble response where we get plenty of micro details, this is the type of highs that amplify sense of speed in rhythm section, but not only since violin is edgy and well textured, it’s easy to follow it’s fast playing since each string stroke has abrasive attack lead, but then for more contemplative laid back enjoyment, violin will feel a bit thin and severe in it’s playing, lacking lushness from lower fundamental that densify and warm the timbre. Again, it’s more technical than musical to my ears, nonetheless, it’s a captivating listening that will sure not bore the listener since MK3 has a treble that wakes you up, it’s nervous and highly revealing without boosting unwanted noise artifacts like background hiss of bad recording.
Another thing i find captivating but can’t explain exact acoustic phenomenon is that we do have air and sense of openness even if i feel treble pass 10khz roll off rather fast, we don’t have the airy long resonance of harp or acoustic guitar attack release but percussions aren’t mixed within a muddy macro dynamic, it well position in spatiality and has proper attack edge and snap for well define stereo separation in a 3D holographic spatiality.

This means the soundstage is quite great with the MK3 even if not the widest it’s open sounding, clean and deep. Nothing feel compressed and center stage isn’t too recessed, we are into a 3D bubble that extend about 1 meter at each side of the head, the instrument are fastly projected towards the listener, it’s not a flat center stage with static instrument presence, your into a mini concert hall fulfill with speaker and even a subwoofer.

The imaging is another highlight of the MK3, this perhaps explains my ‘’analytical rendering’’ perception in the sense that the presence of the instrument is bright and very well layered due to great resolution and transparency. Bass line are easy to position as well as most mid range instrument and percussions.




SIDE NOTES

At 18ohm of impedance and rather low 105db of sensitivity, the QT9 MK3 are one-of-a-kind when it come to pairing, it seem they like a mix of low impedance output and proper amping push, i’ll suggest a min of 100mW@32ohm for those.

Then they are ear tips sensitive and my fav pairing was with Penon Liqueur black ear tips that seem to cancel the sub bass resonance and warmth, improving imaging and cleaning clarity which make the soundstage deeper and background blacker.

Cable pairing wise, the stock one is good enough but I never use it because all my source are balanced.


COMPARISONS



VS Rose QT9 MK2

The MK2 is warmer, darker and less U shaped and crisp sounding than the more bassy, lively and dynamic MK3.

The bass is less punchy and rumbly, thicker and warmer, less resonant and not as deep too. Separation is warmer and less well layered, slipping into mids in a more sticky buttery way. MK3 offers more slam with wider head room and faster attack too, the sub bass elasticity is superior and infra bass is more vibrant and naturally extended. Sub bass is more rolled off and muddy with MK2.

Mids are darker and thicker as well as more intimate with MK2, upper mids are more softened and dynamic is overall leaner and less edgy. MK3 is more airy and open with higher resolution but not as fully bodied as the presence of instruments like piano and vocal, which aren’t as loud and energetic in attack. Vocals are lusher and more natural sounding with MK2 but more compressed and dark than more open and well layered MK3 vocals.

Treble is more blunted, less snappy and sparkly than crisper and cleaner sounding MK3. Percussion's attack is more blurry and less fast and controlled, we don’t have as much air on top nor as sharp definition of highs, this makes the whole macro dynamic feel less lively and W shaped than MK3.

Soundstage is notably wider, taller and deeper with MK3.

Imaging is superior, instrument separation having more space in both X and Y axis as well as layering being more transparent and articulated.

All in all, the Mk3 is a legit upgrade both technically and tonaly, unless you're against a well balanced bright tuning you shouldn't care about MK3 which has inferior imaging, bass and treble extension and more compressed and intimate soundstage.


VS KINERA FREYA 2 (1DD+3BAs-260$)

The Freya is warmer, darker and more L shape sounding than brighter, more W shape and highly resolved MK3.

Bass is slower, more muddy and sloppy, the slam is more muffled and warm and separation is poorer but thickens more the mids than cleaner sounding MK3 which has more transparent, speedy and resonant slam as well as deeper rumble.

Mids are warmer and lusher, as well as darker and hazier with Freya, upper mids are less loud and edgy, instrument like saxophone is fuller in tone but overall mids are less open and crisp in separation, center stage feel more foggy and lifeless in rendering with the Freya, the dynamic is notably leaner and macro dynamic come in a whole package, making all instrument limited in loudness release, vocal get more veiled too, lyric can be very hard to understand properly unlike more resolved MK3 which offer faster and more controlled attack of instruments.

The treble is softer and muddier with Freya, their zero air to be found unlike open airy highs of MK3, highs attack is blunted and hazy in edge, definition being sharper and cleaner with MK3. Acoustic guitar has more bite and natural sparkle with MK3 too, while spikier it’s still better balanced in lively macro dynamics while for Freya everything is just crumpled into a foggy safeness….

Soundstage is notably taller and deeper with MK3 and about the same width.

Imaging is next level superior, more holographic, 3D and spacious in placement, cleaner in separation space, more defined in instrument presence ... .it puts Freya to shame that MK3 feels like a way pricier IEM.

All in all, this comparison confirms how bad Freya 2 is and while tonality is duller and safer, it’s muddier, dynamic less and rolled off in both sub bass and upper treble. Technical performance of QT9 MK3 is from another league here.



CONCLUSION


The Rose Technics QT9 MK3 are technical monster IEM that deliver plenty of bass fun and take the opposite road of safe tuning that can often be very dull or boring to listen to.

The bass performance is incredible for the price, it’s fast and rumbly yet clean and elastic, thanks to the phenomenal DD and tesla magnet that permit to achieve a transient speed that properly match the one of 4 other BAs to deliver a captivating energetic and vividly resolved musical experience.

The Mk3 aren’t for faint of heart, nor for treble sensitive audiophile, as well, mid range isn’t the most natural or lushest we can find, nonetheless, i could say this for flagship headphones like Hifiman Arya Organic which offer similar sound experience to MK3.

All in all, I'm truly impressed by the QT9 MK3 performance and while I would prefer smoother upper mids, there is nothing wrong with being a treble head with such rewarding resolution and attack speed.

Recommended for bass and treble lover!


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PS: I want to thanks Rose Technics for sending me this review sample. I'm not involved into any form of affiliation program or $ hubris bias. As always, those are just my subjective opinion and audio impressions.

You can order the Rose QT9 MK3 here for 210$ (look around their plenty of deals): https://www.aliexpress.com/i/1005006080160902.html

Tonality: 8.5/10
Technicalities: 8.8/10
Timbre: 8.2/10
Soundstage: 8.5/10
Imaging: 8.2/10
Musicality (subjective): 8.8/10
Construction: 7.5/10
Accessories: 9/10
Sound value: 10/10
INTRO

Artti is an obscure OEM company from China that was manufacturing IEMs for other companies like Letshuoer before going their own brand. It seem closely connected to Volkchoi but I wasn't able to get much more info about this IEM maker.
They've been getting lotta attention on ChiFi Love, thanks to Joel Regalado for it's find about 3-4 months ago.
Then I become obsess about this IEM brand because of their extremely competitive price for IEM tech that we rarely find in sub-100$ market like 3 dynamics drivers (of different type) and the planar IEM I will review today call T10.
Priced 70$ but easily findable for 50$, the T10 use a 14.2mm planar driver that haven't nothing to envy to pricier planar and put to shame rough sounding budget planar things from KZ.
I've waited 2 months for the arrival of T10 so let's say my expectation has the time to grow and grow.
Let see in this review if it worth getting crazy about those ultra budget planar IEM.

CONSTRUCTION&ACCESSORIES


The T10 ain't gonna win a beauty contest and feel cheap in hands. Yet, when we look closer, it does use a special type of plastic that is very similar to Letshuoer DZ4 and S15, so the housing is surely made with 3D printer. Then we have a round metal back plat sticken at the back of the round housing which is rather small and have a long angled nozzle.The plastic is smooth and IEM is light and very comfortable for long listening. It's thinked to be use with ear hook and noise isolation is good enough.2pin female connector are quite tight, this mean we need to be cautious when connecting a variety of cable.

The included cable is incredible for the price, you can choose it in balanced 4.4 termination which is a big plus. Its a 4 cores high purity copper silver plated cable that don't justify urgent upgrade and will be enough for most audiophile. This is a big deal because the goal of this IEM is to be an end game budget audiophile solution so now the only thing you need it's a dongle with powerfull balanced output which can be found around 50$ easily nowadays.


The packaging is minimalist in presentation, which I like because the vain waste of fancy packaging is just ridiculous and often use to compensate lack of proper accessories which we have plenty with the Artti. We have a large enough carrying case of great quality, 6 pairs of silicone ear tips and that's it and it's plenty for the price.



SOUND IMPRESSIONS



Tonality wise these sit between U and W shape, why? Because we don’t feel it lack anything bass, mids, treble wise yet their some coloring going on, like sub bass dominating mid bass in slam, then mids lift have extra warmth that thicken fundamental and lower mids so it’s not thin like an harman target U shape, then the treble isn’t fully sparkly but have plenty of snap and air.
We are into well balanced tonality, and guilty pleasure part will hit harder with bassy music than instrumental like classical and even jazz.


Describing the T10 this way don’t do them justice since i would like to be able being 100% hysterical brainless hyper but just can’t. Yet, they merit this way more than anything KZ or even Letshuoer. The 55$ price is not normal, we are into exceptional sound value even if musicality is more boosted than technicalities with T10. Those are bassy planar for sure, slightly bright but not shouty, piercing or trebly, as well unless going Shuoer S15, you will not find as natural timbre for a planar IEM, for me only thing T10 don’t excel is male vocal, the bass warmth benefit more female vocal density and lushness here and I can’t explain why, it is like it is.

The bass as big rumble that is thick and vibrant, the slam hit hard with great headroom, it’s wide and dense, dominate by lowest range so it’s not focus on mid bass thumping punch, nor magnify sens of speed. Kick drum is a bit dark in definition but the boom is fun and euphonic, well balanced within an overall warm balance.
This mean bass line are well extracted and easy to follow, yet they don’t overly distract or dominate the mix, warm transition is well done, it don’t bleed on male or female vocal due to fast transient response of planar driver that permit open sound layering.
Acoustic bass line like double bass or electric bass has minimal bite to it so attack lead is energic and define enough, it’s not overly boosted in bite so texture of string pulling will be too much.
Don’t expect cleanest bass, though it’s not muddiest too, it’s fun, lush and weighty, it’s not very resonant too, the rumble is about thick air vibrancy that I find highly appealing. This do better with soul, R&B, rap, Trip-Hop and EDM than rock or jazz. Still, i can enjoy most music style with T10, i accept the extra sub bass boom which add sens of physicality to music, the minimal kick drum texture and mellow punch permit enough readability, while for cello it lack a bit of low mids fullness so it can be mixed up with violin in orchestra or chamber ensemble.
Yes, we are in U shape balance where sub add weight to the slam without sounding too thin or too boomy. We have plenty of ‘’oomph’’ with the T10 even if it’s not perfectly define in roundness it can go speedy and had dynamic energy to the musicality.

The mids are open, gently bright and not thin sounding. It specialize in higher pitch instrument like female vocal and saxophone, which aren’t shouty or sibilant.
Female vocal are wide in presence, breathy and textured with hint of warmth in timbre, which make them lusher and more natural sounding than alot of pricier planar IEMs.
It’s not buttery sweet though, and some might find pina gain a bit borderline high.
The layering of multiple instrument is great. and we have enough transparency to perceive different stage of music.
The piano sound realist and have enough note weight to be felt, it doesn’t tap hard in attack lead wich is softed, then the natural resonance is a bit hazy but this avoid a dry or too flat rendering too, note of piano open up with euphony.
Then the male vocal has bright presence and aren’t veiled by bass nor thicken by it, it’s a bit leaner in dynamic than female vocal and perhaps not the best for fans of Kurt Elling which has a bit too much boost in raspiness compared to visceral grunt that should densify it’s vocal. Anyway, i’ve heard way worst and male vocal are as clear as female vocal.
All in all, very good mid range for a planar, with quite natural timbre too, it's open sounding, vast and lively and we have plenty of instrument positioning accuracy that make music listening extremely captivating.


The treble is fast and snappy, has hint of brilliance that benefit acoustic guitar and percussions and extra sens of air and openness.
While energetic, it’s well balanced and percussions don’t dominate the mix even if they are well separated, lievely and easy to pin point.
It’s quite extended too, yet permissive enough for poor recording since it don’t boost background hiss like KZ PR planars which are notably more trebly.
The snare are clear and loud without being piercing, hit hat is fast and tight, crash isn’t splashy yet well resolve too.
Both electric and acoustic guitar has slightly softed attack bite lead and texture, it doesn’t sound thin or too sharp, it’s hard to pin point electric guitar or acoustic chord than single note playing due to this.
We have plenty of micro details but no unpleasant noise artefact or texture boost unbalance, the highs are very well balanced within a W shape dynamic that is agile and lively.
If you love fast snappy treble with plenty of attack bite and control, your in for alot of joy with the T10 which is a sub-100$ technical champ.

The soundstage is another highlight, its quite gigantic in fact (with right ear tips), its taller than wider but still very wide and we have plenty of depth even when bass occur.

The imaging is excellent too, thanks to fast layering capacity of planar driver and great transparency, you can travel within a 3D holographic soundscape with accurate positioning, something that is quite unheard in this price range.




Side note

Like all planar, these scale up greatly with proper amping. I suggest a minimum of 200mW@32ohm to wake up the dynamic and open up spatiality.

The ear tips too inflict alot on sound projectiong, wide bore is mandatory but their a variety of it.

The cable don't inflict alot on sound rendering, this is perhaps due to planar not being sensitive to impedance output. As well, included cable is excellent, i just suggest using balanced cable for better imaging and spatiality representation from a balanced source.



COMPARISONS



VS LETSHUOER S12

S12 is less bassy, more W shape and brighter with more spicey upper mids.

Bass is both less punchy and rumbly, it’s more texture and cleaner but more rolled off in sub bass. T10 offer wider weighter slam, chunkier overall bass, lusher in timbre and deeper more vibrant and deep in rumble.

Mids are more aggressive and thinner with the S12, its more prompt to sibilance and harshness, texture is more brighten and noisy, vocal feel more compressed and less wide in presence, they are a bit cleaner too. T10 has smoother upper mids and more creamy timbre, saxophone and vocal sound more natural and bodied, when their big slam in track is can bleed more in lower mids, so overall darker yet piano sound less recessed as well as acoustic instrument less unbalanced in presence texture and fundamental of tone.

The treble is sharper and splashier with S12, for me it’s barely bearable while T10 is smoother yet still snappy and airy, you don’t struggle finding percussions yet they aren’t as unbalanced as S12.

Soundstage is notably wider and taller with T10, while slightly deeper with S12.

Imaging is more analytical and edgy with S12, so they win in that regard if you can handle the ‘’presence boost party’’.

All in all, technical performance is on par but less boosted in clarity sharpness with T10 which i find more balanced, smoother, warmer and way more musical.

VS NICEHCK F1pro

The F1 is brighter, boomier and more W shape in term of dynamic spike.

The bass is notably more muddy in resonance with darker thinner wonkier bass line that are impossible to read properly, the slam is loose and more boomy and dominant than warmer smoother and more balance bass of T10 that has thicker rumble with faster sustain and less resonance rebound.

The mids are more sibilant and bright, has artificial timbre compared to T10 and are more shouty, note weight is thinner, piano sound more distant and hollow, among worst planar mids i’ve heard.

Then the treble is sharper, dryer and edgier, its has a metallic timbre to it which make it more artificial and hint more brilliant than T10. Snap and clap sound are more piercing and detached, we have more lower treble noisy texture and more splashy attack than overall ddarker and more balanced treble of T10.

Soundstage is about same wideness, but taller and deeper with T10.

Imaging is on par with both too.

All in all, T10 surpass the F1 in all department, bass is more controlled and balanced, mids are smoother and lusher, treble is more controlled and balanced, tonality is more natural and musical and ultimately put to shame the messy F1 that I find unlistenable.

CONCLUSION


The Artti T10 are the game changer budget planar IEM i was waiting for, it’s not perfect but nothing is even at kilobucks price.

The fact we can find these for around 50$ is just insane, add to this the great balanced cable and it’s ski high price value buy.

Those who love bassy W shape balance will be in heaven with the T10, those who need well bodied instrument presence too, those who need technical performance that hit way above it's price range too, those who need vast soundstage as well, those who lovee fast bass and rumble too...I can go on and on, it's truely the budget miracle IEM and believe me: i don't earn nothing praising those. In fact, my audiophile quest try to avoid budget IEMs which are very underwhelming either in performance or tonality to my capricious high end ears....yet, this is a planar IEM that can compete against any other planar IEM whatever the price range, and this without shame....unlike KZ offering this is a cohesive and musical tuning and thanks god, it don't go shouty like the 7HZ Dioko or other harman target disaster that seem to charm alot of ears but not mine.

I'm no hyper yet these worth hysterical praise, which I hope some will do but it seem you need to have $ earning to go all positivity nowadays....in my case, i loose $ and time doing this, it's 100% self less praise to help those budget audiophile finding very best planar deal, which T10 is without a single doubt.

This is the new budget planar benchmark to beat, before it was around 100$, with the like of Letshuoer S12.

I don't think we will see another 50$ planar as competitive as this in 2024, but if so, thanks again to Artti for pushing the bundaries because ChiFi market was a bit complecent in 2023.

VERY HIGHLY RECOMMENDED ( a must for those not owning planar IEM)




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PS: hum, i'm not sure i wanna thanks Volkchoi which take months to send this IEM to me...so, i just underline it's a review sample here....which worth nothing to me. 50$ is price of 3 pack of cigarette here.

You can find the T10 for 55$ here:
https://volkchoi.com/products/artti-t10-huge-planar-headphones-wired-in-ear-monitors-hifi-earphones

TONALITY: 8.8/10
TECHNICALITIES: 8.2/10
TIMBRE: 8.5/10
SOUNDSTAGE: 9/10
IMAGING: 7.5/10
MUSICALITY (subjective): 9/10
CONSTRUCTION: 8/10
ACCESSORIES: 8.5/10
SOUND VALUE: 8.5/10

ISN audio is a cable and IEM company from China, owned by Penon which has been doing IEMs and cable under its own name for more or less 5 years.

I’ve discover ISN IEMs 2 years ago with the H30 that is a extremely competitive 1DD+2BA (sonion+knowles) hybrid earphones and positively surprise me at the time since it doesn’t follow typical V, U or harman balanced tonality and instead deliver a mellow warm neutral musicality that don’t bet on fatiguing treble or upper mids boost.

Then I discovered the H40 which was a lush basshead IEM that I'm very enamored of and the ISN love story just continued to strengthen more with Neo5 and H50.

This explains why I feel the urgent need to try the new Neo3 which I will review today.

The Neo3 is priced 199$ and it’s one-of-a-kind hybrid using 2 dynamic drivers (bass and mids) and 1 micro planar for highs.

Let's see in this review what kind of musicality and performance the Neo3 offer.


CONSTRUCTION&ACCESSORIES



The Neo3 construction is very, how say: Orange. It’s all made of thick resin plastic that is smooth and feels sturdy. The housing is fully transparent in front so we can see 3 tubed drivers, no need to tear it down to confirm these use real planar drivers!
The back is half transparent, which is a strange aesthetic choice to my eyes.
In fact, the whole design is quite a departure from the more classic look of other ISN IEMs, as well, the shape is chunky but comfy due to soft plastic, lightweight and elongated nozzle that is small.
On top of housing we have a 2 pin female connector that isn’t recessed but has a flat shape for easy and secure connection.

All in all, the construction doesn't feel cheap but the aesthetic will be hit or miss depending on your taste. Since I have just one Orange IEM (Dunu DK2001), I'm happy to have this unique looking Neo3 in my collection.

The included cable is of good quality too but I would have preferred a modular cable still. It’s a 8 strands OCC copper braided cable that is thick, flexible and sturdy. You can choose it in 3 different plug termination: 3.5mm single ended or 2.5mm and 4.4mm balanced.



The packaging is the same as all other ISN IEM, which is an elegant electric blue box with a generous amount of accessories. We have the typical ISN carrying case that is very well built but a bit small and we have 9 pairs of silicone ear tips. As well as cleaning tool and cable holder.

All in all, satisfying package for the price.


SOUND IMPRESSIONS



The tonality of Neo3 is all about feeding a lush, dense, rich and holographic musicality that is laid back yet highly immersive. It’s not a technical-clinical highly resolved sound we have but a slightly dark and mellow one with thick vibrant weighty bass, forwards and smooth mids with creamy timbre and fast and full treble that is not edgy but enough crunchy for attack lead, smoother.

The Neo3 is all sugar to the ears, fatigue free and perfect for getting lost for hours within an organic balance that isn’t muddy in macro dynamics. The drivers timbre match perfectly and nothing sounds detached or out of place, it’s a spike-less balance that round the corner of definition to magnify goodness of tone and timbre.

The bass is impactful but not edgy in definition, it’s energy is in-between mid and sub bass so it’s a vibrant mellow slam that is thick and a hint warm.
The kick is dark in definition while the sub bass line is vibrant and chunky and tactile.
It’s not a lean and clean extension we have, it’s juicy and we have slight sub bass roll off around 30-40hz, this means double bass can sound a bit boomy and one tone, this is the guilty pleasure part and the transition in lower mid range is dense and warm too.
Thankfully, this doesn’t veil the mids which sit above this warm luscious low end.
While this doesn’t benefit double bass, it does magnify the cello tone and body, which can't mix with violin like with harman tuning that over boost presence and texture to the detriment of fundamental frequencies which are the core of cello. Anja Lechner cellist never sound as good, the tone is colorful and natural while timbre is dense, rich with natural air vibration and the attack lead is weighty, we don’t have texture noise or micro details artifact that will ruin the appealing lushness and focus of this instrument is excellent, it can cohabit with piano smoothly too.
Synth bass line has similar treatment, it’s chunky and has a singular space to fully extract its presence.
Digital kick will be more enjoyable and readable than acoustic kick drum which will lack proper definition edge and presence boost. The kick has a warm boom to it, it’s round and creamy and just a hint sloppy.
I feel the Neo3 excel more with slow bassy music like Soul, Trip-Hop, Reggae and R&B than fast rock or jazz.

To my ears the Neo3 is mid centric but within a sirupy and slightly hazy macro dynamic that has an holographic multi layering spatiality, very open and immersive.
These are vocal specialists, both male and female vocals are upfront and lush, not too dark in presence, in fact all vocal range from baritone to soprano sound magnificent without any sibilance or shouting, the upper mids are softened but not to the point of affecting loudness release.
From Kurt Eiling grunty blues to Jorja Smith breathy R&B to Arianna Savall chant, the Neo3 trigger goosebump and emotional reach due to intense sense of proximity with widely presented vocal that is both dense and rich in presence.
Main instruments like piano, saxo or vocal will take the lead and begin the main focus of listening, overshadowing other instruments in background which isn’t the cleanest nor sharpest in resolution.
The piano sound wonderful, tone is natural and full, attack lead is creamy and weighty but not hard hitting so for very fast pace pianist, readability of each note will be a bit hard, as well, resonance release is a bit hazy, it’s not linear, but it’s part of overall musical charm since Neo3 is all but a monitor IEM.
So we have the tone color, the attack weight, but a darkish imaging and overall resolution, these aren’t edgy mids at all, it’s safe but captivating, it takes you by the guts not the brain.

The treble is slightly dark but fast and snappy too, this is the first time I heard highs of this type and it’s due to single micro planar used for this purpose.
It project sound layers fastly with excellent control but softened edge, it’s not an intensely abrasive and bright treble at all so while it extract a lot of sound info, it don’t force it on listener, it will be well layered in the back instead of put in front of macro balance.
It’s very well balanced both in timbre and loudness, snare sound round and full, not sharp, wet and trebly, percussions aren’t the most brilliant but they have rich texture and full restitution, when needed we will have hint of sparkle in ultra high but again, tamed in release.
The Neo3 are certainly not for treble head nor deliver cleanest airiest crispness. It doesn't attract attention either.
Attack sustain and release is fast, we don’t have long resonance after cymbals impact.
Same for acoustic guitar, which isn’t an highlight of these, it’s full bodied due to fundamental of lower mids being boosted but lack some bite and sparkle for proper definition.
Maracas are impressively realist and fully restitute, as well highs are very well layered and don’t get mixed in muddy thickness even if macro dynamic isn’t crisp or clean.
This is the miracle of 3 drivers used here that permit holographic layering that is ‘’impressionistic’’ in resolution but readable in organic layering.

The soundstage is another highlight of the Neo3, it’s very wide and tall, out of your head and 3D, not hall like in your part of the music so it’s hard to sense deepness which is fullfill with center stage thick layering.

Then the imaging isn’t the forte of Neo3 laidback musicality, it’s dark and hazy, hard to position instruments and when their main instrument it darken even more the definition of other background instrument or percussions. It’s an ‘’anti-monitor’’ IEM, too polished in delimitation of instrument presence to permit proper separation.




Side note:

At 15 ohm of impedance and slightly low sensitivity of 105db, you might think these are very easy to drive but due to 2DD+planar drivers it will scale up with power.

It doesn’t mean a crazy amount of power, 150mW@32ohm and up is plenty enough, as well, a cleaner and crisper source is suggested since if you add even more warmth to Neo3 it will sound too dark and affect proper holographic layering.

Then the ear tips can drastically change sound experience, the Penon Liqueur makes it cleaner and more W shaped in balance with less bass warmth and rumble but more compressed spatiality, while Kbear KB07 wide bore warms it too much. Short wide bore provided with it is good in-between, it opens up spatiality fully, improves layering but doesn’t make mid bass more hard hitting.

Then cable wise, it isn't worth upgrading since I feel these aren’t sensitive to cable change. I mean, sure you can get 0.000000001% more clarity on top with something like a Simgot LC7 but the stock cable was good enough. This is surely due to the type of driver since I feel DD and planar are less sensitive to cable impedance-resistance as well as noise.



COMPARISONS



VS HIDIZS MP145

The MP145 is brighter, crisper and more U shaped in balance.

Bass is thinner and more resonant, it’s less chunky and punchy in mid bass, their less lower mids warmth and extension is more transparent . Sub bass is less rolled off and rumbles are not as dense and vibrant, nor as tactile.

Mids are brighter and more open sounding, cleaner and clearer, we have better resolution but planar timbre is rougher and grainier, though transparency is higher to perceive background instruments. Male vocalists are more recessed and lean while female vocals are thinner, brighter and more prompt to fatigue and slight sibilance. Neo3 is more mid centric, darker and lusher, vocals are way more pleasant.

Treble is edgier and snappier as well as more crisp and airy with MP145, percussions are clearer and less euphonic in timbre, acoustic guitar has more bite and natural resonance and sound more realist and not as boosted in warmth. We have more micro details too, which make Neo3 feel notably darker and less extended in highs.

Spatiality wise, nothing can beat the MP145, including the Neo3 even if near has wide it’s not as tall and deep.

Imaging is superior too with the Mp145 due to wider instrument space in separation, less opaque-hazy sound layers and higher resolution.

All in all, the MP145 is superior in technical performance but polar opposite in tonal balance and timbre. Neo3 is warmer, has more mid bass beef and notably more natural and lush male and female vocal, personally I find it more musical than MP145 but guilty pleasure is higher too.

VS Celest Pheonixcall

Celest is brighter and more W shaped, dynamic is more energetic and analytical.

The bass is more rolled off in sub bass and notably more hard hitting and thumpy in mid bass, it feels faster and tighter too, less warm and mellow, it sounds more detached artificially from lower mids too. We have more resonance with Celeste and sub bass articulation is very messy compared to more tactile and chunky rumble and bass line of Neo3.

Mids are more aggressive and forwards in upper mids, lower mids is more scooped so piano and most mid range instrument sound more recessed apart high pitch saxo or female vocal which are more shouty, thinner in timbre and way less smooth, lush and dense than more mid centric Neo3.

Treble is more vivid, open and detailed, snappier and faster and more analytical with Celest, percussions are more prompt to dominate the mix and timbre is harsher. Neo3 is smoother in balance and less generous in micro details.

Soundstage is wider and taller with Neo3 but deeper and crisper with Celest.

Imaging while not very realist is still cleaner and sharper with Celest.

All in all, Neo3 is way more coherent and natural in it’s warm tonality, offers better fuller male and female vocal, has deeper and chunkier bass and has on par technicalities that feel more refined though not as boosted in energy. For treble head, the choice would be Celest Pheonixcall, even if it sound more wonky and artificial it creates more in your face wow effect in terms of resolution and micro details.


CONCLUSION



The ISN Neo3 is another musical bliss that aim for a lush balanced tonality with natural timbre and fatigue free mellow dynamic that cuddle and enveloppe the listener until he melt into it's music.

The immersive holographic spatiality is free of any harshness yet the 3 drivers permit an open and multi dimentional resolution that is both tactile in sound layers and versatile for a wide range of music style.

This is a warm but highly articulate in macro dynamic IEM, that will please fan of colorful timbre, full bodied yet non agressive vocals and buttery smooth treble that can surprise with it's agility.

These aren't for fans of harman target IEM with agressive upper mids and bright presence, nor for treble head, these are made for music lover first and foremost, not for those listening to music like if they monitor it.

As a music maker, I use monitor IEM as a tool, and the Neo3 to enjoy my music or those of other.

If you seek an upgrade to the ISN H30, this is it.

Highly Recommended.






---------------------------------

PS: I want to thanks Penon for sending me the Neo3 after I manifest my interest about unique sound flavor they seem to deliver with such drivers configuration. Again, no $ incencitive nor any affiliated program to compensate all this time is imply in my reviews. As well, 99% of IEMs i receive are still in my personal collection (no reselling benefit).

You can order the Neo3 for 199$ here:
https://penonaudio.com/ISN-Audio-NEO-3.html

TONALITY: 9/10
TECHNICALITIES: 8.5/10
TIMBRE: 9/10
SOUNDSTAGE: 7.5/10
IMAGING: 8/10
MUSICALITY: 9/10
CONSTRUCTION: 9/10
ACCESSORIES: 10/10
SOUND VALUE: 9/10

Intro

Hisenior is an experienced IEM maker from China that specialize in Custom In-ear and UIEM for musician, stage monitoring and audiophile.
This company has about 10 years of experience and is well known among musicians but a bit more obscure for headfier and audiophile.
This will most likely change in 2024 because they plan to diversify even more their sound signature offering with their ‘’Wild-Nature’’ series that focus on different musical experiences.

Personally, I discovered Hisenior 4 years ago when I bought the T2 classic, a 2 knowles BA marvel that still holds its ground today as the best dual BA under 100$ (not for bass head or treble head). The pair I own was excellent for monitoring and unfortunately they never get the acclaim they deserve.

Today I will review the big brother of T2 which is a 4 knowles BA IEM with 2 tuning switches called T4.

Priced 199$, the T4 uses 1 BA woofer for bass, 2 BA for mids and 1 BA for treble with a 3 way integrated crossover. It promises a natural and balanced sound inspired by harman target, but I can already confirm to you it has nothing to do with the Moondrop, Simgot or Thieaudio harman reference target.

It has 2 switches that either add bass or treble, offering 4 different tonal balances.

Let's see in this review if this IEM offers good sound value, performance and musicality.


CONSTRUCTION&ACCESSORIES


The construction of T4 is made of high quality resin plastic that is just slightly transparent so you can perceive the drivers when putting IEM in front of light.
The housing has 2 parts, both with richly colored plastic. The back plate has a mixed white and blue painting pattern that is eye catchy. The texture of plastic is smooth, if it feels thick and durable.
The size is surprisingly small and has a long ‘’ear canal shaped’’ nozzle with a metal nozzle end that is both thinked for shallow or deep fit.
There are no venting holes so the isolation is excellent.
The 2 pin female connector is flat and not recessed, but not put on curvy housing shape so it’s easy to connect it securely, as well it’s tight but not to the point of being worrisome.
At the side we have the 2 tuning switch which can only be turn on-off with a tool, i find this counter intuitive even if extremely common, while i would not want as loose and big switch as the Oriveti OH700VB, i’m sure it’s possible to create secure switch that we can turn at least with our nails. This will permit greater freedom on the go since sometime i want extra bass or treble for different music and don’t tend to bring mini tool with me…ok, in fact, when it happen i seek a small sharp rock on the ground, sometime even nail or screw, but we can’t bet on luck like this.



Then we are spoiled with a great modular cable that is surely worth 30$ or more, it’s very similar to Tacables obsidian but with 3 modular plugs (3.5mm single ended and 2.5mm-4.4mm balanced). I don’t have much info about the core material, but this is a 4 average thick strand and surely a silver plated copper of great quality since I don’t feel the urge to take a higher end cable from my 100 cables collection. The plug has a ring to screw the plug so there is zero risk it gets disconnected randomly like most other modular cables without securize plugs, this is quite a big plus and while the mechanism is similar to Fiio modular cable, it has better grip and construction.



Then the unboxing while minimal in presentation is more than maximalist generosity, this is incredible and pushes the price value even higher.
Let’s begin with the superior carrying case which is ultra sturdy and well built, and a must have for IEMs owners. It’s a pelican like case with very thick plastic, and pouch with zip inside it for accessories and plenty of space for 2 cables and some extra IEM, it’s waterproof and shockproof and Hisenior sells it for 30$ on their site, which is already an honest price.
But if you add this with the cable, the IEM alone might cost 140$.
Then we have 14 pairs of ear tips (!), 4 models of silicone eartips (wide and shorter bore) and 2 pairs of medium foam eartips.
We have a Feebas sticker, a cleaning cloth, a pin tool for switch and a cable holder clamp of great quality.
Yes, this is overwhelming in a good way and I can’t rave enough about the carrying case!

All in all extremely satisfying accessories and great quality construction of IEM, cable and carrying case.

SOUND IMPRESSIONS



Due to 4 tuning choices of the switch, the tonality of T4 is multi faced and can go from warm bassy V shape to gently bright neutral, all with a mid range focus and thick macro dynamic.
Whatever the switch choice, you get a smooth balance free of harsh spikes.
If you are familiar with Final E series IEMs, think about the E4000 and E1000 in terms of balanced tonality that sit between fun and mature musicality that favor tone fullness before texture presence brightness.

These kinds of IEMs are hard to tune without going either too warm and muddy or dark and dull, but this is the ‘’tour de force’’ of Hisenior here and it does justify the use of both 4BA configuration and 4 tuning choice to fully achieve a versatile sound and performance.

This isn’t an analytical IEM, nor a particularly technical sounding one, it’s one that grows on you in terms of richness of colors and immersivity of wide sound layers that are well articulated around the listener, capturing him into a cozy harmonic cocoon that is hard to depart from.

The 4 tuning switch choice are as follow:

2 down is the balanced tonality, which has leaner and more neutral and clean musicality, but less fun and energetic too.

1down2up is called vocal tonality, this is the one with most energetic and upfront upper mids-lower treble presence, which indeed make the vocals brighter as well as instruments like saxophone and violin more focused and less warmed by bass.

1up2down is for extra bass, it has the warmer-darker tonality and vocal aren’t recessed though less clean and gain in fullness and lushness, we got about a 2 decibel bass boost, which is concentrate in mid-bass thump, a creamy, weighty fast bass that is highly addictive.

Both switch up is called soundstage but doesn’t sound as open as Bass switch to my ears, it’s the most dynamic sounding and the treble is more crunchy.

In all honesty, all tuning choices sound good to my ears but we don’t have extremely different sound sig, their no 10db bass boost that will make one choice bass head, nor sudden treble extension that will add a lot of air and sparkle and transform the T4 into an analytical beast.
It’s subtle fine tuning to achieve perfect versatility of a stock tuning that is all about organic cohesive balance in the first place.



The bass has its own BA woofer which is tubed individually to permit a good layering with concentrated resonance that will not overly bleed over the mids.
It can go from gently punchy and well textured mid bass to thick and thumpy warm round impact depending if bass boost is on. Personally, I prefer when it’s on a par for classical and folk music, but anything that needs proper punch needs this extra ‘’oomph’’ that is fast, creamy and well layered.
As expected with BA, the sub bass is roll off and don't offer a long rumble release, the mid bass can offer vibrant slam and bass line can be well articulated in tone but not very clear nor very textured in presence, lowest pitch will sound a be ‘’one toned’’ too. But this doesn’t mean bassline and kick drum goes muddy, nope, the attack is too fast and thigh for this, it’s just warmed in definition edge, so you have both bassline and kick drum warm in their singular release, yet physically well rounded and layered.
The limitation in extension is mostly problematic for instruments like acoustic double bass or infra bass rendering which don’t dig it’s sustain deep and lean enough, I would not suggest T4 for rap trap or Drum & Bass, while for jazz it will go without bass boost.
I feel the bass switch is thinked for soul, trip hop, R&B, pop and rap.
With tracks from Pip Millet, Jorja Smith, Moonchild we are in pure lush bassy thumpy pleasure that is all sweetness without feeling too guilty pleasure thanks to good macro dynamic rendering of 4 BAs, non recessed mids and either super smooth or more crunchy treble if you had treble boost or not.
From cello to kick drum, everything sound lush and thick, with plenty of impact weight, the tone is natural, not thin or dry and only drawback would be the euphonic definition of the well rounded presence, it’s not sharp or crisp in bit, it slip behind the mid range with an hazy presence that can either thicken lower mid range or stay leaner and more transparent depending of tuning choice.
In terms of multi BA IEMs, it’s among the best bass implementations and quite similar to 64 audio U18T which have creamy chunky mid bass punch with sub bass roll off and hazy texture and definition too.
But unlike U18T, the T4 can go from lean technical bass to this oh so delicious warm thumpy flavor. Afterall, switch play with impedance of drivers, and U18T is only venting port change (apex module), something we can achieve at home with a piece of tape.

The mid range is the best part of the show for me and a pure bliss for female vocalist lovers . It’s thick and lush and very focused though warm in resolution and more about color of timbre, as it will sound if you are near the instrument or vocalist. It embraces the listener instead of pulling him far away to be able to read center stage with monitor-like precision.
Their plenty of lower mid range, which means breathiness of the vocalist will be boosted, adding creamy lushness to vocal presence which is smoothly upfront and wide and enveloping in presence.
It’s the type of mids that can give goose bumps and talk more to the soul than the brain.
Laid back yet highly pleasant in buttery tone, the instruments are fully bodied with an organic layering that feel effortless even if not edgy in attack.
Don’t expect a highly transparent and open presentation, it’s intimate and focused, you’re into the music not a spectator of it. Add this to luscious punchy bass and the pleasure can trigger eargasm fastly.
The piano has good note weight with a vibrant release that blossoms roundly, you don’t have long natural resonance so it’s a bit hard to know which pedal or not is pressed by the pianist. It is edge free, tone is full and presence smoothen.
The saxophone too has this creamy appealing presence, fully bodied and wide, with upfront focus.
You might be afraid that with this softed attack bite the layering would be messy and all stick together in an overly dark way, but that’s what is fascinating with T4: it isn’t, thanks to 4 balanced armature that permit effortless yet non monitor like layering.
This is a fatigue free captivating mid range with magnify tone lushness and intimate, close instruments surrounding. Nailing this cohesive lushness with 4 BA’s is a tour de force in it’s own, boosting musical appeal of main instrument and vocal and making all other IEMs sound distant, thin or too bright. Impressionistic and colorful, the T4 mids kiss you, you can’t overseen it and its main attention is its musical appeal.

Then we should expect some trade off to achieve this mid centric goodness, but it doesn’t mean we got a plain dull treble. Well, I will definitely not suggest T4 for hardcore treble head, but as a fan of good quality highs, I find it refined and organically balanced.
Lot of multi-BA IEM can feel detached at high frequency. In fact, even with a graph I can see exact BA treble bumps of badly tuned IEM, it feels like it’s just thrown there to wow you with a non-sense resolution boost.
The T4 takes the opposite path, which explains why they remind me of Final E4000, which is all but trebly or analytical.
It’s a full sounding treble, percussions are thick and realist and don’t have long or splashy releasy, we have warm snap to it that prove they are speedy but not sharpen, in fact they are damped in spike, not very brilliant or sparkly.
For some, including me, it will lack air, clean snap and sparkle, at first it annoys me then I find it pleasant due to all fully rounded is tonal balance and non distracting are percussions or micro details.
Then for acoustic guitar, it will lack a bit of attack lead bite and snap, but tone is full, notes are open and dense in release, yet I was surprised to struggle discerning piano and single note guitar in some jazz tracks, when both play similar loudness. This is proof that attack lead can help to discern an instrument, piano being hitting a hammer on string while guitar is pulling-stroking string. This is very common with BA .
Nonetheless, the treble deliver rich amount of sound info, some micro details, and fast percussions don’t go out of whack when speedy, they just don’t attract attention, so for lazy listener it will lack vividity and micro details, but I can hear fine details of violin and never feel anything is lacking apart brilliance and clean resonance of high pitch instruments like harp.
All in all, a safe and charming treble that doesn't sound detached, wonky or treble. It’s buttery and sibilance and spike free.

The soundstage isn’t massive with those, it has average wideness and good tallness, but lacks depth and doesn't feel crisp or clean nor airy or open. It’s an intimate cocoon that sticks around your head like a bubble, you're in the middle of music, the vocalist is 1 meter of you in center stage while percussions are a bit more stereo.

This means the T4 isn't thinked for monitoring, though I can see stage musicians like singer, saxophonists using those. It's not sharp in separation, nor very easy to position instruments since they are close to each other. It’s not sounding like a concert all for sure but the layering is well articulate and don't go muddy even if instrument presence is warm.


SIDE NOTES

At 19ohm of impedance and 115db of sensitivity, the T4 are easy to drive and don't benefit from amping gain. In fact, they prefer cleaner crisper source.

The stock cable is good enough, but you can improve clarity and imaging using higher end one like Simgot LC7.

These are sensitive to ear tips and to get fully open spatiality I use wide bore one, like KBear KB07.

The T4 aren't that capricious for a multi-BA IEM and can be driven properly with just a phone.


COMPARISONS



VS Hisenior Okavango (1DD+6BA-300$)

The Oka is more U-shaped and slightly brighter on top.
The bass has more slam headroom, deeper extension and leaner overall punch, with less mid bass rounded impact. The sub bass is less roll off and more focused and detailed than T4 too. T4 has a chunkier and punchier mid bass punch, warmer, more vibrant and compressed bass line too.

Mids are a bit more upper mids boosted, a notch thinner and less thick and natural than more mid centric sounding T4, which offer smoother lusher female vocals that are perhaps less transparent but more bodied, wider and notably more sugary and appealing to my ears.
Treble is more textured with Oka, it’s more extended and extracts a greater amount of micro details. Percussions can feel less well balanced as overall smoother, more buttery and darker treble of T4 which is less prompt to fatigue or lack of warm versatility.

Soundstage is notably wider and deeper with Oka slightly taller with T4 which sound less ‘’hall like’’.
In terms of technicalities, T4 is less well resolved and imaging is inferior due to more opaque sound layers mixing together in a thick macro dynamic. Attack control seems a bit superior though, less prompt to splashing or unwanted resonance. Oka has 7 drivers but I don’t think all BAs are as good as the 4 high end BAs used in T4.

Ultimately I enjoy the smoother and better balanced musicality of T4, timbre is denser and sweeter, I'm not distracted by anything ‘’bad sound info’’ like texture grip, but overall technicalities are inferior, especially in both bass and treble extension.
Tuning wise, and sound value wise, T4 stays the big winner for me.


VS HIDIZS MD4 (4BA-190$)

MD4 is notably brighter and thinner with a wonky W shape sounding compared to smoother mid centric more bassy L shape of T4.

Bass is dryer, more hard, thumpy and edgy, less attached to mids and treble, more artificial and even more rolled off in sub bass, which is replaced by strange boxy resonance and noisy bass line presence.

Mids are notably more shouty, brighter and edgy, vocals are unbearable while highly addictive and emotional with T4, resolution is more boosted as well as sense of transparency, tone-timbre is off while lush and natural with T4 which is sibilance free unlike MD4.

Treble is all over the place with the MD4, it’s notably more aggressive, spiky and percussions are more splashy. Acoustic guitar is more snappy. Overall treble of T4 is better balanced, thicker and less analytical.

Soundstage is wider and taller with T4, deeper with MD4, like a tunnel.

Imaging…both are on par but for different reason, firstly because they are average in that regard, then MD4 is too noisy and full of confusing sound info so positioning is very unrealistic and messy, thigh highs instrument are easier to pinpoint in this mess, then for T4, it’s darker in resolution and less edgy in definition cutting, yet i struggle less to position sound layer unless extremely fast and complex music which in both case I will struggle. Ok, MD4 is so bad I'll give it to T4 here too.

Time to conclude this since I can’t take more! I think it’s evident MD4 is shamefully inferior both in tonality and technicalities even if it tries to boost the latter in terms of cheap wow effect that will ultimately just damn your hearing or sanity.

CONCLUSION

The Hisenior T4 are extremely addictive in terms of smooth, mellow and mid centric musicality, organically balanced.
If you are afraid the T4 offers artificial tonality or BA timbre, don't because it’s among the most natural sounding multi-BA I've ever heard, like a darker smoother 64 audio U18T with more intimate and focused vocals.

The T4 are special IEM that will not appeal to treble head or bass head yet please a wide range of listeners due to its permissive fatigue free nature.

Yet it doesn't lack anything dynamic wise, we have round punch, lush mids and smooth but fast and snappy treble within an overall creamy macro dynamic that is free of distracting treble sharpness of intense bass boom.

It’s rare I'm a fan that much of a safe tuning, since if I seek in my head, the first IEM that comes to my mind are the Simgot EW100 that I wasn’t a fan of. This was due to technical limitations of single DD in terms of macro dynamic articulation and sound layering, which are above average with T4.

I would suggest those first and foremost for lush timbre and vocal lover, as well as mid centric audiophile. If you are sensitive to treble harshness and tend to dislike thin mids and bass, the T4 will be among the safest choices under 200$.

It’s one of those humble IEm that offer both mature and fun tonality depending on switch choice, and if favor tone correctness before analytical resolution or extremist tuning balance.

As well, for T2 owners, this is a very different beast that is worth the buy as both an upgrade technically and side grade tonaly, richer, warmer and bassier than its sibling.

The T4 confirms why I always believe in Hisenior potential and such smoothly cohesive tuning with 4 balanced armature is a tour de force in its own right. If you seek for intimate musicality instead of energetic technicalities, the sweet T4 will stick in your ears like honey.

Very highly recommended for those that don’t seek in-your-face wow effect!






—---------------------------------------------


PS: I want to thanks Hisenior for sending me this review sample. Unlike the T2 I paid 50% of the price 4 years ago, I just pay shipping fees for the T4. Should I pay full, half the price or zero $, this will not inflict on my sound impressions since after 400 IEMs mostly free samples, and none of them being resold, nothing can inflict on my passionate subjectivist audio impressions. I’m addicted to IEMs and Music, not $.


You can order the Hisenior T4 for 199$ here (there a coupon code available for 20$ off which i think work for the T4): https://www.hisenior-iem.com/products/t4universal?variant=40719937699876

TONALITY: 8.2/10
TECHNICALITIES: 8/10
TIMBRE: 8.5/10
IMAGING: 7.5/10
SOUNDSTAGE: 8.2/10
MUSICALITY (subjective): 8.5/10
CONSTRUCTION: 8.5/10
ACCESSORIES: 9/10
SOUND VALUE: 7/10

INTRO

Penon doesn't need lengthy introduction, it’s among the first hifi chinese audio product distributor and it produces IEMs for years too, under Penon and ISN brands.

This isn’t an amateur DIY IEM maker like NiceHCK or **** and other Ali express OEM companies, it’s a passionate and experienced IEM and cable maker with incredible contacts and manufacturing possibilities. It seems Penon always aims for ‘’musicality meet technicalities’’ audio experience and one of the most special IEM’s I,ve tested from them is the Serial, which is a 3 dynamic driver marvel that you can check my review to know more about.

Yet, this explains how excited and curious I am to review the Quattro today.

Price 400$, the Quattro is a 4 dynamic drivers IEM that use 2x10mm composite DD in opposed sided configuration to enhance their dynamic response, 1x8mm graphene DD for mids and 1x6mm custom DD for highs.

Yes the Quattro is an exotic beast that use similar double dynamic drivers tech to something like Moondrop Bellsing 3



But in this case, it’s all dynamic drivers goodness. But will it be as competitive as the Serial in term value, will it be too similar in tonality or worth collecting for a Serial owner?

I’ll try to answer this question in my review.




CONSTRUCTION&ACCESSORIES



The Quattro has very good construction that is quite similar to their Serial, as small but chunkier.It’s made of good quality resin medical grade plastic that is smooth and not easy to scratch.The back plate has a beautiful wooden pattern, painted in blue. It gives it an elegant and sober look, like I love because I don’t try to dress up with my IEMs.At the back side there is a venting port, it has a filter to avoid dust entering the shell.On top, there is the 2 pin female connector, it’s not recessed and I find connectivity slippy a bit so we need to be cautious to align the male 2pin to avoid bentin it by accident.All in all, with its solid thick resin plastic, this IEM promises good durability, its nozzle isn’t very big so no issue for canal hole size since these are very comfortable and light to wear.



Now in terms of cable quality of construction, as always we are spoiled with Penon and this time it’s a next level since the cable is way better than the one included with Serial (which wasn’t bad in first place!).
Everytime i share pics of this cable, people wanna know where to buy it, how much is it….yet I don’t even think Penon sell it yet so I have no idea, it just mean it’s a looker and this is due to ‘’electric blue’’ color of cable coating.
Not only is it eye- catching but it’s half transparent too so we can see wires inside, yes ... .I pass too much time admiring this cable but it’s that dope looking.
Unfortunately, I don’t have a lot of info about this cable and can only speculate. I mean, I read it using Graphene. That’s it. It's a 4 thick strands cable. You can choose it in 2.5, 3.5 or 4.4mm plug. There is no ear hook and it’s a plus for me (big ears). It feels sturdy enough to pull a car. The cable splitter slider holds well and is useful. The Build is pristine and if it was Effect Audio that sold this cable you can expect 300$ and up. I can’t wait for Penon to sell this cable, I feel it will be a success.
Simply put, I've tried my fav cable Simgot LC7 with it and it was a downgrade, spatiality was less open and holographic, more flat. You don’t need an urgent upgrade cable with the Quattro.



And again, Penon spoils its consumers with an incredible amount of accessories goodies, all fitted in small eco-friendly boxes.
We have the great Penon case that has plenty of space in a compact way, so you can fit 2-3cables and plenty of IEMs and accessories.
Then nothing less than 9 pairs of silicone ear tips, including a wide bore that I feel is the best for those IEM, so it’s no random ear tips here.
You have a leather pouch for ear tips or cable.
A cleaning tool and cable clamp.

All in all, very satisfying construction and accessories quality.


SOUND IMPRESSIONS



The Quattro are warm and bassy, the bass is so juicy you want to be kissed by it and for the mids it can be the same when bass don’t steal the show, non muddy way.

We can say tonal balance is U shape in a thick and lush way, since the bass dominates when asked for, mids are lean but superbly layered and sweet, and treble has just minimal spice to offer some brilliance and snap to percussions mostly.
Yes, we are guilty of pleasure if we consider colored musicality a vice.
And this is where it can go complicated: what is natural timbre exactly?
For some, it needs to be textured and underlined in presence definition, it’s in fact mixed with resolution...an aspect I put in technical performance that has nothing to do with final musical enjoyment. Unless for plain monitoring purposes!
For me a natural timbre should sound full in harmony and pleasant to the ears, not forced. When I'm in real life, it's very rare I find a vocal sibilant or shouty...this is what I ask from an IEM too: to let the soundwave flow in harmony, or at least without a peak that puts sound info that shouldn’t be there.

And this is what we get with Quattro but with a different macro dynamic rendering where energy comes from bass, lower mids and mid treble mostly.

Even if it uses 4 dynamic drivers, it’s not tuned to sound technical or analytical at all. Its near dark treble wise, everything is so smoothed, their no edge to definition yet the instrument are fully restitute, mids feel lean, yet they are intimate and not recessed in a way you feel their presence is lacking, treble is gentle but can pick up sound layers effortlessly as well as intricate details of acoustic guitar in a lean way…

The Quattro is a niche yet intensely immersive sounding IEM with the right music. Even more so than the Dome, which makes Serial feel utterly versatile even more. We can say it’s a guilty pleasure too and would impress the bass lover as well as warm sound signature lover, treble sensitive people will find the fun laid back musicality very welcome too.



The bass is what captivates the attention of the listener unless there is none in the music you listen to, then the musical experience will be very different. More the bass is dynamic in your music, the more the Quattro can approach basshead territory due to its fast pounding slam with thick deep and mesmerizing rumble and extension. The dual faced DD used for bass deliver a unique bass experience that is very dense and vibrant and can extend its sustain in a vibrant, tactile and fully extracted way.
Bass line aren’t thin at all, they have full colorful tone but not the most textured attack lead, yet they are very well layered and you can feel you have a subwoofer in your head listening to trap rap or electronic like Kaytranada since the synth bass line are very juicy, tactile and meaty in presence, the elasticity of infra bass in mind blowing.
This means it can deliver proper grunt to electric bass too as well as cello.
Cello sounds lush and more distinctive than the violin which can sometimes sound like...cello.
Double bass is a bit warm, but the deep dense extension will complement well relaxed jazz, less so energetic music style like metal, fast rock because the kick drum definition is a bit darken by sub bass warm and bass line will dominate and warm it presence, what is impressive is how the dynamic of both can cohabit in tandem but not in a sharply define way since bass embrace lower mids and thicken the macro dynamic.
It’s not a clean nor a lean bass rendering and it mean it’s not the most versatile too. I find it excels with Soul, trip-hop, rap, R&B, pop and jazz trio or quartet, not with fast busy tracks.

The mids are lush and lean with a dense natural timbre. It offers full tone with extra low harmonic coloring that can go a bit euphonic when big bass occurs or very smooth and organic with instrumental music or simple singer track. It will feel leaner and more recessed with bass heavy music but the multi DD permit a good layering that doesn't lose the main instrument or vocal of the mix even if it will make the fine micro details of background more foggy.
The vocal presence is wide, breathy and very smooth, the pinna gain is very low so people sensitive to upper mids will never get fatigue from vocal, saxophone or violin upper pitch.
The mids are very centered in the stage while bass and highs add an holographic openness to stereo presentation. I can’t rave enough about the timbre which is very rich and has a natural texture which is more evident with pristine recordings like the ECM label.
Both male and female vocal have a life like presentation which is intimate and enveloping, while I say the dynamic can feel lean it's more about V shaped mix, with neutral mix like last Elina Duni album, the vocalist don’t seem too far and both tone and timbre is top notch, their no lipsy boost, no sibilance, no warmth veil because their no big slam in the music that affect overall resolution.
With trap rap music from IAMDDB, it’s less clean sounding but the lean vocal is well layered above the big bass rumble and slam, this is very enjoyable but some people might need brighter vocals to appreciate the lyric articulation.
Both the bass and mid range are so exotic that it’s hard to describe the very appealing flavor it deliver, one thing sure, these are very colored with warmth so if you like your mids crisp or bright or very energetic this will not be for you, even as a warm mids lover I find the mids lacking a bit of energy and clarity.


When it comes to treble, don’t expect a vividly bright presentation because it’s laid back here with just an extra upper treble boost to add snap and bite to percussion and guitar. It’s not plain dry or too polished on top, we do have slight brilliance to percussions which are easy to pinpoint but not dominating the mix like analytical IEM can offer.
As well, those percussions are magnified in sharpness, which add brilliant snap that favor upper range metallic percussions more than snare, some percussions can feel not fully represented.
Lower treble is very soft, it doesn't boost texture presence a lot which means violin sound a bit buttery and not very edgy in attack, this can be detrimental to fast playing of Presto sonata from Bach for example which will feel a bit glued in attack timing. Yet, for relaxed chamber classical, this lush inoffensive musicality will be beneficial. For a big symphony, the treble will be too dark and make the readability of a full orchestra impossible.
Acoustic guitar are thicken with low harmonic, they don’t sound thin or overly metallic, nor crisp or clean, it have a foggy density to its body and the minimal sparkle release aren’t enough to make it sound airy unless it’s single upper pitch note which will have this natural brilliance delivered.
It will be evident the Quattro treble can produce brilliance with higher pitch now, this benefits classical guitar more than harmony stroke.
Electric guitar sounds full and the timbre can be very realistic since unlike acoustic guitar the sound info in its density is important, sure distortion grain is a bit softer but it finds a good balance between presence and dynamism, alas the rest of tonality don’t benefit rock or metal music.
All in all, the highs don’t really attract attention and like all the rest of the spectrum it’s colored to fit a liquid tonal cohesion, while this permits to crash cymbals sound smooth, it affects proper clarity of note release. Treble heads will not like this kind of laid back highs, while treble sensitive and dark highs lover will find it quite cozy.

The Soundstage is quite impressive in wideness and tallness, but not only since the presentation is very holographic, it surrounds you from left and right and front which is a bit static but not far from you. Listener can get lost in an immersive musical experience where he is in the middle of the soundscape.

Imaging isn’t plain bad since the layering is in fact very good, even bass have its layer where vocal and mids instruments sit on, we can track some percussion or instrument but not all of them so at the end the tuning is too dark for any serious monitoring. Definition edge is too polished for sharp separation too.


SIDE NOTES

Firstly, at 100db of sensitivity benefit from amping power, but since impedance is a bit low at 16 ohm some dongle or DAP will add harmonic distortion and bass gain euphony, this happen with Xduoo Link2 Bal and Penon Tail for ex, so this make the Quattro ultra warm and boomy. With powerful sources that have low output impedance like Xduoo X20, Ibasso DX90 or Tempotec V6, the pairing is better resolved and more balanced even if still bassey this bass layering is cleaner and better defined, less blurred in presence edge.

Cable wise, stock one is excellent but not modular, so I guess you will swap cable even if it doesn’t greatly affect sound performance unlike with multi-BA or Hybrid IEMs or those with very high sensitivity.

Eartips wise, it does inflict a lot on how open will be soundstage and how articulate will be sound layering. Stock green wide bore is my favorite one so I don’t feel an urgent need to upgrade it. Yet I’ve tried blue Fan2 wide bore eartips as well as short wide bore, these tend to widen and deepen even more the spatiality but make mids even leaner and bass less thumpy, more diffuse in sound pressure.

At the end, the Quattro seems to pair better with energetic and crisp sources that have lively but not too exciting dynamic gain. If their slight gain in mid bass it will make the bass rounder punchier which benefit the tonal balance, slight upper mids boost can improve readability of mid range while fully extended and slightly elevated upper treble will show the Quattro can produce brilliance and sparkle and have this metallic snap to percussions.




COMPARISONS



VS Unique Melody 3DT (3DD-400$)

The 3DT are brighter and less bassy.
The bass is more texture in presence and better defined in separation, it bleeds less into mids and kick drum is more punchy. Bass lines are leaner and thinner, sub bass is more rolled off, there is no proper rumble or infra bass density. Quattro feels basshead after listening to the lean bass of 3DT.
Mids are way brighter and seem all concentrated in upper mids, the presence is thinner but more texture, female vocals are more shouty and prompt to sibilance, spatiality is deeper and we have more sound info and micro details. Quattro mids are lusher, thicker, warmer and strangely feel less recessed even if leaner, presence is wider and less compressed too.
Treble is way brighter and crunchier with 3DT, it’s not as sparkly since their zero brilliance in percussion even if the restitution is fuller and more boosted in resolution. We have more micro details with the 3DT but less snap sharpness, snare are more aggressive and percussion more grainy too with 3DT.
Soundstage is notably wider and taller and more holographic with Quattro, it's more intimate and deeper with 3DT.
Imaging is superior and near monitor level with 3DT, definition of each instrument being edgier, it’s easier to track them even if the space is more closed and stock in your head.

All in all, these are polar opposite. For treble head I'll suggest 3DT, while for colored bass, mids lover and treble sensitive I would suggest Quattro. Personally, I find the Quattro more musical and fun as well as more natural and pleasant timbre wise.

VS PENON SERIAL (3DD-300$)

The Serial is slightly brighter and more U shaped, with a more open and transparent musicality.
Quattro feels warmer, darker and more V shape with a crisper but more liquid treble.
The bass is more textured and thinner as well as less punchy with Serial, bass lines are better resolved and more focused, less glued with warmth to kick and mid bass. Quattro slam is more concentrated in energy and juicier, it's more physical than technical, rumble is more boosted, vibrant, but less clean and lean than Serial that have more attack bite too for electric or double bass. Quattro thickens more lower mids too which affect separation clarity.

Mids are more open and crisp with Serial, more transparent, less dark. Presence is more boosted, female vocals are louder but less lush and meaty, male vocals are more recessed and lack of lower mids is more problematic. Quattro mids are warmer and leaner, vocals are better layered as a whole and notably smoother and more natural, we have more note weight but less clean release after attack.

Treble has more bite with Serial, it’s more generous in texture and micro details, it sounds more open and airy yet less delicately brilliant. Percussions sound fuller while Quattro extract the brilliant edge of them. Ultimately the highs or Quattro are darker and more polished in texture and presence.

Soundstage is wider and deeper with Serial, less tall and holographic, more flat and in front of the listener while you put in a multi layered soundscape with Quattro.

Imaging is way better with the Serial, even for bassline and kick drum positioning, it's superior to 3DT too.

All in all, I can’t lie to myself and consider both tonal balance and technical performance more refined and superior with the Serial. I do prefer the lusher vocal timbre of Quattro as well as this much needed mid bass slam but it comes with too much trade off in terms of resolution.

CONCLUSION



Subjectively, I tremendously enjoy the warm sparkly bassy U shape tonality and dynamic of the Quattro, which is very different in musicality than the older, brighter and more balanced sounding Serial.

Objectively, I can see this IEM as being hit or miss depending of music genre you listen too, for anything fast rock or jazz, it will be too dark and lack proper definition of instrument presence, for some, the pina gain and mids dynamic will be too lean as well, for other, Quattro will be to basshead.

There's no doubt I was a bit destabilized by the bassy and dark tuning choice, but the more I listen to it, the more it grows on me…but was it burned in too that helped open up to spatiality and make it more immersive and addictive? I can’t see but will suggest at least 50H before making any conclusion.

Fact is: we are in guilty pleasure territory, near basshead level of bass joy which is nothing like i’ve heard before, for this experience of round rumbly pouding luscious bass performance, I do think the Quattro is worth an applause. Then, the smooth natural timbre might restrain the dynamic push of mid range, which is perfect for slow music like pop, soul and R&B.

The Quattro is an exotic audio experience that will be rewarding for bass lovers as well as those seeking fatigue free treble that is buttery smooth yet has this special crispness edge that makes percussion edge and acoustic guitar sparkly and snappy, within a thick macro dynamic.

Simply put, the Quattro isn’t technical but musical sounding, and I respect the singularity of musical experience, which in that regard is certainly addictive.

This is Recommended IEM for those that don’t seek bright, neutral or uncolored tonality, as well as for Serial owners seeking a sound signature sidegrade with an upgrade mostly made in bass energy, dynamic, density and fun.

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PS: I want to thanks Penon for sending me this review sample. I think it's evident that this audio distributor is honest and accept diversify independant reviewer like me, as well, their no affiliated program to feed any self interested $ benefit. My passion is IEM, and it's what feed my ears (and explain 200 IEMs collection)

You can order the Penon Quattro for 399$ here: https://penonaudio.com/Penon-QUATTRO.html

TONALITY: 7/10
TECHNICALITIES: 8/10
TIMBRE: 7/10
IMAGING: 8/10
SOUNDSTAGE: 7.5/10
MUSICALITY (subjective): 6.5/10
CONSTRUCTION: 8.5/10
ACCESSORIES: 7/10
SOUND VALUE: 8/10


INTRO

Oriveti is a Chinese earphones company founded in 2015.
I've review and adore their flagship balanced basshead IEM call OH700VB.
Today I will review their entry level IEM call OD100.
Priced only 70$, the OD100 is a single dynamic driver IEM promising high sound value and using a 9.2mm DLC (diamond-like-coated) dynamic driver.
Let see in this review if this is an IEM that can truely compete in most unforgiving price range of them all: sub-100$ hypertrophy chifi IEMs market.


CONSTRUCTION&ACCESSORIES



The construction of OD100 is all made of high grade CNC milled metal which is polished and glossy, very smooth in hands, small in size and seems tremendously sturdy for long time durability.
The 2pin connector feel sturdy but their are slightly recessed and has oval shape which will create mini gap with some cable.
The Nozzle is short and since the desgin is thinked for around hear, i find the fit a bit problematic and prompt of falling from my ears.



The included cable is a 4 cores silver plated cable of good quality. It's well built and feel sturdy, it's above average cable for a 70$ IEM.

Rest of accessories are minimal, but again of good quality. The carrying case is very good, it's solid and thick and has enough space for 2 cables and some extra IEMs. This is a very welcome accessory. Other one are 8 pairs of eartips including 3 pairs of memory foams. Again, very good.








SOUND IMPRESSIONS


The tonality of OD100 can be summarized as balanced V shape to bright neutral with slight mid bass boost and a main focus on treble, it’s near analytical and highly resolved with boosted presence of instruments that are loud. It isn’t suggested for those that are sensitive to lower treble and female vocal loudness since this is quite forward, upper treble too is upfront and quite impressive in extension past 10khz, which is something very rare in the sub-100$ price range.

The bass isn’t for basshead at all, it has a warmish punch to it that feels mellow, not hard hitting nor very high. The bass line presence is more boosted than their body which is a bit thin but it’s well textured and their this much needed attack bite for double bass or electric bass that add a sense of energy to the bassist playing while not offering proper rumble or dense resonance release of infra bass.
This makes bass line definition brighter than kick drum which is more about physical presence, about gentle ‘’oomph’’ hitting without the best separation with lower mids.
Due to the whole treble being more upfront of bass and mids, the drum dynamic is understated and a bit distant while its percussions feel detached and more upfront as if we have 2 different drummers in different positions of the stage.
When I say mid bass is boosted, it’s in the sub bass lead too, which means we can have a good slam especially with modern pop music that uses digital instruments, the issue is mostly for acoustic music. So, this is a niche bass, not a versatile and natural one.Don’t expect hard clean thump nor a perfect definition.
All in all, this isn’t bad bass per se, but sub bass is rolled off and lacks natural release and the dynamic feel overly damped in attack.

The mid range is bright and transparent, open sounding but leaner in dynamic than the rest of the spectrum, apart from upper mids which are quite boosted and favor female vocals in terms of immediacy and loudness. This can cause fatigue and some sibilance too, depending on source matching, this is problematic with neutral bright source like Xduoo X20 while with a warm dongle like Penon Tail the sibilance isn’t invasive but vocals are still very upfront.
The piano on the other hand feels a bit recessed and thin and light in note weight, yet its resolution is good, tone wise it lacks a bit of low harmonic fullness and sound dry to crisp depending on pitch range.
For saxophone, we have the same treatment as female vocalists. Due to the lack of low harmonic, it can feel a bit over centered and compressed, as well, it can be borderline shouty when the saxophonist goes loud and high pitch.
Timbre wise, it’s not the most natural and tends to lack warmth to glue together texture details and air vibrancy.
All in all, I'm not a fan of this mid range which is the main qualm for me with this IEM. I've heard way worse but upper mids emphasis is too much and sense of fullness isn’t there. Male vocalists are more favored in presence brightness and can feel too hot at times, we miss the baritone lush deep tone as well.

Now for the treble it’s both the highlight and ‘’sword of Damocles’’ of OD100, in the sense it’s what impress the most in term of technical prowess and high resolution achievement, but it’s the type of highs that can go unbalanced when it come to percussions, putting it too forwards to the point of distracting the listener from main instrument.
For example, in a jazz trio i'll be able to track double bass line and percussions more easily than kick drum and piano, it’s its saxo, it will feel a bit better balanced in loudness and dynamic, but the extremely snappy, sparkly and speedy percussions will still force my focus to follow their rhythm section to the detriment of full harmonious composition.
Nonetheless, the wow effect is there and the treble head will be impressive for sure. The highs are airy, it has a lot of shimmer, it’s cleanest part of the spectrum and has a sharp attack with boosted brilliance.
When it comes to instruments like violin, presence is notably more favored than harmonic density, it’s edgy in attack which can deal with fast playing yet it’s not a lush tone and can feel a bit grainy.
For acoustic guitar, harps or Kora instrument of Ballaké Sissoko, this kind of treble is magnifying crispness of instrument presence, permit sharp attack lead with an airy sparkly release but it can feel a bit thin and overly metallic too, depending of your musical appreciation this can go from wow to What appreciation.
This means that OD100 is generous in micro details too, thus the near analytical musicality I perceive.
All in all, this isn't the best treble in terms of balance but in terms of performance It's good for it's price.

The Soundstage isn’t bad but nothing really impressive, it’s deeper and taller than wider so it can feel a bit in your head.

The Imaging is quite good for the price, but not very realistic so it’s not suggested for monitoring purposes when it comes to mixing but for stage musicians like female vocalist, saxophonist or classical guitarist it can be a good entry level choice.



COMPARISONS



VS SIMGOT EA500LM

The LM is crisper, more transparent and open sounding as well as leaning more to smooth U shape signature, which make the OD100 sound brighter balanced V shape.

LM bass offer wider slam with more sub bass resonance and extension, it’s more mellow in mid bass punch which is warmer and more rounded with OD100. Bass separation is better layered with LM, bass lines are more textured and less ‘’one toned’’.

Mids are more recessed and less crisp with the OD100, female vocals are more upfront and prompt to shouting and sibilance, their presence is less open and transparent, texture grain is more boosted with OD100. LM mids are a bit thinner and colder.

Treble is notably superior with LM both in micro details retrieval and attack control, which is more snappy, speedy. It extended further so it’s more sparkly and airy. OD100 is more edgy and crunchy in attack, treble is brighter but dryer and rolls off faster. It gets congested faster too.

Soundstage is notably wider and deeper with LM.

Imaging is from another league: more accurate and clean, positioning is sharper and layering more transparent.

All in all, Simgot EA500 is from another league in terms of technical performance and offers a more cohesive and balanced musicality too, which extends further both in bass and treble.

VS Whizzer HE01

HE01 is basically a warmer-darker V shape version of OD100, with more open and natural musicality.

Bass punch is similar but has more sub bass extension and release which is thicker and less compressed, more vibrant and wider in headroom too, thus the slightly warmer tonality.

Then mids are notably smoother yet vocal presence opens up more, embraces the listener with more grandeur, female vocals are less aggressive and shouty and has lusher thicker timbre. Note weight is greater too with HE01 as well as timbre is ultimately more pleasant and less boosted in presence brightness.

Treble is less edgy, less crisp and clean with the HE01, definition of percussion feels more hazy and violin lacks proper attack edge, so overall highs are darker and more colored, sound info are greater with OD100.

Soundstage is wider and taller with HE01, while slightly deeper with OD100.

Imaging of both these IEM is average, so on par here.

Overall performance is similar here but the tonality is better balanced, more musical and natural with the HE01. OD100 sounds a bit more technical and is less warm and bassy-rumbly than HE01.

CONCLUSION

Coming from Oriverti OH700VB, listening to OD100 is quite a shift in terms of musicality which is brighter and less lush and bassy.

Here I'm not talking about the technical performance of 8x pricier OH700VB but the tonal balance which is notably smoother and even if more bass, it feels more mid centric too, and for me both bass and mids are the Achilles heel of OD100.

It doesn't trigger fun even if slightly V shape, nor impress with details retrieval even if pumped up in brightness.

Those OD100 are certainly not for upper mids sensitive listeners which will find high pitch instrument and vocal release too aggressive, then it might be a good choice for treble head but the quality isn’t really there since it’s a bit splashy.

While not plain bad, OD100 is an IEM that struggle to compete in extremely prolific sub-100$ price range, so for me it’s:

Half recommended!


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PS: I want to thanks Oriveti for sending me this review sample.

You can order the OD100 for 70$ from official Amazon store here (non-affiliated link): https://www.amazon.com/ORIVETI-OD100-Detachable-Ear-Headphones/dp/B0CK5WB42G

TONALITY: 8.8/10
TECHNICALITIES: 8.5/10
TIMBRE: 9/10
IMAGING: 7.5/10
SOUNDSTAGE: 8.5/10
MUSICALITY (subjective): 9.5/10
CONSTRUCTION: 9/10
ACCESSORIES: 9.5/10
SOUND VALUE: 8.5/10

INTRO

Soundrhyme is a chinese audio company from Xiamen, China, that begin working as OEM maker in 2017 then founded Soundrhyme official in 2019.
Like alot of other chinese company working as OEM in audio, they earn experience working for other and then go on their own with the experience they earn.

Unlike alot of chifi companies that get unnoticed, SR already has a solid fan base, thanks to their cost effect hybrid 1DD+4BA SR5, then apart their entry level SR1, it seem every of their release get positive reception.

In my case, it was the 1DD+6BA SR7 that trigger great interest in this company that don’t tune IEM with Harman target as reference, which is a blessing for me that prefer warm or sweet mids that don’t create shouty fatigue. The SR7 was a big love story and something still extremely competitive one year after it’s launch.

Them based on graph balance, I’ve selected the DTE500 to review because i’m a big fan of tribrid using sonion EST and well, the graph seem to promess lush bassy sweetness.

Priced 460$, the DTE500 is a 1DD+2BA (sonion for mids, knowles for highs)+2 sonion electrostat (EST), this price alone worth to trigger our attention since it’s among cheapest tribrid of this type.

Now let see in this review if it deliver a mix of musicality and technical performance that should make curious our wallet.



CONSTRUCTION&ACCESSORIES



The DTE500 are pure candies for they eyes, and every time i share pics of those i get wow effect comments. The housing is average to big size depending your ears size, it’s made of skin friendly medical grade resin plastic that is very smooth and their a glossy finish over eyes catching sparkly gold leaves. This is a IEM that feel like kilobucks in eyes and hands and the smooth CIEM organic shape permit a high level of isolation.

Why? Because it’s fully sealed. Which mean their no proper venting too for pressure release, this can cause rare instance of driver flex squeaky noise, but it doesn’t affect negatively the sound experience once it’s insert. Yet, it’s something to be noted for those sensitive about that.



The top has a 2pin connector that isn’t recessed, so be cautious to don’t bent the pin. I don’t struggle slipping them into female connector and insertion isn’t too loose nor too tight.

The nozzle is average long with an organic ear canal like shape, it’s large too and has 3 tubed holes, this mean you should be aware ti not block any with too small ear tips nozzle. It’s more thinked for shallow fit than very deep fit.

All in all, excellent construction and personally, the benefit oof high isolation surpass negativity of intermittent driver flex for me.



Now, when it come to the cable, we are well spoit with a 3in1 modular, It’s a single crystal copper plated thick silver cable, the material is full of 48 cores in each core. 6 strands 0.06X7 0.1X1 coaxial twisted Litz structure weave, the skin uses transparent and environmental protection TPU material, visible real material. The quality feel excellent and the signal transmission is clean and crisp, which benefit warm tonality of DTE500.



In term of packaging, we are spoil again with a very generous amount of goods. It come not with one but 2 high quality case. One in metal that feel invincible and will be perfect for survivalist wanting to stay audiophile in upcoming apocalypse, and a second one more elegant, made of leather and spacious enough.
Then we have 2 pairs of memory foams tips and 3 pairs of wide bore silicone eartips. Oddly enough, no short wide bore eartips, which is the one I find more appropriate for an IEM with big nozzle.

All in all, very positive construction and accessories impressions.

SOUND IMPRESSIONS



The DTE500 balance can be perceived as bassy mid centric to smooth neutral with sub bass boost, it has a colorful buttery character to it, free of harsh edge or texture abrasiveness.

The overall timbre is buttery, liquid and organic, very smooth and rarely if ever sharpened or boosted in noise info. We are into sonion balanced armature sweetness, well filter-damped and very sweet to their ears, not bity or sketchy.

The bass is warm, dense and mellow in impact yet meaty in potent weight. It has good rumble sustain that adds a sense of vibrancy to slam release as well as cello stroke, which can go grunty with softened distortion stridency.
It’s not what i would call a fast and thigh bass, and it shine more with slow music genre like soul, R&B, pop and rap than fast rock or jazz with complex rhythm section where kick drum need fast edge to it’s attack, which will be lacking with the DTE500 softed thumping and creamy bass line.
Yet, it doesn’t mean it blurs the mid range with its inherent warmth release, thanks to tribrid configuration, the mids are layered upon this wide chunky lush bass response.
Cello lover will be in for alot of joy, since the restitution is natural and magnify in lush density, you will never confound cello with violin with the DTE500.
I find this bass to pair very well with soul, r&B and pop due to big rumbly slam with pleasant colorful timbre.
Overall bass can be summarized as dark in definition, tactile in density, right in tone but creamed in texture details, it favor bass line before kick presence, which isn’t very clean nor easily readable.



The mids are the best part of the show for me, instruments and vocals are sweet like honey without being too sticky. The layering is open yet embraces you intimately, making the DTE500 mid centric and focused on acoustic instruments like piano, saxo, cello and violin but without the upper mids bite and abrasiveness.
But let’s begin with female vocals, those are magnificently smooth, lush and natural with a wide and full presence free of any sibilance, harshness or shoutyness, these aren’t plain loud and screamy yet forward due to wide and well layered delivery.
Breathy vocals will never lack air, while soprano will never pierce your ear drum, it’s pure delicacy that captivate and immerse for long listening pleasure free of fatigue or tone over brightening that can affect cohesion of an enveloping liquid musicality.
Piano lover will be in heaven with the DTE500 since the tone is full and rendering don’t have sudden high pitch note loudness that will unsettled the listener, it’s fast and laid back playin that favor color naturalness without adding much edge or texture info to note, each stroke release wide note with a lush sustain to it that blossom in air and keep it’s layering. In jazz trio, pianist will be focus but not in a monitoring way, more like if you were sit back of piano and get spoil with fullness of instrument resonance, united way so you don’t pick up too much finger or string noise nor the infamous Glenn Gould weirdo singing.
These are very sweet mids for sure, with a wide presence that is sirupy not papery or plasticy at all, BA timbre hater will be very happy: the sonion BA is sugared.
Then the note weight is heavy but don’t have edgy tapping to it, it’s no analytical mid range here, it’s intimate and immersive, as well I would not suggest those to Harman target lover cause pina gain and upper mids boost will feel to low and I guess they will be deaf feeling.



And now the smooth near dark treble which is sparkly and brilliant too, and organically balanced, is something unique in my audio journey which means it’s hard to describe too. It’s like trying to explain the form delimitation of an impressionistic painting. It’s there, it’s rich and far from dull, the extension passes the 10khz bar and even has air but it’s not a bright and crunchy treble, it doesn't boost texture grain nor micro details, even bad recording will be forgiven with the DTE500 gentle highs.
It means it’s colored too, and thickens with extra lower harmonics.
The violin flow without abrasive bite in attack lead, it’s liquid and dense, smooth in presence loudness but wide and holographic, it never feel recessed or off tone but super fast playin of Hilary Hann will be harder to read since each note will not have proper clean silence between them, it’s glued with euphonic warmth.
The 2 EST seem to focus on percussion rendering and this adds an extra dimension to the sound, it’s crisp and speedy this time yet doesn't feel detached due to intimate presentation as a whole and not too loud ultra highs. This adds a sense of well needed immediacy to jazz, pop and R&B by sharpening the presence of a percussions line which is easy to track. Those have this appealing natural brilliance and metallic snap too, which only EST or very good DD can offer.
This mean the acoustic guitar too sound fabulous, and that when you go bass less music like with folk singer songwriter, the result will be mesmerizing, the vocalist will have focused presence with wide lush natural timbre and it’s guitar playing will be clean, airy and sparkly, not lacking in fundamental note nor in inherent crispness of it’s string pulling and release.
To my ears, this is a very refined treble, a bit like adding EST to Final E5000 IEM, it’s non fatiguing yet captivating, and the fact it’s not analytical keep a part of mystery to your music that you want to get lost in, as well, EST deliver delicate vividity, not a trebly in your face snapping and sparkling, it’s anti splashing in fact and ultimately very sane for your hearing health.

With the right eartips, soundstage can go quite wide and tall, but never really deep, it’s like an intimate cocoon you wanna hide in, the center stage isn’t recessed and you’r in the middle of it which explain it’s not far away and hall like sounding. It’s a stereo tapestry that is well stretched and doesn't scoop frontal projections which embrace you.

Then, if we are in warm territory, it means it’s no monitor IEM accuracy but all this driver's permit an impressively open and holographic macro dynamic with good layering that avoids muddyness. If I can be esoteric, I'll say the soul (tone) of instruments are better layered than their edgy presence, but ultimately, it’s quite hard to properly position instruments since you melt into them.



Side notes:

At 17ohm of impedance and 112db of sensitivity, DTE500 are easy to drive but a bit source picky, they will not like alot of impedance gain yet need good power to wake up EST drivers too. This happen with all tribrid with EST i own (7), they shine with humble Xduoo X20 which has lower than 1ohm of impedance and no bass boost, with Penon Tail or Xduoo XD05plus it can go too warm and bassy for ex.

Then the ear tips are very important, since the nozzle is thick and have 3 hole you need a proper wide bore to open up soundstage otherwise their will be interference between soundwave which compress and mess up imaging and spatiality.

Then, cables will inflict too but the stock one is good enough, you can still scale up with something like Simgot LC7 (dont pass 100$ bar for cable upgrade since it's conter intuitive).


COMPARISONS



VS KINERA URD (2DD+1BA+2EST-650$)

The Urd is more U shaped and less mids centric and punchy.

The bass has less slam and chunk to it, it’s thinner and more resonant, less warm and thick in rumble.

The mids are again thinner, a notch bright and their more upper mids push, the definition is more edgy and sense of transparency and openness is higher. It seems more recessed too, more compressed in presence of instrument, less lush and natural in timbre, less vocal centric and lighter in note weight of piano too.

The treble is cleaner, thinner and dryer with the Urd, it’s less energetically snappy, more tamed in dynamic, less full in rendering. Brilliance and sparkle are more lively with the DTE500.

The soundstage is wider with DTE500, but not as tall and deep as the airier Urd.

Imaging isn’t masterful with both of these, even if more transparent in layering, Urd feel like a flat sheet with extra bass boost and upper mids push, it isn't as tactile and well articulate in sound layer wich feel on same level, percussions are easier to pinpoint with the DTE500 and mids and bass is fuller and more realistically articulate than the Urd.

All in all, unless bass warmth traumatize you, the DTE500 is superior both tonally and technically, the odd choice of using only one BA for mids and low-mid treble show the limitation of macro dynamic rendering which ultimately play big part of musical experience, this make me say: DTE500 is perfect upgrade from priciest Urd if you want as smooth overall balance with lusher mids, more natural and impactful bass and snappier treble.

VS LETSHUOER EJ07M (1DD+2BA+4EST-660$)

The OJ07M is more neutral, transparently bright and crisper and more airy sparkly.

Everything sounds cleaner as well as thinner with EJ07M, and clarity is notably higher.

The bass is less chunky and has thinner mid bass to lower mids transition, it’s more mature but can deliver a good amount of rumble when asked for which is less opaque and lush than DTE500 slower, warmer and darker bass.

Mids are crisper and more open, it’s monitor level in terms of edgy clarity, upper mids are brighter and timbre for vocals isn’t as sweet and natural, male vocals are notably thinner and overall mids seem a bit more recessed and compressed in the middle of stage.

Treble is notably more vivid and sparkly, it’s snappier and extracts a greater amount of sound info, it has more air and whole percussion range is well resolved while DTE500 will add warmth to it which makes highs a bit thicker and less sharp in definition.

Soundstage is notably wider with the DTE500, while notably deeper and cleaner-airier with EJ07M.

Imaging is a league ahead with the EJ07M, no competition here.
All in all, these 2 should marry together since they complement each other so well, i can see myself living with only these 2 IEMs ... .if i was forced to. Simply put, EJ07M is the technical beast while DTE500 the musical beauty.


CONCLUSION



While no end game in term of technicalities, it might be for some in term of musicality since the DTE500 excell to deliver a rich immersive and fun musical experience with natural timbre, inviting male and female vocal, smooth fatigue free overal balance and even crispness on top.

Yet, we are spoil with tonal goodness with the DTE500, but you need to lover lower mids and overall warm tonality, when I say no end game in performance, I mean it's not a technical sounding tribrid but it certainly not underwhelming in this department too! The holographic effortless layering that surround listener will sure impress, and the EST treble while not boosted to please treble heads and pierce the one of other, is something highly fascinating that add this technical superiority, mixed with an overal relaxed and warm tonality from dynamic and balanced armature drivers.

As an audiophile with more than 10 years of critical listening experience, I learn that lot of IEM are tuned like monitor and don't magnify musical experience for the soul but the brain, this ultimately push me further from music and being able to reconnect with my very wide variety of music with the DTE500 is a true blessing.

If you are an harman tuning lover, stay away of those, but for anybody else that seek ultimate musical experience in sub-500$ price range, this is a good bet because it's the cheapest tribrid with EST and one of the best too in term of lush natural balance.

Very Highly recommended (unless you want clean analytical sound and consider warmth as mud)





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PS: I want to thanks Penon for sending me this review sample after i manifest my interest to test them. Unlike many SEO obsess audio store that use affiliated program to redeem their reviewers, Penon don't do this and this is why I collab with them: i refuse all affiliated programs and despise them.


You can order the Soundrhyme DTE500 for 459$ here: https://penonaudio.com/sound-rhyme-dte500.html

TONALITY: 8.5/10
TECHNICALITIES: 9/10
TIMBRE: 9/10
IMAGING: 9/10
SOUNDSTAGE: 8.5/10
MUSICALITY (subjective): 8.2/10
CONSTRUCTION: 9/10
ACCESSORIES: 7.5/10
SOUND VALUE: 7.5/10 (higher is the price, lower is sound benefit return)


INTRO

Hifiman is a well known audio company from China that specialize in planar headphones and make a wide range of other products including DAP, DAC-AMPs, IEMs, Dynamic and even electrostatic headphones.
It's been a long time since I've been a fan of their headphones. My first real crush began with the competitively priced Hifiman Sundara that I still consider among the finest sub-500$ planar headphones.
Then, if you read my last review of HE1000 V3, you’ll understand it detrone Sundara and anything else in terms of extremely addictive musicality with excellent technical chops too, in a non analytical or resolution boosted way.
Today I will review something exotic from Hifiman, the full size closed back planar Audivina.
Priced 2000$ (but available at lower price if you search well), the Audivina is a reference grade closed back planar headphone using latest Stealth technology, and as stated by Hifiman it is thinking for studio use, and promise great soundstage and pristine imaging for this very purpose, within an overall neutral tuning.

Let's see in this review if this means you can’t enjoy the musicality of Audivina out of a studio purpose.


CONSTRUCTION&ACCESSORIES



The construction of Audivina is sumptuous and Hifiman connoisseurs will recognize some parts used for other of their flagship headphones like the metal headband of HE1000.The material is a mix of metal, plastic and wood.This is what captivates the attention, the big wooden cups that are made of solid yet not too weighty willow wood. The wood pattern and color are delectable and the finish is smooth with light varnish.




The metal headband holder feels sturdy and has good flexibility and the shape produces a smooth clamping force that isn’t hurtful. The real leather headband has holes in it to avoid getting how you barely feel it on your head, yet it is holded with a piece of plastic that can be a matter of worry if you hit it hard on something.
The ear cups are very big and this is a blessing for me because my closed back is often too small for my slightly big ears, so this is true universally around ears closed back.




The ears cushions are very thick and made of memory foam that isn’t too soft or hard, it’s extremely comfortable for long listening sessions and micro perforation seems to avoid getting too warm like it often happens with leather cushions pads.
These cups are fully swivable too, so it can shape your head precisely.

The cup holder seems made of plastic, but I'm not certain, it can be metal too since it’s very hard and feels sturdy.



Only part of the headphones I find a bit questionable is the plastic around the wooden ear cups. This time I'm certain it’s plastic and it feels light and a bit cheap, it doesn’t favor the overall aesthetic too and there is a slight gap between cups that I find odd. I nitpick here, but with expensive headphones we expect perfection and it’s not exactly the case here.
Finally, we have a 2x3.5mm female connector for the cable, under the cup. The jack is made of black plastic, I would expect gold plated metal here or something more prime. Again, I push my nitpicking to its limit.



The included cables are alright and it’s nice to get 3 of them to cover all need, but don’t expect end game cabless either. It’s basic cable quality but not bad to the point I feel the urge to upgrade. We have 1x 3 meter long XLR cable, 1x3 meter long 6.35mm cable and 1x1.5m 3.5mm cable.It’s not stated the type of cable material, but i guess it’s high purity copper, sound transmission wise the do the job, as well it’s an improvement over other Hifiman cable included with Ananda, Sundara etc, because they are flexible and smooth. Nonetheless, I don't use 3m long cable and I wish there was a 4.4mm balanced+XLR adapter instead of 3m long XLR.



The unboxing is very minimalist and I'm one of those that like it this way. Package is eco-friendly and comes in a box that can be recycled. Everything is highly fit in it and apart from the 3 cables, we have a very nice headphones carrying case that is small enough and sturdy enough to really protect those precious Audivina. I wish this high quality case was included with HE1000 too.
All in all accessories are varied and generous enough but the consumers who are very demanding in terms of packaging presentation will be underwhelmed in that regard.


SOUND IMPRESSIONS


(Source used are all 1W@32ohm and above apart the Fiio KA17 which is 650mW)

Let’s begin by stating Hifiman don’t hide the fact this closed back planar are thinked for studio use, and in that regard they not only excel but offer an accessible enough musicality too, which is bright but smooth enough for long listening session, which is a plus for both monitoring and laid back listening pleasure.

Then, unlike most of Hifiman headphones, those are closed back, the plus are extra isolation but i can’t say it’s the most intense in that aspect, the con is about spatial openness, it doesn’t go out of you head in a very expensive way, it’s intimate and focus on center stage first and foremost. If the sub bass was too boosted, there will be bass cons too, but it’s not the case here.

So as expected, the Audivina offers a neutral tonality, which is lean but not dull sounding or lacking dynamic heft. In fact, I feel a ‘’flat’’ W shape signature here in terms of liveliness. It’s gently bright with slight mid bass boost, great low mids and overall mids focus, soft lower treble and then extra highs sharpness to add proper edge to definition, so you can track more easily the instrument. But all this is so well balanced that it feels very linear in balance without going overly tamed in any frequency region.

I remember when I first put this on my head, I was certain to get a very bright signature we often found with monitor headphones that force the resolution and boost instrument presence before anything else…this can extract too much timbre noise and grain which isn’t the case with Audivina. So my conclusion was that it’s thinked to listen to your mix to judge overall balance and fine tune final mastering, not to analyze the mix in an overly critical way. Audivina shows you the mix as it should sound, it doesn't magnify its imperfection to the point it will ruin musical pleasure. Yet, don’t expect a fun sounding or lush guilty pleasure with those, don’t get me wrong it’s not unpleasant tonaly, the musicality is mature and neutral without going clinical or too cold that’s all. In fact, a big plus with planar driver is the capacity to handle extreme EQ’ing, so when I want fun, i just either switch the bass boost of my Xduoo XD05 plus or boost it with Hiby Music player EQ, then you can get head crushing headphones experience if it’s your will!

So the bass is textured, well defined in presence, punchy but not rumbly or boosted in sub bass, this is a good choice because with closed back it could have created resonance that blur the fine clarity. Even if neutral, it’s not a boring bass that lacks dynamic since we have a gentle mid bass boost and no intense high bass lower mids scoop that will cancel the weight of impact and natural fullness of tone for double bass and cello as well as tom and kick drum.
The kick drum is well defined in presence, has weighty dynamic and a natural tone, it’s textured but not unbalanced in color, we have both tactile and ‘’visual’’ rendering, it’s easy to find it in the mix but it will not distract you from mid range.
Bass line has similar rendering, but it’s not boosted in rumble release and don’t move a lot of air as noted before, the tone is again spot on, vibrancy or grunt will be there when needed, but for let say trap rap thick infra bass release it will be a bit tamed.
For jazz double bass, the harmonic are natural but the extension will not sustain very long, it’s not the most transparent sub bass i’ve heard too yet timbre and tone are perhaps the most natural of all planar i’ve heard, it’s like being in small room with other musician so it would be strange to hear clean crisp bass in a real acoustic unplugged environment.
The cello sound wonderfully natural too without being overcook or unbalance in harmonic, that’s the thing with Audivina: harmonic are full and to be soo you can’t scoop anything in frequency range, if you boost too much treble or bass, this will make the fundamental recessed in harmonic mix which isn’t the case at all with Audivina and this is utterly refreshing and even needed, not only for studio, but for purist audiophile seeking reference musicality too.
So, we sure have more quality than quantity bass wise, it flows in the mix without any hard edge and it has enough bite for electric bass attack lead and texture without going too boosted in the treble presence of any instrument. It’s sure not a dark bass too, but quantity wise it will lack for the basshead and those seeking engaging musicality like me, i would not listen to bass heavy music with this in term of musical pleasure, IDM, rap, Drum & Bass etc will all lack slam and rumble, I think it’s evident the Audivina isn’t thinked for this music style, but personally i do find a lot of musicality for jazz, rock, classical and even indie music.

The mid range is the star of the show for me, but not in a spectacular manner, it’s not even forced upon the listener with a upper mids presence boost, these aren’t bright nor dark mids, we are in lukewarm mature territory here where everything flows naturally and nothing is missing. It’s full bodied and transparent, the tone is again spot on for all instruments from piano to sax to male and female vocal. It might feel lean, but not lifeless, cold or very tamed in dynamic, this will be the case for those used to very boosted pina gain and upper mids, the treble head will think the mids are recessed while it’s the opposite since the Audivina are mid centric headphones first and foremost but the IEM and HP market scoop all mid range but it’s upper range most of the time which can lead to craving for louder mids energy out of studio usage.
I’m one of the rare reviewer that don’t enjoy high upper mids boost and find it fatiguing and tonaly wrong, so the Audivina is a welcome healing refreshment to my ears, when Arianna Savall goes into highest range it doesn’t pierce my ear drum with violent pinna gain, it’s smooth and tone and timbre is natural, slightly lush as it should, yet with perfect intelligibility of each words which mean it sound as recorded and unless the record have obvious sibilance (which is important to spot when mixing), it will not boost it at all. This is the main surprise for me since when i review monitor IEM, it’s often quite shouty and sibilant, an example of this would be Sony 7506 which are way brighter, more unidimensional in spatiality and plain bright in presence in an unpleasant way compared to more natural and refined sounding Audivina.
Both male and female vocals are full in timbre, wide in presence, well centered in the stage and never overshadowed by bass or highs even if not aggressive in energy. They aren’t overly loud and can feel lean to those addicted to upper mids shout, but for me they are near perfect since nothing dominates their harmonic, it’s round and sweet, doesn’t create fatigue and will sound good with all types of mix. I rediscover Serge Gainsbourg music with Audivina, since it always sound boxy with IEMs and Headphones I use in the past, now it was it’s natural voice i can fully appreciate within a clean and open mix, this underline that the tonality is versatile and show the music as it is, without putting in or taking off anything in balance, this underline how poor are modern mixing too, especially for pop music with over tweaked vocals.
The Audivina are refined delicacy that worth being tasted finely and with patience, the wow effect isn’t about too much salt or sugar, it isn’t fast food, it’s all about subilities of the music you listen too and record quality play bigger role than with mass tuned headphones, again, this is no surprise for a Headphones thinked for studio use, but the the fact i can find it truly musical is a surprise to me nonetheless.
All in all, mid range is smooth yet effortlessly resolved with pristine layering delivered in an intimate way so you can truly appreciate the body of your music.

When it comes to the treble, the balance is exemplary and while it's slightly boosted it will never distract the listener with overly forward percussion or micro details nor create fatigue or harsh rendering in loud attack of violin or guitar.
It’s a full sounding treble without hard spike, it doesn’t sound thin nor overly metallic or brilliant but we have the sparkle and extension offered in a lean extension which doesn’t add a lot of air to the mix.
It’s slightly polished in attack edge to avoid scratchy annoyance, yet it doesn't like attack bite for most instruments apart perhaps electric guitar which feel a bit too mellow in dynamic loudness and foggy in texture. But that’s ultimate nit picking and it’s based on one Autoryno album.
All instruments in high pitch range can cohabit without over dominating anyone, violin, guitar and accordion were rendered in smooth layering that doesn’t favor presence of any instrument without feeling it lack texture or tone nuance.
Sure, if i go from Arya to Audivina, i will feel it lack a bit of treble extension crispness, brilliance and air, but this will affect the intimate focus with mids and whole instrument presence and harmonic range, this clean brilliance decay is something i can enjoy but don’t find lacking for the Audivina musicality which is extremely captivating in it’s own right.
In fact, crispness is there but not overly boosted, both harpsichord and acoustic guitar as attack lead bite but a fast sparkle release, it's not reflected in resonance as if the wood cup in fact tame resonance. Guitar sound full, not thin nor overly metallic or dry, it's superbly life like without a clinical restitution due to overly boosted upper treble.
So, indeed, we have a slight mid treble boost that add a well balanced attack edge and bite when needed, should it be for violin stroke or string pulling.
As expected with planar driver, the attack speed is fast and effortless in control, this permit highly articulated macro dynamic that can deal with fastest and varied music style.
The Audivina will not miss anything in term of attack timing readibility, yet it will not force vivid micro details on the listener, overall treble being rather smooth in term of plenty of sound info it deliver, this mean it's the type of headphones that grow on you in the long run, certain mix revealing how well recorder they are only with this Audivina.
To my ears, it's among most refined treble from any hifiman headphones i've tested, it's fatigue freee yet highly captivating when you enter active critical listening.

The Soundstage is an highlight if you take in account those are fully closed back, but if compared to open back it's less impressive, in fact I expected wider and deeper presentation due to product description, this might have overly raise my expectation. Simply put: these aren't Sennheiser HD820 and first reason is because center stage isn't recessed nor thin. It's an open and intimate spatiality, very similar to what you'll get with deskope monitor speakers well placed at each side of you, then had a center third speaker too at about 30cm from your head. You in the middle of music with the Audivina but not lost in it, your in first row of small concert hall or studio.

The imaging is quite impressive though, positioning is excellent, even voice doubling can be easily pull apart, instruments don't have widest space between them but the layering is superb. It's as easy to track bass line than main instrument, as well nothing will blur or over shadow other instrument with too loud presence boost, everything is treated at same level with high sens of accuracy.






COMPARISONS




VS HIFIMAN HE1000 V3

The Audivina is notably more technical and neutral sounding than the more laid back and natural sounding HE1KS. It’s near dead flat, yet with little extra upper mids and ultra highs boost.
It’s certainly more appropriate for monitoring music than enjoying it in an immersive way, the rendering is colder and more ”cerebral”, you an observer of the music while with HE1K V3 your swimming into the middle of lush layering.
The bass is cleaner, faster and leaner with the Audivina, bassline and kick separation is better and less thicken by warmth, overall bass is thinner but has more fine details in terms of texture as well as attack edge. HE1KS bass is chunkier, more vibrant and dense in rumble sustain, more weighty but darker in definition and slip into lower mid range more, adding sound layers density to each other. Dynamic impact is greater with HE1KS too, tone is lusher, more juicy, vibrant, it’s more physical and tactile, less flat and dry than Audivina.

The mid range is brighter, cleaner, more resolved and transparent with Audivina, for those seeking pure high fidelity experience, it’s certainly the one to choose. But this mean dynamic is flatter and makes the vocal feel less forwards as well as less widened in warmed presence. Note weight is lighter, but edgier in stroke lead definition.
HE1K V3 has more lower mids fullness, presence and warmth, vocal and instrument are more bodied and forward yet less sharp in upper mids so smoother, creamier, more colorful than hyper-realistically textured. The attack sustain-release of Audivina is longer and extract more sound info of natural resonance recorded even if for ex piano notes don’t fall as heavily, i'll be able to know more easily if the pianist presses sustain pedal with Audivina due to crisper center stage. Its evident HE1K offers a more mid centric sound experience.

Then the treble is sharper, snappier and sparklier with Audivina but again in a leaner way that doesn’t deliver as tactile percussion and guitar dynamic. It’s more speedy and controlled in attack, the percussions are easier to follow in busy track due to crisper attack edge and cleaner air when mid range instruments take the lead.
Lower treble is more abrasive with the Audivina, which will benefit electric guitar presence that is creamier with HE1K but denser and more vibrant in fundamental. This made the treble of HE1KS less thin and dry sounding but less generous in micro details too.
The Soundstage is way wider and taller with the HE1KS, sense of depth is different though because your part of center stage while with Audivina your more like in small studio room with centered monitor speakers, for ex, HE1000S remind me my big Magnepan MG02A planar speaker which embrace my whole sound perception scale.
While the imaging feel more holographic and effortless in the of sound layers projection in space and dynamic with HE1KS, the imaging is more accurate and precise with the Audivina, it’s way easier to separate bass line, kick drum, mid range and high range instrument even if not as spacious and this is mostly due to less bass warmth that blur silence between instrument and more edgy upper mids that boost presence clarity of each instrument while keeping it’s transparency to be able to spot the positioning in both X and Y axis.

All in all, with Audivina I need to force my mind to find music immersive and musical while the HE1000 Stealth embraces me right away and makes me close to my fav singer, pianist or saxophonist. It’s more colored and less neutral and technical than Audivina but unless you want to monitor your music, I don’t think anybody will say Audivina is superior in tonality, cohesion and musical presentation.

VS HIFIMAN ARYA ORGANIC

The Arya are notably bassier and more U shaped in balance, they are brighter too and more open and sparkly sounding than linear smoother more reference sounding Audivina.

The sub bass is more boosted, it offers a bigger and wider slam which is warmer too than the more defined mid bass of Audivina. Audivina sub bass seem roll off compared to more rumbly Arya, it doesn't attract attention too and stay in the back while for bassy music the Arya can be borderline basshead from a purist point of view. Arya bass is more resonant and prompt to warm the mids, it’s less textured and not as fast in control, not as tight. Bass lines of Audivina are less edgy and dominant, more natural in tone and better separated from the kick drum.

Mids are brighter and more open, it’s more excited and boosted in upper mids which make the dynamic less lean than Audivina but less well balanced too, more prompt to slight shortness-sibilance so vocal are way smoother, fuller and more natural with the Audivina even if less boosted in presence brightness. Male vocals are more natural and less recessed and thin with Audivina too.
Audivina has more lower mids and overall mid range fullness, presence is wider and less compressed as well as less recessed when big bass occurs. Timbre and tone of all instruments feel more realist and life-like too with Audivina, free of low or highs coloring.
Its evident mids are more recessed and thin with Arya when we play acoustic music with real instruments, center stage take second stage more when low and highs take the lead than Audivina less U shaped balance.

Then like it’s name promise, the highs are more open and airy with the Arya, it’s more sparkly and brilliant too so acoustic guitar have more edge to attack as well as crisp sustain release, Arya percussions are more upfront and can dominate mids like the bass, it’s thinner but clearer in presence, more boosted in micro details, it add more attack bite to all instrument too which confirm the Audivina isn’t analytical monitor headphones, but a fine final mixing one. Audivine is more balanced and has leaner treble, fuller and less thin, acoustic guitar has greater lower harmonic presence too, yet I wonder why it feels less extended in highs, perhaps to focus more on mid range.

The Soundstage is intensely wider, taller and deeper with Arya, it feels a bit hollow compared to more intimate and focused spatiality of Audivina.

Imaging is great with both but more realistic with the Audivina especially for the whole mid range which have less tamed center stage dynamic, Arya favors some instruments over others, either low or high pitch one so for proper monitoring the Audivina is clearly the one to choose.

All in all, i find technicalities of both in same league apart the soundstage size which is more about acoustic implementation and open back design of the Arya, for tonal balance the Audivina are better balanced as well as less fatiguing for long listening at medium to high volume, i prefer vocal tone too, while i wish the bass dig as deep as the Arya but not in as boomy way.


VS SENNHEISER HD820 (from memories of 6 month usage, not direct A-B comparo)

Firstly, I've never liked the HD820 timbre which is dry and thin, unlike the more natural and dense timbre of the Audivina.

We can say HD820 is neutral too, but brighter and thinner and not as mid centric which have more scooped lower mids that affect rightness of tone in favor of presence clarity boost.

The bass is more textured and transparent and doesn't naturally slip into mids like the lusher bass of Audivina. It’s dryer and thinner, and we don't have as much weight on impact like the Audivina. Bass lines are more vibrant and full with the Audivana, not as resonant and wonky.

The mids have brighter timbre and greater sense of air and transparency, it’s more open sounding and a bit like Arya in that regard, piano sound more recessed and vocal are more prompt to sibilance, i find them way more artificial, edgy and prompt to sibilance than sweeter Audivina, it’s biggest HD820 flaw with thin bass, in fact, everything sound thin and overly forced in upper mids with HD820. Audivina mid range is lusher, more focused, more intimate, it has more tone color and density as well as note weight, it’s more soft in upper mids and the definition edge isn’t grainy.

Then the treble is notably more sparkly and airy with HD820, its less lean and delicate and refined than smoother les spiky sounding Audivina, attack control is better too with Audivina, we don’t have this cymbals crash harmonic distortion in release as well natural resonance of sparkle isn’t as boosted and ultimately it’s more realist and well balanced to my ears.

Soundstage is the no1 highlight of HD820, this is due to both acoustic tech and tuning choice, it’s hall like and instruments are put in concert stages where you aren’t part of music like the more intimate Audivina, you're a spectator far away in rows.

This means that while Audivina is less wide and deep in spatiality, the center stage where main instruments belong is more focused too, but the sound layers don’t have as much separation space so it’s harder to pinpoint them in an analytical way. The music mix is more realistic, less forced into a ‘’cinematic’’ rendering but overall I would conclude HD820 is superior in this department.

All in all, tonaly the Audivina is way better balanced and surprisingly more musical and versatile even if neutrality tuned. In terms of technicalities, planar can’t be beat by the HD820 DD even if the fake clarity is pushed to the max as well as the imaging capacity is clearer, cleaner, and airier. I would say that HD820 will please more those seeking the biggest soundstage in closed-back format, but be aware that it’s a thin sound headphones too!


CONCLUSION


The Hifiman Audivina positively surprised me with their musicality that isn’t as niche or clinical as expected. Being familiar with monitoring IEM, I was thinking to get a either too bright or too lean tonality and it’s not at all what we get here since we are in what i call ‘’lukewarm’’ territory, everything is balanced and refined, sure it’s a mature reference tonality we get but with a rich natural timbre that doesn’t warm or darken instrument presence definition which are very well images.

So, instead of being too niche sounding headphones, it’s a versatile neutrality we get, that favors realism of instrument tone and timbre as well as readability of positioning in a mid centric focused rendering that doesn't distract you with too much bass or treble.
Sure, the soundstage isn’t as mind blowing as full open back headphones like HE1000 or Arya, but it’s on par with Sundara and surely among most spacious spatiality just sitting behind the Sennheiser HD820, which is my benchmark for big soundstage for closed back headphones.

All in all, while these headphones will lack a bit of fun factor for a lot of audiophile, I feel Hifiman upon it’s game in term of tuning balance with the Audivina, it’s a neutral sounding headphones with a pinch of appealing lushness and extra crispness on top without the upper mids grain or harshness we can find with other models of their offering.

Before the Audivina, I concluded Hifiman offered 2 types of sound signature, bright U shape and warm W shape. Now I changed my mind and it made me even more curious about other sound flavors this company can offer.

Highly recommended (for those who know why they buy these headphones)



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PS: I want to thanks Hifiman for sending me this review sample. I don't participate to affiliated program nor gain nothing to write positive reviews. All audio gear are collected for futur comparisons purpose.

You can order the Hifiman Audivina for 2000$ here (check as well the open box crazy deals!): https://store.hifiman.com/index.php/audivina.html

TONALITY: 8.5/10
TECHNICALITIES 9.2/10
TIMBRE: 8.2/10
IMAGING: 9/10
SOUNDSTAGE: 8.5/10
MUSICALITY (subjective): 8.5/10
CONSTRUCTION: 7.5/10
ACCESSORIES: 9/10
SOUND VALUE: 10/10

INTRO

BGVP is an IEM company based in China, they were established in 2015 and has launched a wide amount of IEM since then, always earning more audio engineering experience. They seem to focus on hybrid and tribrid IEM and have a ''high sound value'' approach. In the past, IEM like DM7 earn good praise.
The last IEM i've tested from them is the BGVP DM9 which is among most competitively priced 9 drivers tribrid and offer excellent technical performance with their 1DD+4BA+4EST implementation. Yet, it was a bright analytical sounding set and not the most versatile in term of musicality.

Today i will review their latest offering, the BGVP DMA.

Priced 300$, the DMA is a tribrid, or as BGVP call it, an Hybrid with Bone conduction drivers. It have 1x 10mm nickel plated dynamic driver for bass, 1x Sonion 2300 balanced armature for mid-lower treble, 1xKnowles RAD for highs and 2x(dual) sonion bone conduction vibration driver for lower to upper mids (atmosphere as they say).

The bone conduction driver is different than the one that are round and flat like in UM Mest serie or BQEYZ Wind and Winter, it's based on balanced armature technology. You can see its vibration frequency curve here:


As a big fan of bone conduction potential (when used in hybrid, tribrid or quat config), I contact BGVP to test those IEM that represent a big revolution in term of accessibility since the only other tribrid of this type cost 1000$ and is call UM Mext.

I guess the scoring and Pros and Cons is a bit of spoiler, yet let see in this review if the tonality is pleasant and cohesive enough and the technical performance truely competitive at it's mid tier price range.


CONSTRUCTION&ACCESSORIES



The construction is mostly OK, it's made of half resin plastic with a metal back plate that has semi-venting in the back. I didn't choose the color which is ''pink salmon'' and not as appealing to my eyes than the blue version. I know from experience that back plate can be prompt to unglue or pop up so I hope this one will hold the Canadian climate. Overall built is more impressive inside than outside I feel and it's overall main con of this IEM for me.
It use a MMCX connector which is very thight and i never encounter sound cutting or too loose swiveling with those, which is a plus.
The nozzle is quite thick, it's long enough too for deep fit which is suggested for bone conduction contact with the skin.
Comfort wise, these are light and even if the back plate have sharp side it doesn't go in contact with the ears so i find them very comfortable.



The included cable is of excellent quality and very welcome. It's a modular cable, a 4 strands silver plated single crystal copper cable that is thick and sturdy. If i can be nit picky, i would have love a 2.5mm balanced plug included with it since their just 3.5se and 4.4bal. Yet, it's a good cable that don't make the upgrading urgent.



The packaging come in a small compact box fullfill with goodies. It include the excellent cable, 6 pairs of silicone ear tips in 2 model and 1 pair of memory foam. The carrying case iss very nice too and large enough to fit more than 1 IEM pair. ALl in all, this is very satisfying.

SOUND IMPRESSIONS



Ok, let’s begin by stating that if it wasn’t for bone conduction driver, I would consider DMA plain V shape but since their a whole mids bump that brighten presence bypassing ‘’rule of air transmission’’ with bone conduction driver I perceive it as well balanced bassy W shape, gently bright way, but this will depend the source matching you do since BC is very transparent to source and a hint sharp, perhaps brightest BC I’ve heard.
It doesn't feel out of place though, it’s very cohesive and not too in your head, less so than other BC tribrid like UM Mext (but I will need direct comparison). What I can firmly confirm against 3x pricier Mext is that bass performance including speed, control and layering, are superior with DMA.

So a W shape with plenty of upper mids and a treble that is crunchy but not very sparkly, vocal are incredibly clear and well layered, this is main advantage of sonion bone conduction which cover vocal range, this mean you get bright and very intelligible vocal without the pinna gain fatigue too.

But the first thing that hooked my attention was the bass quantity and quality.


This is the kind of magical bass where we have both thump and deep rumble, and not in a warm, boomy way since it doesn’t lift or mix with lower mids.
Its vast, resonant but well controlled in its sustain-release, it’s not loose or sloppy, as well the BC add a bit of attack edge improving texture and definition.
It’s near the basshead but doesn't fatigue with too much sound pressure due to the back venting tube. It’s transparent, not meaty, juicy and opaque too and very versatile because we have the dynamic impact that is weighty and the bass line is clean and easy to follow even in busy tracks due to excellent layering helped by BC driver.

Sub bass is just slightly more elevated than mid bass but as noted, not in a muddy or sloppy way. I'm extremely impressed by this exotic bass, and I tend to be a warm and chunky bass lover, here it’s sure not thin, but it isn't very tactile or vibrant with excited air particule too.
The Double bass release is deep and realist, it’s not warmed nor compressed in vibrancy or grunt. It flows freely. We are in bass quality meet bass quantity here, so rap and big beat sound fabulous due to excellent layering, but as said, it’s super versatile...this kinda bass should be a guilty pleasure if it was coming from a single DD IEM I feel.

The acoustic kick drum has a well defined presence and slightly less heavy punch than digital slam with wider dynamic heft, when bass line occurs in this instance, it can dominate the kick, while for toms it sounds fabulous with a natural resonance and good texturing.

All in all, this is a versatile bass response but I find it even more enjoyable with electronic and heavy beat music, though with jazz it’s excellent too, for classical, I tend to enjoy a bit more lower mids thickness and coloring, lusher warmer cello presentation.


Then the mids are something special due to bone conduction transmission, its bright and forwards yet not shouty or fatiguing, its gently bright with superb resolution. Readability of instruments are top notch while intelligibility of vocals are excellent. That's something that always impresses me with BC, how it suddenly makes it super easy to track vocals and improve word spelling in whatever language. I tend to use UM Mext for movies because of this, yet it doesn’t sound as clean, fun and crisp as DMA so I don’t use it often for music (the bass issue again).
Mids are centered and patched above bass and treble without stealing the show or taming their dynamic.
Vocal while clear aren’t very lush nor the widest, as say, its centered and very well layered. Timbre is plain neutral, their no bass coloring or extra lush warmth going on, that’s again the magic of BC. It’s fully textured, not thin to force transparency since even if very upfront the 3D space has plenty of sound layers floating behind and around the main instrument or vocal. Male vocals have the same treatment, so some people might miss extra warmth or thickness from bass or lower mids boost but it’s certainly not recessed and there is no harmonic gap in vocal range.
So, it's clear DMA are vocal specialists first and foremost, even bad mixes I've made in the past with vocals that were supposed to be hard to perceive clearly were suddenly clean, upfront and easy to understand.
BC really feel like having a pair of ears in your head that can perceive more clearly mids info that should be swallow by the bass or too boosted in loudness otherwise, which isn't the case, but the BA add a bit of extra upper mids bite too, this isn’t in pina gain region, more where sibilance could occur, their none here but it dont smoothen this part so if recording have sibilance it will not heal it.
Piano too is very clear, especially in attack speed and control, so it's easy to follow complex playing but it dont have alot of note weight, resonance release is very well resolved too.
Saxo is better, since it's similar to vocal range, it's upfront and very rich in texture without going shouty even at loud passages.
This isn’t the most open sounding super clean mid range since the middle stage is upfront, near in your head while bass is wide in the back and treble in stereo at each side, it’s intimate and enveloping.
And now for BAs upper mids and treble, this is well done again. I do think the DMA is a bit sensitive to source output impedance and this is why I use Questyle QP2R DAP and Xduoo X20 for this review.

The highs are speedy and snappy, a hint crunchy and not very sparkly but we have minimal brilliance to percussion still, these are good BAs.
I don’t struggle to follow percussion even with a busy track, it seems it's what it extract the best in terms of micro details because as well resolved it can be, it’s not an analytical IEM and the treble doesn't extend up to 20 HZ in a boosted way.
Yet, there is something...is it a BC spike adding this snap sharpness to BA? Can’t tell right now really but it’s a refined treble in term of tribrid balance...it have nothing to do with a GeekWold GK100 for ex, it don’t pick up noise artifact you don’t want yet you don’t feel details are lacking or air isn’t opening up spatiality enough.

It feel the BC is sharper and cleaner sounding than BA that always lack a bit of snap sharpness and clean definition to my ears, I can say this for 64 audio U12T or Aroma Thunder too, BA don’t produce clean transient response nor alot of natural brilliance or resonance release in higher range and the DMA is no exception.

The acoustic guitar sounds gently bright and well resolved, it has a good attack lead bite, textured timbre and a fast release that has proper sound info instead of harmonic distortion, but the fine sparkly brilliance is a bit lacking airy release.

This makes the harpsichord sound a bit dry and lacking this metallic natural release too, but unlike a lot of other IEM it’s not distant or lacking in dynamic weight. So I can enjoy it even if tone wise it’s not fully there.

All in all, the highs are fast i attack, thick in timbre, a hint polished in definition edge like it happens with most BA, and this affects the natural sparkle that some percussion and instrument should produce. But it’s not a dark or dull treble even if I wish there were more micro details capacity, for this, we would need extra EST drivers and well, a consequent price jump too, for this treble head purpose the BGVP DM9 is a better bet.

The soundstage is surely the hardest part of audio experience to describe with this IEM, it’s holographic and 3D in an intimate way, it sticks around your head and doesn't open up far away from it. You have excellent channel separation in high range that has a bit of fake air in stereo perception then the mids tend to be in front and in your head and the bass a bit behind it adding a sense of depth without a perfectly clean background.

The imaging is another highlight, very revealing and precise with pristine layering that avoid the pumped up bass to mix with mid range, thanks to bone conduction help. You never struggle to track the instruments or bass line, for percussions it's very good too but not as sharply define.


Side Note

At 17ohm of impedance and 106db of sensitivity, the DMA aren't really hard to drive but still a bit source picky because of how revealing they sound, ill suggest source with not too high output impedance and a clean noise floor to get the best of them.

They are ear tips sensitive too, but the included wide bore do the job to open up spatiality and preserve natural balance.

Cable wise, since it's MMCX, i don't have alot of them so I stick with original one which doesn't had distortion or mess up tonal balance.



COMPARISONS



VS BQEYZ WINTER (1DD+1BC-240$)

The Winter is brighter and more neutral, it feels like a monitor IEM and less W shape and dynamic sounding than DMA.

The bass is quite a bummer with WInter, it's more boomy yet way less boosted, its brighter, less transparent and more rolled off in sub bass, their no proper rumble unlike DMA, definition is inferior too and feel less rounded, energy is more in mid bass but not as thumpy as DMA.

Mids are louder and brighter, female vocals are more prompt to shouting and fatigue as well as sibilance, presence is more boosted and timbre lack lower harmonic fullness more than DMA which have less fatiguing yet clearer and more upfront overall mids.

Treble is brighter and more airy, guitars have more sparkle release and wider restitution than DMA, overall highs are more natural and the bone conduction adds a presence edge and snap that the DMA is lacking a bit.

Soundstage is wider and deeper with the Winter.

Imaging is notably superior in layering capacity with the DMA, bass don't get lost in the mix nor the mids mask as much sound info.

All in all, I find both tonality and technicalities superior with DMA, as well, it’s more dynamic, fun and versatile sounding.

VS UM Mest MK3 (1DD+4BA+4EST+1 wide range BC-2K$)

The MK3 is more neutral, cleaner and crisper sounding and as expected notably superior in technical performance, yet less bassy and fun sounding as well as leaner in mids and bass, making it sound a bit treble centric sometimes.

The bass is leaner, more textured and better resolved in presence, it has more mid bass focus so kick drums have more energy while sub bass lines are leaner and not as dominant in the mix.

The mids are richer in presence, better defined, cleaner and in a busy track it can deal with more instruments going loud together, vocals aren't as forwards which underline to DMA being more vocal boosted with its BC. I do think if you have an headache the loud in your head vocal of DMA can be too much, while with more technical neutral MK3 it isn’t.

Treble is really from another league with MK3, it's sharper, cleaner, way more snappy and sparkly and digs a greater amount of micro details in an effortless way, DMA feels a bit excited in attack with percussions, not as cleanly defined.

Soundstage is this time slightly wider with DMA, while it's notably deeper with MK3.

Imaging is a big win for MK3, not competition here…

All in all, DMA complements this IEM due to its more bassy, energetic and dynamic musicality but as expected it can’t compete in terms of technical performance with my end game IEM Mest MK3.


CONCLUSION




The BGVP DMA is something I was waiting for along time which is a truely affordable tribrid with bone conduction that offer incredible sound value and a well tuned musicality that isn't too austere or analytical. It's in fact a balanced fun and bassy tonality with incredible mid range resolution and an open otherwordly holographic spatiality that is sure to immerse and captivate the listener for long time pleasure.

Unfortunately, i didn't have on hands both BQEYZ Wind and UM Mext which i loan to a musician friend, but i'm confident the DMA is superior in technicalies of both, at least in bass separation, round impact and attack speed, the treble is more extended and detailed than the Wind and mids are more fowards than the Mext.

It's rare I give 5stars, this only happen when i'm shock about sound performance to price ratio and the DMA is one of those rare beast.

If you want to introduce yourself to bone conduction flavored tribrid musicality, I think the DMA is safest bet, then you'll be able to know if you wanna climb up to end game bone conduction IEM like the Unique Melody Mest MK3 which is more neutral and resolved.

All in all, apart the construction design, BGVP achieve a tour de force with the DMA and it's very highly RECOMMENDED from me!

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PS: I want to thanks BGVP for sending me this review sample after i manifest my intense curiosity about them. As always, I don't participate to affiliated program, don't make any $ and don't even resell 99% of the IEM I review (which is evident with the comparisons pic I share)

You can order the BGVP DMA for 299$ from official Ali Express store here:
https://www.aliexpress.com/item/1005006226645207.html

TONALITY: 8.8/10
TECHNICALITIES: 9/10
TIMBRE: 8.8/10
SOUNDSTAGE: 8/10
IMAGING: 8.5/10
MUSICALITY (subjective): 8.5/10
CONSTRUCTION: 8.5/10
ACCESSORIES: 9/10
SOUND VALUE: 9/10

INTRO

Not much to say about Night Oblivion company, it's a very mysteriou ''One-Man'' high end IEM maker from China. The Butastur is a special project lead by tuning collaborator American Spirit which have a vision to offer TOTL IEM at affordable price for audiophiloe that don't earn 1M a year.
This is something I tremondesly respect and have big resonance with my personal sound value quest that I pursue for 10 years now.
The Butastur isn't an X Collab for hype like HBB and Crin do, it's way more serious and mature than that and will appeal the audiophile that are connoisseur of tone and timbre rightness, not only those that listen to J pop or Aerosmith.

If you want full info of this project, give a read here:
https://forum.hifiguides.com/t/night-oblivion-discussions/39359

Priced 600$, the Night Oblivion Butastur use 10 high end balanced armature, use 3 way crossover and have 2 switch for a total of 4 tuning balance choice.

It use a 110db air-pressure balancing vent system to avoid hearing fatigue and damage too, as well as pressure built up.

All this is very promsing, but it does put the bar high too in term of expectation so let see in this review if Butastur do achieve it's goal of offering high sound value to all of us, non rich humble people.

But look at this specs if you want to salivate in expectation like me before putting these in my ears!
Specification

Brand: Night Oblivion Audio

Model: Butastur

Driver configuration:

2 Sonion for low frequency

2 Knowles for mid-low frequency

4 Knowles for mid-high frequency

2 Knowles for ultra-high frequency



CONSTRUCTION&ACCESSORIES



The Butastur is made of 3D printed resin, the shell is quite small for a 10BA too. The finish is smooth and the shape is ergonomicThe 2pin female connector on top of body isn’t recessed or secured which mean connecting 2pin cable can be a bit clumsy, so be cautious to aligned well when connecting since it can be a bit risky to bend the pins.The nozzle is short but thick, its not thinked for deep fit but shallow fit.At the side of housing we have the 2 tuning switch and a venting port above it, which mean their some sound leakage but it’s not loud, passive Isolation I quite good though so I can so this being use on stage.



About those 2 switch, its the same used with most IEM, Im not sure to approve the design since we need a tool to turn it, while I find the switch of Oriveti OH700VB too long, I think just adding 1 or 2mm length would permit to turn the swithc with our nail, which will be a blessing when on the go.
The small size and smooth medical grade plastic finish make the Butastur very comfotable.



Then the cable quality is quite incredible and perhaps the best i've never seen included with any IEMs at any price range.
Firstly, just the fact it's a modular is a big plus to me, having all 2.5mm and 4.4mm balanced and 3.5mm single ended plug permit ultimate versatility of use, which is mandatory with me since I own alot of diversify dac-amp, daps and dongle.
It's a 4 shares OCC braided modular cable using single 6n crystal copper litz material. The shares are thick, smooth and flexible. The plug hold well. It feel very sturdy and well built. In term of signal transmission, it keep it lean and dont boost anything, dont had brightness, noise or warmth bump. Butastur are sensitive to cable so depending of your need, this one should be enough.
You can in fact order it now, for 50$, here: https://penonaudio.com/Night-Oblivion-Butastur-IEM-Cable.html



In term of packaging, it's minimalist in presentation and i'm ok with that because what i care about is the accessories number and quality. In that regard, its very good. As noted the cable is a Big Plus, then we have 9 pairs of ear tips in different model and a nice carrying case. all good but I don't use stock ear tips and wonder why their no short wide bore since im not a fan of double flanged wide bore.




SOUND IMPRESSIONS



While their 2 switch that offer 4 tuning choice, it’s not night and day difference and you know you listen to the same IEM, with just a hint extra warmth or treble sharpness to spice up your overall warm neutral tonality.

Yes warm neutral with slight bass boost, since we need this boost for this lower mids density but we can say it’s a balanced L shape with natural balance that tend to favor mid range presence and fullness. It’s a smooth and relaxed musicality that aim for naturalness and lushness of vocal and instrument and use the bass part for extra weight in dynamic rendering. It’s a safe tuning too, not an energic WoW effect machine.

‘’Jack of all trade, master of none’’ then? Not really, since it excell in timbre and mids as well as an holographic intimacy with effortless organic sound layering. Simply put: this isn’t an IEM that sound technical, and you’ll be hard pressed to find the 10 BA role in there since they all act in a liquid cohesion. Nothing really feel detached, yet, you can extract all instrument you feel like to, that’s the magic of this IEM, but the spell might not work for everyone since it’s maturely tuned too, even if sligthly bassy I would never consider Oblivion as fun sounding.

The Oblivion are not for: basshead, treble head, those who love their bright instrument to jump in their face, those who need clean air and sparkle on top, those who dislike switch choice anxiety.

The Oblivion might please: those who dislike harsh BA timbre, those who love mid centric IEM, those who love piano-vocal-saxo sweet way, those who want to get immerse for long time in their music without getting hearing fatigue, those who dislike bright and thin presence representation fo their instrument or vocal, those who listen variend music style and seek for a versatile tonality, those who love lively imaging that isnt static or monitoring like.

So back to the switch:
1up1down will be warmest-darkest rendering, but it doesn’t mean it go dull or overly dark, the excellent layering is preserve mostly and I don’t struggle to find percussions because of this.
2UP is most lively and dynamic rendering, we get some upper treble boost from 6khz and above, we got sharper percussions, we got that hazy warmth that stick macro dynamic togheter when bass occur too.
1Down2up is cleanest crispiest rendering but the bass act a bit leaner way, the punch is less tactil while bass line a clearer, its perhaps most plain neutral choice.
2Down is leanest tuning choice, mids are clean but thinner, it’s my least favorite switch choice so ill avoid my mind to absord impressions of this one.

At they end, 2up or 1up2down are only switch I use, which make me conclude 1 switch would be enough. Or none. Since again: this is quite subtle.

Oblivion mean ‘’the state of being unaware or unconscious of what is happening. ‘’, we can say its about getting lost in music without any sound imbalance that will make us aware we listen to an IEM. I think its a very well choosen word for this IEM musicality. Think about IEM like Final E4000 or 64audio U18T kind of natural tonal balance with lush bass and mids, it’s like a cocoon we hide in and can forget the time pass, depending of the mood your in, youll be able to focus on different aspect of song and discover it’s richness in a contemplative way that you are part off, it’s the type of IEM that can give me the envy to look at right or left seeking an instrument presence that cuddle my ears, while the vocal are always near me, in front of me, non shouty way.



The bass is more about dense tactility than edgy resolution with over textured presence, it got punch but don’t fatigue you with hard thumping, it’s the opposite of a thin resonant bass presentation.
Whatever the switch choice, their will be hint of warmth in bass response, and since it’s balanced armature we do have limitation in flexibility of transient response which will be only problematic for sub bass extension, like the double bass attack release that will feel shorten and not very clean.
The low end favor tone and timbre sweetness, it colored to avoid harsh texture bite or unwanted grain.
The kick drum is round and weighty, but not sharply define since it feel a bit creamy.
The cello is lush, dense, not very vibrant but fully bodied and extremly addictive since it’s superbly layered and you can follow it’s line easily, their no edgy peak, all is buttery here. Unlike with IEM that lack bass or lower mids, the cello can't be confound with violin since its not thin nor too boosted in texture, it's among best tone-timbre I heard from a multi-BA IEM for this instrument.

We have zero unwanted invasive resonance from bass impact, the slam have limited headroom and is thick, it’s a bit opaque and the separation with mids is not sharp or very clean, it do embrace the lower nmid range by the back but never veil whole mid range.
While round, the punch is hazy in edge, this isn’t the most impressive bass performance or tuning I’ve heard for sure, and we have the common sub bass roll off that explain this lack of flexibility.
It seem it’s tune to sweeten mids and add lower harmonic so the tone and timbre feel natural, and my guess is that the small housing for 10BAs inflict on proper spacing of kick and bass line.
For me, the bass is most colored part of spectrum, and while not boomy, we know its a BA woofer. The rendering is mellow and forgiving, with the no1 switch up, you get extre note weight and impact but nothing head banging since it'S all fatigue free here from low to highs.
So, it does excell with instrumental like classical and jazz, and the layering capacity is very good, i just wish slam headroom was a bit wider and midbass punch better define. This qualm is more about dynamic rendering than any tonal issue.

The mid range is the highlight of the show here, it’s so rich and captivating that depending of track you listen to, you’ll often find yourself feeling your right in the middle of your music.
And what is incredible, it’s that nothing is forced at the listener, everything flow smoothly with effortless layering and rich but never edgy resolution.
This is anti shouty mids but I would not call them plain dark, lean or dull at all, while you can get lost in music easily due to lack of spike that will trigger psychoacoustic ‘’defense reaction’’, the 10BAs subtle technical prowess permit a very articulate macro dynamic that extract all instrument presence softly.

The piano sound marvelous, rich and full in tone, not too edgy in definition yet tactile and weight in note impact, the BA speed is there without hard hitting loudness, its musical before being technical yet enough resolved if you want to monitor different instrument in classical or jazz track. Only perhaps the fine details of release pedal can be warm when bass occur since it’s not what I would call cleanest crispest mid range due to dense multi layering when it come to complex music with lot of instruments.

Then both male and female vocal are beautifull, intimate yet not widen or opaquely textured to the point it will mask other instrument, it’s forward with a rounded presence that permit it’s layering to be well articulated with other, timbre is among most natural I’ve heard from a balanced armature, lush, velvety, breathy without overly boosted texture.

The saxophone are very similar, it’s polished without going dark, superbly layered and slightly densify with low harmonic, it’s not thin sounding plasticky saxo like a lot of multi BA that are too bright or bass light. Natural timbre then? Absolutely!

To some extend, I would call mids as ‘’romantic monitor’’ in the sens it’s easy to track instrument even if presence is smoothed a bit and not very abrasive in texture.
It’s evident the tuner of these give a lot of care to acoustic instrument because these shine with classical and jazz as well as all range of vocal.

Then the treble is a bit like the bass for me, it’s very good but whatever the number used, we have some BA compromise especially in term of crisp sparkle and brilliance, as well, it’s not very open sounding and will not add extra air a lot to spatiality.

Their some instance I find the percussions over focused, it happen with no2 switch up, not really with both up or not at all with no1switch up. Yet this mean it’s not a boring or lifeless or too lean treble too, it’s lively and very very generous with soud info, though not in the way plain treble or analytical head will think. As well, it's never splashy or trebly, i just go intensely nit picking here, within the 10 BAs used, their perhaps one more edgy than the rest, but it doesn't affect timbre cohesion nor balance.

Firstly, apart the sparkle, it’s near perfect treble to me, in the sens I don’t feel percussions or instrument are ‘’half cook’’, even with EST this can happen that it sound overly metallic and thin, lacking the air withint the release which is natural with these, just a bit scooped and warmed in release especially crash cybals and highly vibrating instrument.

In fact, their 2 Butastur to my ears: the one with slight bass warmth that blur noise floor and the one without which goes cleaner, more neutral and more resolved. This explain why I enjoy more these with instrumental or bass light music than electronic, pop, soul, R&B and Rap.
But overall treble is smoothly balanced still, rather safe from lower to upper highs.

Back to percussions, hit hats can sound very good, snappy and tight and full, not fuzzy, then the tabla too is super round and natural, well controlled, very well layered. Complex percussions with multiple layering are effortlessly extracted and fast in attack without going piercing. It’s not super spacious and I miss a bit of stereo wideness. But it’s rare I find myself being impress by percussions timbre, which is the case here.
Even if I complaint about slight lack of brilliance, it’s not a real concern for the acoustic guitar unless you want it’s metallic string super textured and resonant. Here it’s well balanced and full sounding, it don’t lack low harmonic yet don’t dominate or blur the body of instrument, sure the string pulling isn’t sharpess but timbre, tone and balance is excellent as well as layering of instrument in folk or rock song.
For harpsichord, we would need more metallic brilliance, but unlike a lot of IEM, this instrument don’t sound distant nor plain wonky, just lacking this sharp brilliance.

All in all, its a safe, mature and refined treble that extend in a lean way, doesnt sound thin or BA metallic and can extract micro details effortlessly without forcing the listener to look at it. It's not analytical, don't extend up to 20khz in a boosted way nor add alot of air on top.


The Soundstage is only downside of this IEM I can nitpick, it does sound a bit stock in your head with minimal stereo openess. It’s very focus on center stage presentation. Its taller than wider and deeper. It’s not airy nor crisp. By some miracle it avoid to be muddy in macro dynamic and layering, but I would never suggest those to big soundstage lover.

Oddly enough, the imaging is very good even if not boosted in definition edge of instrument. This is due to excellent layering of each instrument that are fully extracted and positioned in an effortless way. This positioning is better with bass switch OFF, as well, it's not very edgy or brighten in definition in presence so lazy ears might struggle more. I would never say it's best IEM imaging i've heard though.




SIDE NOTE

At 30ohm of impedance and 107db of sensitivity, the Butastur benefit of clean powerfull source but don't need crazy amping, a min of 100mW@32ohm would be suggested. I find it to sound cleaner with low impedance source, but again, it's not the most sensitive and will not get bass distortion or hissing with source that have lower than 2ohm of impedance. Ill suggest lower than 1ohm though.

Then, they are capricious about ear tips, since the nozzle is wide and have 4 holes in it, it need a wide bore to don't compress it's loudness release and permit a more open spatiality which is much needed.

Then the stock cable is excellent and don't force the consumer for urgent upgrade, yet, I can't hide the fact it pair extremely well with Simgot LC7 cable, this was quite a revealation how it clean spatiality, deepen soundstage, slightly improve imaging and resolution while keeping core dynamic balance. This and stock Butastur a my 2 fav cable to use for this IEM, and I own about 50 good cables.



COMPARISONS



VS Penon Turbo (5BAs+4switch-550$)

Even without big bass boost ON, the Turbo is bassier, its more U shape too with greater focus on sub bass boost and less round and controlled impact than more neutral to L shape sounding Butastur.
So, it’s warmer too, the bass move more air, have wider slam headroom and darker overall resolution. In fact, Butastur sub bass feel roll off in release even before this comparison, so Turbo sure offer more rumble and fun overall, bass line are better layered and extract too, less lean and prompt to be over shdow with mids and treble multi layering. Butastur has rounder mid bass and better kick and bass line layering, in leaner way.

The the mids are warmer and lusher with Turbo, smoother too and presence feel more wide open, less centered and compressed in middle stage. Resolution is superior with Butastur as well as transparency, layering and proper definition of instrument. Vocal are a bit more edgy and prompt to minimal sibilance with the Butastur, so while mids are darker with the Turbo, tone is thicker and more natural with greater lower mids coloring. Overall mids are more laid back, have more note weight and density with Turbo.

Treble is brighter and more generous with sound info micro details with Butastur, percussions are better resolved and faster and more controlled in attack. Instrument gain extra definition edge in macro resolution too. So, Turbo is overall darker and more colored with warmth.

Soundstage is where the Turbo is undoubtly superior in out of your head, wide and tall spatiality, making Butastur feel quite intimate and close to your head.

Imaging is clearly superior with Butastur even of sound layering is more spacious with Turbo here the fact it use 2 times less BA’s sure limit it’s resolution and imaging sharpness potential. The Butastur is good enough to be use as monitor IEM, I would never say this for Turbo.

All in all, the Butastur sound more technical and less fun than Turbo, but it’s technical performance is superior in everything but soundstage size, which is surely due to a too small housing used to properly implement 10BAs…


VS BGVP DM9 (1DD+4BAs+4EST-650$)

The DM9 are more W shape, analytical and agressively crisp.

The bass has more sub bass extension and rumble, wider headroom, less mid bass roundness, it feel more flexible and less one tone than Butastur BA woofer too, thanks for dynamic driver.

Mids are sharper, edgier, brighter and crisper, it’s more open sounding and airy. Vocal and instrument are more transparent and thinner too. Presence is wider again less compressed in middle stage. Presence is more boosted too. Butastur have more natural and dense mids, less textured, lusher, more upfront too without going as loud in upper mids.

Treble is notably crispe, more sparkly, brilliant and airy with DM9, underlining again that BA can’t produce proper sparkle. Yet, highs are more cohesive and balanced with Butastur and don’t distract as much when it come to percussions, it’s fuller leaner sounding, thicker and it’s less spicy than DM9. Its less clean and airy on top too as well as less extended, percussions aren’t as sharply snappy, don’t release natural resonance as much nor have well define clean attack.

Soundstage is again superior with DM9, now wider, taller and deeper. Cleaner too.

Imaging is about on par but the Butastur feel more neutral.

All in all, apart both bass and treble extension as well as soundstage, Butastur is superior on technical performance and tonal balance is more natural and cohesive.

VS Kinera Skuld (5BAs-500$)

Skuld are notably more mid centric with both bass and treble being more roll off.

The bass is thinner, have less impact and near zero sub bass body compared to lusher, chunkier and more impactfull one of Butastur, the separation is less bleedy, kick drum is a bit more texture but not as dense and its harder to feel it’s note weight. It can feel a bit detached too, not as cohesive and balanced as the Butastur, in other word it feel distant in the mix but more boosted in texture presence.

The mids are more forwards and bright but less bodied, it seem all about female vocal which are better resolve and more focused, more plain upfront than slightly leaner darker mids of the Butastur. Vocal presence is wider too and a bit more open, surely because upper mids are more boosted and lower mids leaner. Female vocal captivate me more with the Skuld, even if I have no choice but focus on them. To note, male vocal are thinner even if brighter with the Skuld too.

The treble of Butastur dig slightly more sound info, which translate in fuller music restitution as well as more numerous amount of sound layer, Skuld seem to lost some sound info in the mix, like percussions of other range in very busy music but it’s not that much darker, in fact highs are more edgy and dynamic, but guitar will not have as much brillance. Both these IEM don’t blow my mind with their treble and Butastur being leaner and more refined, it attrack less attention and feel evern more understated than Skuld even if we have more micro details, you must give listening effort to find them. Lower treble is more boosted and brighter with Skuld and while for Butastur its the bass the can cream highs sharpness, for Skuld its upper mids, vocal, saxo that will shadow some details.

Soundstage of both these IEM isnt impressive, so I would say on par here.

Imaging is better with Butastur due to super multi layering of each instrument, but for vocal staging I will go Skuld.

All in all, their no doubt Butastur is super in both tonal balance and technical performance, Skuld is more nichely tuned and only suggested for female vocal enjoyment which is more focus and lively than Butastur.


CONCLUSION



In 600$ price bracket, it’s near impossible to find an IEM using 10 high end balanced armature, for this you’ll need to climb up to something like 64audio U12T that offer similar performance with a more U shape tonal balance as well as bigger soundstage.

Just in term of plain price value, the Butastur is incredible, but as if it wasn’t enough it deliver a mature, smooth and gently bassy tonality that is very versatile for wide range of music as well as fatigue free for long listening session.

If you’r afraid of thin mids or bad BA timbre, don’t be with the Butastur which is all about naturalness of tone and balance, free of distracting unbalance spike.

With the right ear tips, source and cable, the Butastur can deliver TOTL audio experience which is holographic, warm, highly captivating in number of effortless sound layers that surround the listener in a cozzy intimacy.

The switch permit to use the Butastur as monitor or fun relaxed listening IEM that can go, add that to it's versatile tonality and you'r in for long term value that will grow more and more on you.


All in all, the Butastur is a fabulous IEM and one of my fav discovery of 2023, which is a year i've heard 64audio U12t and U18T too, which I don't feel like keeping, unlike the Butastur.

Yet, my overwhelming enthusiasm is subjective and I feel some people need more unbalanced tonality with more agressive treble, bass or mids, this mean the Butastur will mostly appeal those that are fan of Final E4000, 64audio U18T, Aroma Thunder smooth but rich slightly bassy tonality that don't overly favor bass or highs to the detriment of mids presence and fullness.

For those the Butastur are:

Very Highly recommended!!!







-------------------------------------


PS: I want to thanks Penon for sending me this review sample after I manifest them my intense curiosity about Butastur. As always, this is my subjectivist point of view which can't be biased. As well, i'm not participating to any form of affiliation program or $ earning tactic with Penon or any audio companies.

You can order the Night Oblivion butastur for 599$ here:
https://penonaudio.com/Night-Oblivion-Butastur.html

TONALITY: 8.5/10
TECHNCALITIES: 8.2/10
TIMBRE: 8.8/10
SOUNDSTAGE: 8.5/10
IMAGING: 7.5/10
MUSICALITY (subjective): 8.8/10
CONSTRUCTION: 8.2/10
ACCESSORIES: 8.5/10
SOUND VALUE: 7.5/10


INTRO

Oriveti is an IEM company from Hong Kong that specialize in hybrid, multi-BA and single dynamic drivers earphones since 2015.
Their IEMs get good feedback on Headfi and it seem they offer a diversify type of musicality, yet never forget the bass should in the mix.

Today I will review their latest hybrid flagship, the OH700VB.

Priced 699$, the OH700VB is a 1DD+6 knowles BA's hybrid with One single switch for ''variable bass'' thus the VB model.

It promise a natural and balanced musicality.

Since these are at the top of mid tier price bracket, we can expect competitive technical performance as well as as stated a balanced sound, let see in this review if Oriveti deliver good sound value enough.

CONSTRUCTION&ACCESSORIES



The construction of OH700VB is made of high grade resin plastic with a metal nozzle and wooden face plate.
The nozzle is very big yet not very long, so it's thinked for shallow fit and people with very small ear canal might have issue (I don't).
The housing is chunky and quite big too, but very light, it have an ergonomic shape and very smooth finish that i find personal very comfortable.
At the side their a venting hole, so we have some sound leakage and isolation while OK isn't extreme.
Then their the switch which is positioned on back of housing and have a long but quite loose design, this is a con in term of design since you can trigger the switch easily if you move the IEM in or out of your ears. As well, as a canadian with hardcore winter, the switch can get stock and trigger in a toque or hood. Its nitpicking since it only happen one time that i trigger it by error, at they end i would just put it at the side under the venting hole and perhaps make it harder to pull.

All in all, i find the IEM very beautiful and comfortable.



The included cable is fabulouse too, and this is very welcome. Its a 8 wires braided modular cable that include 3 plugs type: 2.5mm and 4.4mm balanced, 3.5mm single ended. I don't know why but lately we rarely got a 2.5mm plug included with modular cable which is a bit problematic for those audiophile with multiple DAP or dongles source like me. I'm happy to enjoy the OH700VB with Questyle QP2R which have a 2.5mm balanced output. The cable is very flexible and smooth and plugs hold steadily, it look great and non recessed 2pin connector permit wide use with different IEM including those with recessed 2pin female connector.



While i'm insensitive to packaging box and presentation, which is quite well done for OH700VB, im demanding in term of accessories quality and we are well served in that regard. As noted, the cable is excellent and very practical.
We have a good variety of 8 pair of 3 model of eartips, including memory foams and wide bore. The black wide bore are the more adequate for nozzle size and soundstage openess for my need.
As well, we have a great quality leather carrying case, its unique and in that regard it's exciting to own.
Then we have the little cleaning tool.

All in all, nice packaging and accessories, worthy of it's price tag.


SOUND IMPRESSIONS



The OH700VB might use 7 drivers, but it’s not at all a ‘’technical’’ sounding IEM, it’s a fun and laid back one that aim for a smooth yet bassy balance. For audiophile purist, these will be consider basshead IEM, while for basshead, It might be consider warm neutral.

To my ears, I consider the tonality as warm bassy U to L shape with thick lean lush mids and dark but full sounding treble. It’s not a crisp U shape à la Harman, but it’s sub bass dominant that offer plenty of slam without going hard thumpy way. Everything is lush with the OH700VB even the bass.

Some can wonder why Oriveti doesn’t boost resolution with so much BA’s, one thing sure, it’s nt to add air or sparkle they use those balanced armature, it’s to permit an holographic effortless sound layering that is vast in presence layer, surround the listener and immerse it in a cozzy way.

Then we have this big switch, in all honnesty, I expect greater impact on bass response so don’t bet on a 10db extra bass boost since when the switch is UP you get this slightly cleaner U shape presentation where it’s all about sub bass and more mellow mid bass punch, then when the switch is up it gain in mid bass punch, slam get thicker and warmer, rumble more vibrant and excited, we are more into guilty pleasure and this extra warmth thicken male vocal too, add low harmonc density, yet blur a little bit more separation of bass and mids.

The bass is more sub boomy than mid bass thumpy, it’s not very fast and the sub bass is very boosted, surely about 10db, but depending of switch choice it can go from mellow organic boom to wide vibrant slam that never create ear fatigue due to too much mid bass impact. It’s the kind of bass I call ‘’pillowy’’ in the sens if feel creamy and warm in resolution but has enough tactility and weight for chill headbanging.
This isn’t a thin bass, nor a very textured one, the presence of bass line and kick drum are a bit dark and bass line will tend to be better extracted.
The rumble can be very joyfull: vibrant in sustain, lush in presence and wide but not resonant in headroom.
The transition into mid range will be thick and warm with extra boost, a bit cleaner with stock tuning.
Yet, don’t expect an edgy definition of kick, toms or even double bass. We are into colored guilty pleasure where physicality of tone is more focus, it’s a meaty bass that benefit slow beat heavy music like pop, soul, R&B and rap more than fast rock, for jazz it can be good too but not in a referene way, it will be a laid back rendering where youll struggle to follow double bass line.
When it come to solo instrument like cello, it can be very rewarding, the thickness and lushness favor this instrument which gain in vibrancy and tone color, but don’t have a lot of attack bite, the lead of attack is creamy which make it even more intimate and cozzy to listen too yet can deliver the euphonic grunt when needed.
Fans of warm bass with wide headroom slam will love these, but those that need sharp definition of low range instruments will find it too dark.
In simple words, switch UP=balanced sub bass boost, mellow organic punch, liquid texture with good transparency, well controlled and soft bass line.
Switch down: Warm sub bass with extra ‘’oomph’’, vibrant euphonic rumble, more opaque mids transiton.

The mids are one of main highlight to my romantic ears, they are warm, lush and lean but not very recessed. The timbre is quite natural for multi BA, it’s velvety and thick. The instrument definition has polished edge.
The piano tone is natural and while the note have weight, it’s polisthed in definition, we can’t see delimitation of note nor the attack sustain and release articulation since attack lead is warmed and release blossom in warmth which don’t permit clean natural resonance to blossom in they air with gradual loudness atenuation which make it hard to understand which pedal the pianist press.

The mids benefit mostly wind instruments and vocal, which don’t need as sharp attack lead.
Male vocal are fully bodied with well extracted presence and lush timbre, while female vocal can be a bit more transparent and loud, still very lush and pleasant, with more airy presence.

The OH700Vb are vocalist maestro in a colorfull and musical way, it’s nt about bright presence boost and insane texture info here, we are not in monitoring approach at all.
It’s luscious and gourmand mid range that focus on vocal fullness with a good balance of low and high harmonic, the listener isn’t far from it’s singer yet don’t get agressed by a too in your face upper mids boost screamy presence, it’s all smooth with just a minimal dynamic edge bump to feel it’s alive, and the immersivity get magnify even more due to this holographic warm tapestry of sound layers floating in vast and thick macro dynamic soundscape.

Saxophone sound sublime, again with wide stretched presence, since no instrument sound compressed or thin.

The violin too have a lush rendering free of abrasive edge or harshness, we have minimal attack bit which avoid the rendering to go too blend.

The OH700VB are master of timbre and a vocal specialist too, mids are very natural and dense in rendering, well layered in an organic whole that isn’t heterogeneous. It’s not cleanest or crispest mid range, but musicality and immersivity are very rewarding.


Then the treble is the most understated part of audio spectrum and we can just call it: well balanced. It doesn’t attract attention nor deliver high amount of micro details, yet when the listener focus on percussions they are very realist, fully boldied, with a hint of snappy crunchy that don’t go loud, splashy or trebly at all.
It’s a rather lean treble with just a slight extra energy that permit to render snare drum dynamic well without going shouty.
Guitar sound full, don’t lack low harmonic which are in fact coloring the timbre with density, the attack release isn’t very brilliant or spakly, a bit scooped in extension in fact but the presence is bodied and pleasant.
So, yes, even if OH700VB use 6 balanced armature, it’s not a technical or analytical set at all, upper treble isn’t adding air, it’s more the bass that stretch spatiality as well as spacious hologaphic layering.
I do feel it lack a bit of sharp attack snap that will permit better readibility of each instrument definition, I’m never satisfy with level of sparkle BA can deliver and Oriveti is no exception, yet the soundsignature doesn’t aim for this and in that regard the treble is refined in balance, a bit like it is for Final E4000 or E5000 balance.

The Soundstage is quite impressive, very tall and wide, it can go deep when bass don’t add fog to noise floor. It’s surrounding you in a immersive way where you feel in middle of the band, or with 2 speakers stereo way and one in front of you at slightly lower volume. You are melting into the music with OH700VB, your not a passive contemplator.

Imaging while not plain bad isn’t favor by soundsignature choice which isn’t crisp, nor neutral and do have warmth going in. Yet the 7 drivers permit well articulated if not edgy layering, it will be easier to pull off all sound layers with slow music.

SIDE NOTES

At 12ohm with a sensitivity of 113db+3DB/MW and rather high distortion rate of 1%, the OH700VB are a bit capricious to drive and will go distorted with source that have too high output impedance, so I suggest lower than 0.5ohm impedance for those, a clean source in whatever flavor will do good. My Ibasso DX90 have very low impedance but slightly V shape tonality so I get a more vivid and brighten presentation with hint of extra punch, clean way, while for Xduoo X20 which have 0.1ohm, it’s more neutral L shape, with timbre that is boosted in transparency, both are very good matching.

Then, these are sensitive to eartips too, because they have very wide and big nozzle I suggest short wide bore than will not block any of 3 nozzle hole. Soundstage will greatly open with the right ear tips, layering too will be better articulare, bass will add less warmth as well.

Then for cable, I don’t find those particularly sensitive, so the stock one is enough. But I did enjoy the Simgot LC7 a lot with them, which permit improve a bit overal clarity, it certainly don’t add extra bass or warmth.



COMPARISONS



VS KINERA NORN (1DD+4BAs)

Norn is brighter, more V shape yet less bassy.
Bass is opposite of the OH700VB, it’s all about mid bass fast textured punch with notable sub bass roll off which make the OH700VB feel notably bigger and rumblier in slam, as well as thicker and warmer in tone.
Mids are way more aggressive, bright, textured and more prompt to shoutyness and sibilance with the Norn, It’s more compressed and centered which make the OH700VB more open sounding, smoother and lusher in vocal and mids, it have more bodied male vocal too and a more holographic spatiality.
Timbre of Norn is more grain, fuzzy and prompt of BA harshness while OH700VB feel buttery smooth.
Treble has greater boost too with the Norn, it’s more crunchy for electric guitar and violin attack lead, strangely, the layering is inferior and treble is more compressed, thinner, more fuzzy. It sound rougher, cheaper, more excited and less linear and natural in balance than less energic yet better articulate treble of OH700VB which put less forwards the percussions, but have fuller definition of them in the background.
Soundstage is way bigger, wider, taller and deeper with OH700VB, cant compare here.
Imaging is about on par since both aren’t cleanest in sound layering, yet, due to more spacious stage it’s less muddy in macro dynamic with OH700VB so I can dig more freely in soundscape.

All in all, I can’t find any place where the NorN feel superior, and that even if signature of OH700VB is warmer and darker.

VS SOUNDRHYME SR7 (1DD+6BAs+2 tuning switch)

OH700VB is warmer and more U shape, smoother and more laid back, with less BA timbre presence.

The bass slam in a more mellow vibrant way, with wider hazier headroom while SR7 feel balanced warmish W shape with more mid bass focus, it punch harder and tighter so i feel bass is faster too.
OH700VB offer greater rumble, thicker and has more ‘’omph’’ than round thumping. Bass line are more tactile with OH while presence is more boosted with SR7 (especially with treble boost ON)

Mids are lusher and thicker with the OH700, both male and female vocal are smoother and moe colored. SR7 have cleaner, hint brighter and more intimate and centered mids.


Soundstage is notably wider and taller with OH700, mids are lusher darker, bit more fowards and energic with SR7, same for treble, apart a slight peak with OH700VB that boost snare presence i can pick up more sound info with SR7 that have more textured timbre and less bass warmth.


I tremondesly enjoy both, OH700VB being more laid back with longer and more vibrant rumble, tone and timbre are a bit more even too, while SR7 sound a bit better balanced and more resolving but not as open, more in your face in dynamic.

The sound value win goes easily to SR7 though.

CONCLUSION



The Oriveti OH700VB are master of musicality and achieve their goal of ''balanced natural sound'' experience gloriously.

Sure, since they aren't the most technicaly competent IEM, the sound benefit in term of high fidelity resolution, attack control and imaging isn't the greatest, but I could say this with 75% of 500-1000$ i've tested in the past too. And i've hear way way worst in term of tonal balance, so it's to the audiophile to put it's priority, for me it's musicality and timbre as well as immersive dynamisc that don't pull out of my music but in the middle of it and in that regard the OH700VB is a champ.

If you like lush bassy musicality that can go from open yet full sounding U shape to warmer thumpier chunky V shape, the OH700VB is a safe bet. This switch might not add 10db radical basshead boost, but it does thicken vocal and add this euphoric ''oomph'' for beat driven music.

As a lush female vocal fan as well as dense rumbly bass lover, the OH700VB hit my sweet spot and is highly recommended for laid back music lover that dont feel guilty to share some reslution sharpness for extra warmth naturalness.

Highly recommended (for non budegt audiophile!)


-------------------------------------


PS: I want to thanks Oriveti for sending me this review sample. As always, i'm not participating to affiliated program that will make me earn $ for sharing a positive review. And I will never do.


You can order the OH700VB for 699$ here:
https://www.oriveti.com/product-pag...d-hifi-iem-with-mini-switch-on-the-faceplates

TONALITY: 8.2/10
TECHNICALITIES: 8.8/10
TIMBRE: 8.2/10
SOUNDSTAGE: 8/10
IMAGING: 9/10
MUSICALITY (subjective): 8/10
CONSTRUCTION: 8.5/10
ACCESSORIES: 8.5/10
SOUND VALUE: 8.5/10

Intro

SuperTFZ is another IEM branch of TFZ company. I’m not sure to understand the reason of this side branding. From company description, it’s aiming stage musician and monitoring IEM, but the Force1 I’ve review is a basshead V shape which I don’t find appropriate for this purpose.
One thing sure, TFZ is a IEM company from China that specialize in dynamic driver technology for about 10 years, and this show even with very bassy Force1 that impress me with it’s speedy attack and high resolution.

Today I will review their flagship IEM call SuperTFZ Crown.

Priced 220$, the Crown is a single Dynamic driver IEM with dual impendance switch offering different dynamic loudness balance. The DD used is a special one and is describe as follow:

‘’Ultra /ow distortion, pure audio quality

The Crown flagship adopts a newly developed Tesla dynamic driver, with ceramic suspended edges and a blue film dome, as well as a strong magnetic flux of N52 magnet, ensuring that it always operates at ultra- /ow distortion levels. Whether it is total harmonic distortion, transient distortion, or phase distortion, it is controlled at a remarkable level, and the sound is clean, clear, and pleasant to hear, pure and durable.

Ceramic suspended edge+ blue film dome architecture, flagship level acoustic driver

CROWN adopts a new generation of acoustic technology, equipped with a ceramic suspended edge and blue film dome structure, a 12mm dual magnetic circuit Tesla magnetic pack, and a CCAW voice coil. The blue film dome adopts physical vacuum DC magnetron sputtering technology, which has the characteristics of high rigidity and light weight, making high- frequency beautiful and smooth.

The 12mm oversized dynamic unit can provide better large dynamic performance, as well as strong /ow- frequency volume and texture.

It is also effortless in achieving high- definition resolution, not only achieving reference level stage monitoring performance, but also in music appreciation.’’

All of this is certainly promising in term of performance sound value, but let see how it sound in this review.

CONSTRUCTION&ACCESSORIES



The craftmanship of the Crown is very impressive yet the design will not be for everyone in term of look. I'm not sure to understand the need to show electrical compenent since it might make it more vulnerable to shock impact. As well, the metal lining will be hard to clean and do collect dust easily.
Nonetheless, the built is very good. Housing is all made of thick glossy metal, i love the crown logo carved in housing too.
The 2pin connector aren't recessed but feel well embeded in metal body and quite durable, it mean any cable apart QDC 2pin will work.
The shape dont have spiky angle and is ergonomic, as well the nozzle is long enough for versatile deep or shallow fit.



The included cable is a modular of decent quality. Its a 4 core silver plated cable and im happy it include 3 plugs type (2.5mm and 4.4mm balanced and 3.5mm single ended). It's not an end game cable and worth being upgrade if you want to exploit full potential of the Crown. I enjoy the ISN S4 cable as well as Penon Quattro cable and Simgot LC7 more than stck cable which brighten tonality a bit too much to my taste.



The packaging was elegant and number of accessories is good enough. We have 3 different model of eartips. The very welcome modular cable, a nice carrying case and cleaning too....as well as switch too that I loose. All in all, we have good price value accessories.

SOUND IMPRESSIONS




Let’s begin by saying that the only other SuperTFZ IEM I’ve tested is the Force1, which is an intense basshead banger with hard V shape bright balance...so I was expecting at least a quite bassy IEM with the Crown which….
Isn’t the case at all.
It’s a mature and neutral sounding one, with impressive technical performance, but not something I would call fun sounding for sure. So I was a bit s underwhelmed first by the dynamic heft it deliver, I was seeking the bass engagement to finaly conclude: this IEM is quite well tuned and can go from near monitor neutrality to a lush and warm one that is fatigue free and immersive in the long run.

Yes, the Crown have to sound flavor due to the switch that offer 2 impedance level: 20ohm when ON and 68ohm when OFF.

ON is the bright neutral, it’s more edgy in definition and lively and energic in dynamism.
OFF is warm neutral, it’s less clean, more hazy and organic as a whole, thicker and lusher in timbre (more euphonic), less sharp and darker in treble with more sub bass warmth.

The tonality of both is neutral with slight sub bass boost, warm mellow mids bass impact, gently forwards upper mids and upper treble, all balanced in a way nothing really dominate the spectrum. I find the dynamic too lean to be consider U shape even if sub bass and lower treble has greater boost in balance, mids don’t feel recessed enough to be called so. Simply put, upper mids and treble dominate the balance without making it sound too bright, especially with switch OFF that warm it up.

I find the Crown to shine with instrumental music like classical and jazz, folk and indie, not so much with electronic, rap, soul and R&B even if the female vocal in those track will sound very good.

The bass sit behind mids and treble and don’t attrack a lot of attention, yet it’s linear, deep and well controled.
I will focus on ON switch here since it go warmer, darker, thicker and a notch bassier with the impedance at 68ohm, it trade lushness and note weight for clean separation and texture presence of On switch.
To some extend, this is monito like bass presentation, apart the slight warmth we have on kick drum, which just have minimal punch, barely appreciable at normal volume. This is the main nitpick, because the bass is clean and well define and both double bass and electric bass soud full and realistic, it’s not an euphonic mellow boom like with OFF switch.
The sub bass line have natural sustain with well define presence, not too grainy or textured, while not plain thin it will not deliver a lot of grunt or rumble vibrancy, it will extend in a dense airy way, natural in decay, not amplify with unwanted resonance. So, monitoring for bassist will be easier than for drummer unless it’s all toms and percussions since the tom has this natural resonance release too, impressive in realism and openess.
As note, it’s certainly not a basshead nor a headbanger IEM, their no ‘’oomph’’ nor hard thumping here, the rhythm section are rather flat in dynamic but don’t feel distant or plain dull, just...mature, and refined in their balance.
Quality bass which isn’t rolled off nor plain anemic.

Now the mid range is quite impressive in fact and that even if it’s not the fullest or most forwards, most energy come from upper mids but we have enough low harmonic to get natural and rich restitution of a wide range of instrument from female vocal, to saxophone, to piano and so on.
It’s a versatile, clean and open mid range with effortless resolution that doesn’t go too edgy or polished, the ON switch here pull off the macro warmth that darken definition edge. Those sensitive to pinna gain above 8db might find higher pitch instrument a bit too energic or loud since it’s most dynamic part of tuning balance here, but their near zero sibilance unless the track is invade by it, in that regard, you’ll need to go OFF switch to tame the loudness and make it more buttery upper mids wise.
The transparency is quite good too, which permit good tracking of instrument. I don’t struggle to position piano and saxo as well as double bass and percussions in a jazz track, just the kick drum unless recorded in dominative way.
The saxo have a boosted presence which is well define and centered in middle stage, it’s not stretched so some might find it a bit compressed but it don’t affect the tone or concentrate the texture. The attack is fast and agile with energic attack lead and loud but well controlled release, this mean it can deal with very fast saxophonist without going messy.
To be honest, I’m tremendously impress by mid range naturalness as well as the sweet vocal presentation since both male and female vocal are well extract and on front seat, with wide envelopping presence that isn’t shouty nor screamy, this make me conclude that the Crown are vocal specialist and quite a superio one in sub-300$ price range.


Switch OFF note: Mids become lusher and darker, imaging goes one dimension and instrument mix togheter their presence and are harder ton position. Presence seem wider but we can’t perceive the delimitation of definition which is more foggy. Timbre goes thicker euphonic way. Attack weight seem heavier yet hit in a more mellow and diffuse way so fast note will mix togheter. Overall mids feel more forwards but not in an energic way, its due to extra lower mids body, so piano note sustain are more bodied, we can say it goes a bit more mid centric, warm way.

Now the treble too is very refined. It’s well balanced enough so you don’t get distract by too much analytical micro details but this doesn’t mean you will struggle to follow the percussions since the resolution is quite crisp here, free of trebly spike so it does offer minimal sparkle and brilliance but not in a very loud way.
In other word, it’s a lean treble with extra upper mids crunch for proper attack lead bite and an extension that isn’t rolled off or dark, which underline the high quality of dynamic driver used.
I know an IEM can extend above 10khz when we have this natural resonance of percussions or acoustic guitar release, I mean the one that is recorded, and the Crown will not boost it to the point of going shrill or splashy, it’s the listener ears curiosity that will find it in proper recording. This was already note with piano note release, it’s the same with percussion, it’s clean, slightly thicken in sutstain with extra crunch from upper mids and very richly resolved without going too upfront.
So we have both spakle and bite as well as good attack control.
Female vocal are more upfront and bright than male vocal, presence is boosted but balanced, their no unwanted texture grain. Sibilance occur but onl with low impedance ON, which mean it become sensitive to amping gain. With low impedance OFF, it become smoother but leaner too. Again, sibilance is rare, not invasive and proper source matching will solve this but I don’t think Crown is appropriate for those very sensitive to upper mids boost.
The resolution of treble is very impressive, it extract great amount of sound info including subtle micro details in background, it’s the type of IEM that will make discover new micro details in you music unless you’ve heard kilobuck IEM like Unique Melody Mest MK3.

Switch OFF tame treble sharpness and make resolution a bit more hazy and sirupy. It's a bit darker treble wise, and we have less sparkle and air on top.

The Soundstage is average wide and tall but quite deep and open and airy. It’s a bit hall like.

The imaging is quite good and I can see people using those IEM for monitoring drum, vocal, saxophone and even percussions. Since the layering is transparent and spatiality is open, positioning is realist and well resolved.



COMPARISONS



VS SIMGOT EA1000 (1DD+PR-220$)

Overall balance feel more V to W shape, crisper and bassier.

The dynamic is more lively, thumpy, rumbly and holographic.

The bass is thicker, rounder, faster and better controlled. It a bit less lean in sub bass extension, but punch notably harder, kick is better define and textured too, separation has less warmth.

Mids are brighter and edgier, more open and transparent, better resolved, cleaner and less lean, while the Crown offer a bit more natural and dense timbre, male vocal are more forward while female vocal are smoother with wider presence, attack edge is more softed.

Treble is way more snappy and speedy, percussions definition aren’t as colored with sustain crunch and warmth, we have greater amount of micro details, more air, brilliance and sparkle, while for the Crown their a bit more texture crunch which can benefit electric guitar or saxophone texture, overall treble is less spiky and leaner too.

Soundstage is just a notch wider with the Crown, whil notably taller and deeper with Simgot.

Imaging is sharper with Simgot, crisper and more open and spacious in multi layering.

All in all, technical performance of EA1000 are from another league here, while for tonality it’s brighter and more energic as well as a bit more spiky, Crown win for vocal and timbre naturalness, making it feel more mid centric than less neutral EA1000.


VS FINAL A4000 (1DD-160$)

A4000 is slightly brighter and more V shape.

Bass is warmer and more boomy, it’s thicker and have more slam. The sub bass is more rolled off and not as well textured and layering since sub and mid bass punch mix up their energy for extra slam. Overall quality is better with the Crown, leaner, deeper and cleaner and while drum kick isnt as punchy, it’s better resolved.

Mids are more recessed and dull with the EA4000, female vocal are darker, less open in presence, quite unpleasant, more prompt to sibilance and odlly balanced in harmonic unlike fuller, more forwards and natural vocal of Crown.

Treble is less sparkly and snappy, percussions are foggy and half cook with the EA4000, it lack air and sens of openess too which make overal macro dynamic more muddy too.

Soundstage is wider, taller and deeper with Crown.

Imaging is notably superior too.

All in all, this time its the Crown that feel from another league both in technical performance and tonal balance. It’s very last time I listen to those A4000!

CONCLUSION




The SuperTFZ Crown take me by surprise and show a more mature aspect of this IEM company I wasn’t aware off.
TFZ show with the Crown that they can tune well an IEM in a refined way that doesn't loose it's balance by pushing resolution higher, as well, the impedance switch is a very welcome idea for those that need smoother more laid back musicality, this can be use when you want to take a break from more energic dynamic of lower impedance and easier to drive ON switch.

The Crown offer very competitive technical performance even by today standard, but if you seek for fun bassy tonality, better choose other IEM from its vast catalogue like the Force1 which will make your brain shake with it's intense slam.

All in all, this IEM is a good choice for stage musician that want to be able to enjoy music out of stage in a more relaxed way.




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PS: I want to thanks Penon for sending me this review sample. I don't participate to Affiliated program nor get any $ compesation for the IEMs I review (and collect for comparisons purpose)

You can order the Crown for 219$ here:
https://penonaudio.com/TFZ-CROWN.html

TONALITY: 7/10
TECHNICALITIES: 8.2/10
TIMBRE: 7/10
SOUNDSTAGE: 8.5/10
IMAGING: 8.2/10
CONSTRUCTION: 8.2/10
ACCESSORIES: 8.5/10
SOUND VALUE: 6.5/10

INTRO

Sivga is a well know audio company from China, which specialize in Headphones using dynamic and planar driver. Lately they begin to release earphones as well, like the hybrid 1DD+1BA SW001.
Today I will review their first planar IEM call Nightingale.
Priced 280$, the Nightingale use an ''home made'' 14.5mm planar driver with ultra-thin diaphragm that promise crisp and immersive sound.

Let see in this review if this mid tier planar earphones can deliver potent sound value for it's asking price.


CONSTRUCTION&ACCESSORIES



The construction is mostly plastic with the exception of wooden back plate with metal ring and the metal nozzle. The design is mature and elegant, and the body is quite light.
The 2pin connector are protuberant, so perhaps at risk of damage if you don't take care of it.
The nozzle isn't very long so it's not think for deep fit.
Overall construction doesn't feel the most sturdy....and oddly enough, ive discover we can unscrew the nozzle, which open door for modding or nozzle swapping if you feel experimental.


The included cable is of good quality, its a thick 4 cores braided cable. It come with 4.4mm balanced plug. It's not stated the details of cores wires type of number.



When it come to packaging, it's minimalist but well done. We have a solid carrying case of good quality, the cable and 6 pairs of ear tips. Those eartips choice are a bit questionnable though since the hole is way too small to permit open sound transmission of planar driver, so i suggest you to use wide bore eartips like the KBear KB07 if you seek big soundstage potential.

SOUND IMPRESSIONS




The overall tonality of Nightingale is rather niche and I consider it specialize for instrumental music more than bass heavy stuffs because its very very bass light.
I would call it crisp neutral with mids and upper treble emphasis. These are very sparkly and airy sounding IEM. For those who love brilliance and shimmer, they will be amaze, but for those that enjoy lush thick mids or round rumbly bass, it’s certaily a risky bet.

So, neutral, with bass that is warm with lower mid range and just a slight mid bass boost, then the mids are gently brigth with good resolution and attack edge, but master of the show is the treble.

Highlight of the nightingale is: open spatiality, boosted sens of transparency, mid range instrument fowardness and vividly crisp treble.

The bass have notable sub bass roll off and mellow mid bass punch with warmed definition.
Bass line are rather clean and can be perceive with some effort but they are dry, lean and more distant than rest of music. The presence is a hint boosted and it feel more textured than kick drum.
This kick drum isn’t very well define nor resolve,their this hazy delimitation to it that mix up in lower mids.
The drum set will feel a bit unbalanced because the percussions will be sharper and more fowards than kick,toms and even snare.
Separation with mids isn’t very clean, which is a bit odd cause from upper mids to upper treble the Sivga sound super crisp.
Note weight are on the thin and light side, it’s not hard thumpy bass nor rumbly and vibrant, in fact....i haven’t heard this bass flavor in my whole audiophile life but nearest i can find is surely with Tinhifi P1plus i will compare later.
At they end we can say it’s lean neutral bass that can deliver well resolve bass line, especially electric bass. But we can say its the achille’s heel of Nightingale too.

The mids are quite nice: open, transparent and well bodied with hint of warmth.
It seem specialize for female vocal, which are fowards but not too bright or shouty. Sibilance is very rare, but some upper pitch soprano can sound louder, as well, it can reveal edgy details in texture depending of very vocal, i find it a bit imprevisible in that regard.
Macro resolution is quite good and as said it’s open, crisp and airy, but i feel i can be cleaner in background if it wasn’t from this lower mids warmth.
Piano sound quite lovely too, not heaviest nor lightest in note weight and the timbre is realist and layering with other instrument is good, we have this well resolve natural resonance too, yet instrument like saxophone will sound louder since it’s more dependant of upper mids.
This saxophone is hit or miss and can feel a bit compressed in middle of stage, its not wide and lush in presence, its effortless in texture but slightly unbalanced in harmony,slightly boxy overall.
So, this is hard for me to find in what specific music style these shine, jazz dont cut it due to lack of proper macro dynamic and bass, classical do cut it and is where i feel these excell at. Instrumental like folk with acoustic guitar or harp is good too, yet this is more about treble so let’s go there now.

The treble is what will create main wow effect here since it’s vividly open and crisp,offer lot of sparkle and quite good amount of microdetails.
It's airy and brilliant and add a sens of openess to spatiality.
It's the kind of treble that can pick up fine detail of cymbals release and it does sharply extract percussions and put them fowards.
Its fast and shappy, and cleanest part of audio spectrum.
It's not a thick nor a lean treble response, i find it spiky and not the best in balance since i can get distracted by upfront percussion which are super shinny.
Since it's spiky, some percussion will be more boosted than other, snare is less loud than metallic instrument.
Acoustic guitar and harp sound open and brilliant, but thin too.


The Soundstage is one of highlight of the Nightingale, it's wide open and quite deep when their no vocal. It's airy and 3D, but not very realist due to over emphasis of percussion that add extra stereo dimension that can feel artificial.

Imaging is OK, but again, not very realist, as well, when their vocal it will dominate presence of other instrument. Bass instrument are difficult to pin point too.




COMPARISONS




VS TINHIFI P1plus

Firstly, the P1plus is notably harder to drive. Then it’s more neutral, leaner and better balanced. Macro resolution is superior as well as spatiality is cleaner, but more intimate.

The bass is leaner, deeper and more textured and well define. Kick drum isn’t as warm and hazy and it feel more speedy in attack, bass line are more vibrant and dense, though not rumbly at all too. Separation with mids is edgier and dont bleed on lower mids as much.

The mids are more natural yet a notch brighter as a whole, texture richness is fully restitute and transparency don’t have a mix of blur and edge as the Sivga. Female vocal aren’t as fowards, overall mids feel leaner and even lighter in note weight than Sivga. Saxophone and vocal are smoother in uppermids and more natural and harmonious in tone with wider presence than more upfront and compressed presentation of Sivga.

Treble is a bit similar though better balanced and less prompt to slight treblyness with P1plus,percussions are quite sparkly, snappy and fowards but in a smoother W shape way than spikier Sivga which is sharper but less full in treble, thinner and more prompt to extract metallic sound and instruments. It feel a bit more airy and stretched in stereo rendering too with Sivga.

Soundstage is wider and taller with Sivga, while deeper and cleaner with P1plus.

Imaging is notably superior with P1plus, its not just about higher pitch sound positioning and definition of each instrument is easier to pinpoint due to higher sens of transparency in layering readibility.

All in all, the P1plus feel like an upgraded Nightingale for less than half the price, but is harder to drive,even leaner in dynamic and quite a hell to use because of poor fit.

VS HIDIZS MP145

The MP145 are notably more dynamic sounding in bass and mids, as well the soundstage is wider, taller and deeper. But no1 thing that hit me is the bass, it’s more punchy and rumbly, more boosted. So tonal balance feelmore Ushape and bassy, mids are hint brighter and more edgy and treble is better balanced yet a bit more crunchy and less plain brilliant than Sivga.

The sub bass is notably more boosted and deeper, with thicker more vibrant and resonant rumble, mid bass impact have more punch but kick is a bit darker, more scooped in presence than Sivga, we have thumping ‘’omph’’ with MP145,while a mellow but chunkier mid bass punchiness with Sivga. MP145 separation with mids have less warm transition too.

Mids are more lively and lush with MP145, they are thicker and less lean and distant as a whole, attack is edgier thus definition seem better rounded. Its more spacious and open,texture is a bit more grainy and less transparent. Timbre is more liquid with the Sivga, resolution is crisper, vocal presence more compressed and intimate, note weight lighter.

Treble is quite different and not as sparkly and crisp with MP145, which is crunchier, this will benefit violin attack as well as instrument like electric guitar while for the Sivga its more shiny and benefit acoustic guitar and harp which have more sparkle and longer and cleaner resonance,its not as fully bodied and lower harmonic vibration will not densify acoustic guitar like it do for MP145.

Soundstage is gigantic with MP145, quite unbeatable in that regard but Sivga do well still, yet it feelmore closed and intimate, its mostly upper treble that add sens of air and deepness wideness, for tallness and holographic rendering MP145 is superior, you feelmore in middle of vast soundscape your part of with those while everything feel a bit static and over centered with the Sivga apart this extra stereo channel stretching with highs frequencies, mostly percussions, electric guitar and harp.

Imaging is about on par, but due to more vaste soundscape it’s easier to travel in sound layers with MP145.

All in all, treble performance feel superior with Nightingale and overall resolution cleaner but the tuning is way less versatile and macrodynamic is lacking variance of amplitude in bass and mids. The MP145 is both more fun and better tuned and don’t suffer timbre texture imbalance though the texture is a bit harsher.

CONCLUSION



The Sivga Nightingale are very niche sounding IEM that is everything but versatile. It's not a fun or bassy musicality and will mostly please vocal lover and those seeking a neutral tonality with lot of treble air and sparkle.

While technical performance are good enough, the tonal balance feel a bit off and affect naturalness of lot of instruments from violin to saxophon and piano, yet not the female vocal which shine with those.

At near 229$, this is a hard one to recommend due to very competitive planar IEM market.
I think it can please elder people with hearing lost in higher frequencies range above 10khz. Or those that need vast airy soundstage to get lost in.





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PS: I want to thanks Sivga for sending me this review sample. I don't participate to any affiliated program nor have any $ incencitive that can bias my subjective judgement.

You can order the Nightingale for 229$ here: https://www.amazon.com/SIVGA-Nightingale-Magnetic-Monitor-Earphones/dp/B0CHRZHNFF

TONALITY: 7.8/10
TECHNICALITIES: 9.2/10
TIMBRE: 7.5/10
SOUNDSTAGE: 8.2/10
IMAGIN: 9/10
CONSTRUCTION: 9/10
ACCESSORIES: 8.5/10
SOUND VALUE: 8.8/10


INTRO

2023 is the Simgot return year and let say the praise is everywhere apart perhaps from affiliated reviewers with personal interest in promoting different audio products they are closely connected too.
This undoubtable success begin with the EA500, then go next level in sound value with EW200, then go warmer a bit moe underwhelming technical performance wise with EM6L….

Then all this experience with their unique approach to Harman tuning target pay off and they release their flagship IEM, the EA1000.

Priced 220$, the EA1000 use 1x 10mm dynamic driver in tandem with 6mm passive radiator.



This isn’t a normal DD, so I add all the info here:

SDPGD™ Technology: EA1000 incorporates sputter deposition purple-Gold diaphragm technology, which is a specialized diaphragm manufacturing process resulting in a diaphragm with high rigidity, lightweight properties, and a beautiful purple gold color.

DMDC™ Dynamic Driver: It employs the second-generation DMDC™ dual magnetic and dual chamber technology, optimized for enhanced magnetic flux and improved control, providing a wider frequency range, exceptional dynamic range, and precise high-frequency performance.

1DD+1PR Architecture: Combining a 10mm full-range dynamic driver with a 6mm lightweight composite diaphragm for a more responsive full range of drivers and helps maintain stability and driveability.

Replaceable Acoustic Nozzles: With a threaded removable and interchangeable sound nozzle design, EA1000 offers three sets of meticulously tuned sound tubes, including options with brass and stainless steel materials, catering to diverse sound preferences and expanding product adaptability.


Simply put, as conter intuitive it can seem: the EA1000 is an upgraded EA2000 for 100$ less.

Let see in this review if it can be consider as a new benchmark dynamic driver IEM under 300$.


CONSTRUCTION&ACCESSORIES



Construction wise, the EA1000 is practically a EA2000 in smaller size and with a 2pin connector instead of MMCX. This 2pin choice will have pros and cons since it’s more prompt from falling and disconnecting due to heavy housing size, which happen to me 2 times and I was very lucky to don’t loose one piece when it fall inside my coat. As well, with MMCX we can swivel the IEM to ou fitting need, which cannot be done with 2pin. Anyhow, the fit is good as well as comfort, it’s just the disconnection issue that can happen when 2pins get a bit bented, which you can solve by realigning the pins yourself.So, like EA2000, the construction is examplary, craftmanship is high grade with lot of care to details, I don’t find any imperfection like. My only qualms is about half recessed 2pin connector that make some cable to don’t fit well and don’t offer same secure fit as fully recessed pins.
Metal used is thick and heavy, it offer good isolation and few noise leakage since venting is on front of housing.



The included cable is of excellent quality but come in single ended 3.5mm plug. It’s a high purity Silver plated OFC litz cable that offer very clean signal transmission and preserve the dynamic rendering without damp or gain warmth.



In term of accessories, it come in minimalist package and include this cable, a very nice quality case and 6 pairs of silicone eartips (that it seem ive lost so its not in the pic sorry!)




SOUND IMPRESSIONS




The EA1000 is extremely similar to it’s big brother EA2000, but with a more balanced tuning as well as 3 tuning nozzle that make me wonder the marketing strategy behind it since well….unless your an hardcore treble head, their no way anybody will conclude the 100$ pricier EA2000 is superior both tonaly and technicaly.

Yet don’t expect a warm and relaxed musicality with these technical beast since we are into W shape meet harman target territory, vivid and dynamic way. But it isn’t a trebly or shouty fest neither, unlike it’s bigger sibling.

I think it’s evident now that Simgot know how to push technical performance bundaries of single dynamic driver with praised IEM like the EW200 and EA500, their audio engineer sure are sensitive about resolution of imaging and the effect of transient speed of the drivers on it.

With the EA serie, they get the help of extra passive radiator transductor to control and clean up acoustic resonance of sound projection, and improve macro dynamic rendering.

Tonality wise, I would call it balanced W shape to vivid bright neutral. This isn’t a basshead IEM and the PR (passive radiator) don’t boost anything, it tend to add edge and roundness to attack and clean the bass resonance that would blur the kick or make sub bass boomy and too diffuse. It add a sens of control to dynamic.

But their another thing to underline with the EA1K, it’s the 3 tuning nozzle included with it. 2 have foam filter in it to damp dynamic loudness spike off upper mids and treble, while the gold nozzle seem to be made of copper and don’t have any damping filter apart nozzle mesh.
It’s the one my review will be based on since other 2 do interfer negatively on plain technical performance by adding a bit of hazyness in the air, which stole sparkle and micro details as well as proper layering articulation. It damp everything in a lean macro dynamic way, affecting the 3D spatiality of musicality.

The black nozzle is the warmest one with smootest but most lean upper mids and mid range instruments and vocal, the bass is warmer and overall balance more U shape and less vivid. Bass is is thickest and more dominate part yet the punch is mellow while slam is wide and foggy.

Black nozzle is similar but with sharper mids and treble, still it’s not airy nor very crisp. It's the brighter of the bunch.

And now the gold nozzle I review today is most balanced I feel.
EA1000 is one of those few IEM that isn’t ridiculous to show it’s Hiresolution certification since it’s among most resolved earphones I’ve ever heard and the level of micro details seem infinite. After 500 IEMs testing, I use the cliché sentence ‘’I hear things in my music I’ve never hear before’’ once a year and in 2023 it would be for EA1000 in single dynamic driver realm. Sometime it feel like this IEM use electrostatic driver to deal with upper treble because percussions are so effortlessly resolved and cleanly extracted in their own layers space.

But let begin with the BASS: fast, thight, round and texture with clean linear vibrant extension. While not basshead, it’s not bass light, you feel the thump and the punch and kick drum have this definition edge that improve macro dynamic and tactile separation. Add this tractility to a clean separation with mids and yes, your into ‘’Bass-Fi’’ territory where flexibility of bass meet high resolution of it’s presence.
The attack is speedy and very well controlled with few to no bass warmth intrusion, yet it’s not a cold sounding or thin bass at all, we have both punch and rumble here, well balanced, rounded and controlled way.
Kick drum isn’t drowned in sub bass boost and can cohabit with bass line in a well layered way where each bass and kick are textured and feel natural in density. In other word, while not guilty pleasure warm due to too much high bass-lower mids boost, the bass isn’t just about sub boom and don’t feel overly U shape. When the track have dynamic heft in bass region, it’s fully restitute in impact weight as well as vibrant and very rich rumble sustain-release.
Bassist will love the EA1000, as well as drummer, and this is sure another confirmation we are into Bass-Fi terrritory which the passive radiatorr filter improve for sure by cleaning unwanted resonance and pushing it out of the shell, adding this natural grunt inherent to electric bass line or cello.
Let’s not be shy and tell it loud: EA1000 offer best bass performance I’ve heard under 300$ (and surely above), period.

Then the mids is where I feel it will be hit or miss depending of you tonal and timbre preference, mid range is most mysterious and subjective frequencies range for audiophile when it comne to emotional response, and we aren’t in warm or lush territory here since the EA1000 bet on crisply high resolution, definition edge and layering transparency. It’s clean and near analytical sounding, it’s bright but not shouty or sibilant, it’s sharp but not very unbalance in texture info even if yes it’s boosted, unless you use Red nozzle that warm a bit edge loudness of attack release but still, it’s not smoothest mid range out there.
The presence of each instrument is clean and well define in delimitation, it don’t feel compressed and open up widely while keeping macro readibility very well resolve and transparent.
Note weight hit fast but don’t have extra weight to it, piano have natural attack resonance that will get hidden in warmer or less clean and well resolve IEM.
Some might find the vocal a bit thin, I’m one of those and female vocal aren’t the most pleasant to my ears, they are quite ‘’gently’’ bright and their too much texture boosted sometime, it’s not shouty and rather lean unless soprano that goes very loud.
We are in wht I would call ‘’mature mid range’’, it’shigh fidelity in restitution, fine details are plenty, separation of instrument while not the widest in space have clean separation as said.
For those that like rich hyper realist texturing of instrument that don’t go harsh, screamy or euphonic, this will be like lifting an unwanted blur from your mid range, but for romantic listener that need lower mids coloring the fullness of instrument will be trade of with this very presence richness boost.
I do think EA1000 can be even good for monitoring purpose, it’s that competent in term of high definition and controlled attack that avoid resonance blur and muddy macro dynamic.
Yes, I wish the mids were as lush and thick as the bass rendering, but this is pure tonal preference I guess since we have techinical crisp mid range that will make jealous lot of pricier IEM.

Then with the bass, the treble is the other master of the show that can’t let indifferent nobody. We aren’t in harman purist target that goes down after 10khz here, and this explain why we can perceive the EA1000 as W since it’s highs are vividly extended yet well balanced too, it’s not too spiky in fact only spike might be after 10khz where it add air, brilliance and sparkle release.
For me, only excellent DD or ESTs can deliver sparkle properly, and EA1000 is a good example.
Begining with percussions, it’s ultra crisp and snappy, with this metallic brilliance this isn’t possible to mimic with fake tuning trick, it’s due to proper highs covering.
Snap, clap, snare and percussions all have this clean sharp edge to it that permit extra positioning accuracy that add sens of openess and air on top.
Whatever the speed, the EA1000 DD can deal with it, ive try prodigious drummer with the EA1000 that is super diversify and speedy with cymbals and their no error or limitation in timing, it’s all crisp on top of the track and easy to follow, it add extra excitmenet, add this with bass and your in for very captivating musicality.
As well, this isn’t all-in wide range treble covering since it doesn’t boost background hiss of bad track that much, it’s not a trebly or violently analytical IEM like GeekWold GK100 for example.
Acoustic guitar aren’t boosted in body but in crispness, which make it very appealing and improve definition of attack. Electric guitar feel a bit more thin, presence is very well done and not shouty, very well layered but density of instrument distortion isn’t boosted. Clean and super well define it is, but here perhaps some extra crunch and euphony will be benificial.
Then one of most challenging instrument to restitute, the harpsichord, do mostly well but lack proper note weight which underline again a lower mids scoop somewhere. It don’t feel as distant as with a lot of other IEM, but still, it don’t work.
Harps do better, so pulled string instrument tend to sound more dynamic in attack overall, since violin stroke isn’t as authoritative in lead attack and slightly thin timbre is less prroblematic for guitar and harp than saxophone, vocal and even violin.
Nonetheless, I’m very far into critical nit picking here, and could have just write: it’s super crisp, transparent, airy and sparkly and effortlessly reveal micro details without sounding agressively bright.
While vivid, it’s overal delicate for most instrument apart percussions.
And to get this attack control and clean clarity at this price is sure something to celebrate!

The Soundstage is just above average wide, and notably above average deep. Center stage is a bit recessed due to this deepness too, you’re not in middle of music in an intimate way with EA100, more like 3 rows from the scene. It add concet like presentation to your music.

Which certainly benefit imaging capacity. Another highlight of these marvelous IEM. We have both the transperent layering that benefit macro resolution readibility as well as spacious instrument separation.





Side Note:
The tuning filter do inflict on tonal balance slightly and it’s not like a tuning switch that can add 5 or 10db of bass, it mostly damp treble and upper mids with the black filter that have foam sponge in nozzle as seen in pic, but this will affect macro dynamic crispness too, thicken bass and mids a bit, yet not make it dark or super smooth sounding.

Since the EA1000 are both easy to drive and very revealing, it don’t benefit from big amping but a clean and dynamic source, this IEM can reveal noisy noise floor too.

Eatips have great effect as well, but stock one are good enough, smaller nozzle will put forwards upper trreble while wide bore can put forward upper mids and bass, yet open up soundstage too.

When an IEM is sensitive to source, it tend to be sensitive to cable, stock one is good enough but you might want to upgrade to LC7 for modular plugs advantage as well as the reason Ill underline here:



Stock cable VS LC7

Ok I’ve AB these 2 cable intensely, with some tracks signal transmission difference wasn’t that evident in fact, then with ‘’Devilled’’ from Gwilym Simcock ultra speed and prodigious drum, sax and piano trio I can conclude this:

Dynamic is leaner and more controlled with the LC7, while stock cable have louder attack peak so cymbals can be slightly more splashy, upper mids more aggressive but definition is a bit edgier too, making the overall tonal balance hint more lively and aggressive.
Stereo and center stage positioning is more even in distribution with the LC7, at first I find stock cable to be better in steeo channeling until I feel center stage was lacking and everything sound right or left apart bass.
Bass is more dynamic, chunkier and more euphonic, less transparent and well layered with the stock cable, the rumble is more excited so sub bass line will tend to add it’s sustain in front of kick drum, mixing and adding it’s energy while with LC7 its leaner and deeper in extension that go behind a flatter punch, its cleane and more textured too.
Mids are wider in presence, more transparent, more centered and better layered with the LC7, clarity is less foggy and sound layers easier to extract. Upper mids are more energic with stock cable and can make some vocal poping out moe, but not opening up in they air, it’s moe shouty overall.
Treble is a notch crisper, while it’s crunchier with the stock cable, again, dynamic spike is less excited with the LC7, micro details can be perceive further in blacker background too, suggesting a cleaner noise floor than stock cable.

All in all, the LC7 is more neutral in signal transmission and I feel it interfer less with high fidelity of music reproduction. It don’t color bass with euphony, nor boost or tame it’s dynamic. Some pure silver cable I have try tame bass impact and weight, it’s not the case here. It doesn’t boost the treble nor darken it. Imaging can be greatly improve again other cable like stock one of NightOblivion Butastur. Cable seem to really interfert with proper stereo channel separation and the LC7 is a master in that regard.

COMPARISONS



VS SIMGOT EA500

While excellent, EA500 offe a very similar sound experience and balance but can’t compete with technical performance like resolution and both bass and treble response of the EA1000.
The bass is more speedy and controlled, better define in mid bass punch and more linear and deep in sub bass extension which feel boomy and warm and morre one tone with the EA500, overall low range is cleaner, less boomy, riche rin fine details of texture and edgier in separation with EA1000.
Then the mids are more transparent and crisp with EA1000, so they might feel a notch thicker with EA500 due to this extra subtle bass warmth we can get in lower mids, this mean resolution is a bit more hazy too and not as clean in separation, we have more upper mids loudness so vocal feel brighter and more upfront, a bit more euphonic and opaque in texture.
Treble is more vivid, brilliant, sparkly and airy with the EA1000, it’s more snappy for fast percussions which are better detailed and edgier in proper definition and timing speed. Natural resonance is longer and better resolve.
Soundstage is very similar in wideness but we can dig deeper in EA1000 soundscape.
This mean Imaging is notably superior, with crisper positioning and more transparent sound layering.

All in all, EA1000 is logical upgrade to EA500 in term of technical performance and offer very similar tonality with higher resolution, better attack control and more high fidelity imaging.


VS SONICMEMORY SM2

Another excellent single DD, the SM2 is slightly more V shape with warmer bass and upper mids, which make the EA1000 feel more W shape and crisp neutral with bass boost.

The bass is more excited and can feel faster yet less well controlled with the SM2 since resolution is warmer, but the punch is more thumpy. Sub bass is notably more rolled off and muddy for proper bass line layering unlike EA1000 cleaner and more textured and define bass response that have more vibrant and deep rumble yet feel less forced and boosted since the driver is more stable in transient.

Mids are a bit thicker again with SM2, quite similar to EA500 in fact, it have more lower mids meat and lusher presentation but not as wide and well define presence nor as highly resolve center stage. EA1000 have edgier mids, timbre isn’t as pleasantly colored and offer hyper realist resolution and way more micro details and texture info.

The treble extend further with the EA1000, its way crisper and more brilliant, we can feel half the percussions are presented with SM2 while we can pin point each of them with EA1000, sustain release of attack is notably cleaner and more controlled too. Overall treble response is from another league here.

All in all, the EA1000 is globally superior in technical performance yet offer a colder and brighter tonality so for plain female vocal love I would go SM2, while for all the rest it would be EA1000.

VS Moondrop KATO

Now from all those 3 the Kato are the most undewhelming technicaly wise when I compare it to EA1000 macro resolution feel super hazy, layering seem one dimension, bass lack punch and overall musicality has this crunchy brightness to it that affect texture negatively with strange euphony.

This euphony make the mids slightly thicker yet unlike EA500 and SM2, it’s more scratchy than smooth in texture mix.

The bass feel more U shape yet leaner in dynamic and more hazy in sub bass extension, gently boomy I would say with inferior separation, less clean and well extracted bass line, less attack edge and roundness, kick drum feel half cooked in dynamic rendering while fully rounded, meaty and textured with EA1000.

The mids of Kato are darker and more hazy in macro rendering, vocal are more focused but leane, hint lusher but in a brightish way, definition lack the edge of EA1000, mid range instrrument mix togheter more easily with the Kato too. I’m not a fan of vocal of both.

Treble is thicker and darker, more crunchy and notably less clean, sparkly and detailed than airier crisper EA1000, it sound very cheap and not refined, super hazy in micro details and attack sustain-release, it’s just a shame to compare this freq section with the Kato.

Soundstage is wider, airier and deepe with the EA1000. Slightly taller but overall more compressed and in your head with Kato.

All in all, Kato is just ridiculously inferior in technical performance….but again for those seeking more colored niche tonality that seem to ‘’excell’’ in one thing only-vocal, Kato might be it….though even a Tangzu Waner is has good in that very department…



CONCLUSION



The Simgot EA1000 are simply mind blowing in term of technical performance and offer effortlessly high and clean resolution that we could expect from way pricier IEM. It's in fact even cleaner and less distorted in transient than FInal A8000, this is how insanely capable is the dynamic driver in there.

Not only that, but the passive radiator solve one of main issue of other Simgot offering which was the bass performance and control, here it's fast, full bodied, rich in texture, both punchy and rumbly with great elasticity, yet not boosted at guilty pleasure level to keep it well balanced and separated from other frequencies.

To say i'm impress by technical performance of EA1000 is an understatement. And the good news is that it's notably better tuned than pricier EA2000 which is brighter and more spiky W shape tonality.

Sure, it doesn't mean it will charm my ears or everyone in term of mid range especially, which is something I nte and hope will help people make the right choice for their personal tonality and timbre appreciation.

All in all, Simgot EA1000 is among best IEM I,ve tested in 2023 and for this reason it's:

Very HIGHLY RECOMMENDED!!!







-----------------------------------

PS: I want to thanks Simgot for sending me this review sample. I'm not affiliated to this company and have zero personal benefit to write a positive review.

You can order the EA1000 for 220$ here: https://penonaudio.com/SIMGOT-EA1000 .html

TONALITY: 7.8/10
TECHNICALITIES: 7.5/10
TIMBRE: 8.2/10
SOUNDSTAGE: 7.5/10
IMAGING: 7/10
CONSTRUCTION: 9/10
ACCESSORIES: 9/10
SOUND VALUE: 7/10

INTRO

Kinera don't need lenghty presentation, it's an IEM company from China that has been around for about 10 years.
They specialize in hybrid IEM of all price range but what demark them for other IEM company is the great care to IEM design which are hand painted and very artsy.
Today I will review the Kinera Freya 2.0 which is suppose to be an upgrade in term of tonal balance compared to older Freya.

Priced 269$, the Freya is a hybrid IEM using 1x7mm dynamic driver for lows and 3BAs for mids and highs (knowles and custom).

Let see in this review if the Freya 2.0 is not just good looking but good sounding too.


CONSTRUCTION&ACCESSORIES



The construction is all made of high grade resin plastic that is thick and feel ultra sturdy. The design is very beautifull and hand painted mean each pair are unique. Sure, the glossy sparkly decorative pattern doesn't exactly match my virility but i have nothing against magnifiing my feminin side either.

The housing is transparent too, so you can admire internal as well as confirm the drivers are indeed tubed properly.

The nozzle is rather big and not very long so it's not adequate fo deep fit, as seen their 4 holes so be aware to not block any of them with too small ear tips nozzle like the one included from Final audio (strange choice).

2pin connector aren't recessed so it mean its versatile for alot of 2pin cable yet that you most be cautious to don't bent the 2pin when connecting it and be sure its well allignated with female 2pin.



The included cable is good enough, it's a all copper modular cable with 3.5mm and 4.4mm plug. It warm a bit the sound so it's not the one i use the most with this already warmish IEM.



The packaging is splendid like always with Kinera presentation is of great important and each unboxing experience is unique.
Accessories are generous, apart the cable we have 5 set of Final eartips, 3 set of balanced silicone eartips and 3 set of vocal silicone ear tips.
We have a very beautifull carying case. and a cleaning tool.

All in all, accessories and construction are very good.


SOUND IMPRESSIONS



The tonality of Freya 2 seem aimed for pop and follow a quite common V to U shape ground where we have boosted and warm mid bass, slight sub bass roll off, gently lifted upper mids and bright lean treble that have hint of crunch and texture extra grain but notable roll off and lack of sparkle and air after 10khz.

Yes, we are in bassy punchy warm territory with energic mids and treble that are safe enough to avoid harsh shoutyness but not buttery smooth either.

The bass is all about chunky warm round punch that favor weight and density of impact over wide resonant slam or cleanly balanced well controlled extension. It’s not a bass with big enveloping head room and it’s quite opaque and euphonic in texture.
The sub bass extension is rolled off and compressed, which make the ‘’OOOOOOMPH’’ lack a couple of O in it’s rumble release. Bass line are hit or miss, depending of type of kick used and the fundamental of it’s impact which can mix up and had it’s dynamic push, in this case it will warm and even make muddy bass line, while if in recording sub bass is louder it will overshawod acoustic kick drum.
The double bass can sound a bit boomy in attack, followed by a thin and dry extension.
This is why I feel the Freya are tuned for pop, since it struggle with acoustic recording as well as loudness differentiation of acoustic instrument in live environement.
But their exception, since the bass coloring tonality is beneficial for niche instrument like the cello ,which sound wide and lush in presence, vibrant and quite charming.
It’s more about elasticity and transient speed of bass that it’s lacking, which affect negatively whole technical performance of the Freya.
With R&B, Soul and Rap, the guilty pleasure is rewarding, but in R&B we often have big sub bass line and I don’t find them juicy, dense and tactile enough.
It really feel Freya search it’s own identity in term of bass presentation, hesitate between big sub or mid bass boost and compromise both while magnifying sens of round impact in a lush but imprevisible way. Their more quantity than quality, it’s neither super rumbly or tight hard punchy, it boom in a round warm way and complement the V shape dynamic smoothly, without any awe.

The mid range is gently bright with a hint of lushness and warmth, it’s not thin nor lean, we have good amount of upper mids energy that put forwards female vocal more than male vocal, yet avoid problematic shoutyness or sibilance, but I can’t promise that listener with pinna gain sensitivity do safest bet with the Freya.
It’s not buttery smooth and I sometime encounter suddenly loud peak in soprano female vocal.
A sign it’s not 100% lush is the fact saxophone doesn’t sound very pleasant with the Freya, the presence is brighten and compressed, it doesn’t blossom naturaly in they air and feel shooted by BA in a unilateral way. Timbre is dry and quite boosted in texture too, which doesn’t happen with female vocal nor piano.
The piano sound quite good especially in lower range, but has a warm definition edge so it’s hard to pin point each note in fast passage. Note weight is well felt though, and timbre is dense and pleasant.
The sound layering is good enough to perceive ‘’idea’’ of other instrument but fail to keep it’s readibility and articulation with fast busy track like all jazz-rock albums from Elephant 9 sound hazy and abstract with bass and percussion dominating macro dynamic.
In other words, the mid range doesn’t sound very open nor crisp, do have bass warrm sticked in the background and goes hazier and hazier more you add instrument into it, especially energic instrument.

As for the treble, their not a lot to write about. It’s safely bright and boost texture of high pitch sound and instrument, we have few spike in upper mids and the freqency zone that extract main percussions like the snare and clap are louder and snappier than cymbals.
It’s a bit dry too in timbre, in the sens their no sparkle or brilliance to be found and highs lack natural extension.
Those aren’t thin sounding though, nor trebly or very harsh. We have enough crunchyness for minimal abrasivity in attack lead of violin or electric guitar.
This isn’t cleanest or most refined treble, definition of percussions is a bit euphonic and noisy.
Acoustic guitar feel a bit scooped-damped in string pulling attack snap as well as densify in body and blurred-dryed in release.
Again, the Freya 2 don’t excell with whatever real acoustic instrument I throw at it, I can go on with clavichord and harp but will underline even more lack of brilliance, sparkle and harmony coherency.
Let’s just say those are ‘’master of none, jack of all trade’’ highs and you will not be impress by the resolution it deliver as well as number of micro details it can extract.

Soundstage is rather intimate, wider and taller than deeper and it can go depth-less when bass occur.

Imaging is OK at best when their no bass and it's all instrumental...but center stage instrument like piano will feel more recessed than percussion....so it's not realistic and i would never suggest those for monitoring.


Side Notes:

Even if it's an hybrid, the Kinera 2.0 do need a bit of power to open up since it have rather low sensitivity of 105db and 20ohm of impedance. But it's capricious about amping due to BA sensitivity to impedance gain, so be cautious about that. I would say they need a minimum of 50mW or even 100mW.

Then the ear tips choice is very important, as noted, Final eatips nozzle is to small and will compress and mess up the sound, it will block some hole of the nozzle too. Worst ear tips for this IEM. It seem to had sibilance too. I just don't get the choice of adding these but with small nozzle Final E tips are great so it worth keeping them! Their wider bore that are more adequate included. But i suggest short wide bore or Penon Fan2 blue wide bore ear tips (the one i use the most)



COMPARISONS



VS PENON DOME (1DD+3BAs-350$)

The Dome is warmer, lusher, smoother, more balanced and clean sounding as well as just slightly bassier, with notably greater bass performance.
It’s evident all drivers used are superior here, both in attack control and timbre micro distortion. The 2 sonion BA dealing with mid range deliver lusher and more natural mids, with more realistic and less rough tone and wider better rounded presence of each instrument. Upper mids are more butter and liquid in edge, it melt like honey in the ears and offer way more musical female vocal as well as fuller bodied male vocal.
The DD too is next level compared to Freya, it extend deeper with greater headroom slam free of problematic resonance so sub is thicker as well as kick drum and mid bass more rounded and bodied, attack speed is faster and more controled and layered is cleaner, so the bass is more separate with mids. Freya sound quite boomy and muddy compared to Dome even if it doesn’t rumble as much and offer as fun and muscular impact.
The treble of both these IEM is a bit dark, but again, Dome is more refined and better balanced though it lack air too as well as sparkle we don’t have texture or tone imbalance and the snare isn’t jumpin at you as much. It follow more evenlyn the tuning target it aim, which is notably more versatile.
The soundstage is notably wider and taller but about same depth.
Imaging is a bit cleaner and while resolution is less bright and can feel smoother, transparency is superior and layering separation don’t mix their energy togheter as much, so with some effort the listener can find more instrument positioning than with Freya that will go too messy in busy music.

All in all I think it’s evident whoe the winner is here. Tonality is more natural and balanced as well as smoother and more immersive with Dome and technical performance even if not magnify with treble boost are superior in attack control, macro dynamic rendering, bass extension and sound layering articulation and readibility.

VS HIDIZS MS5 (1DD-4knowles BA-400$)

Ok, it’s evident the MS5 is more technical as well as more bassy.
Tonality is more vivid, bright and W shape.
Bass have thinner and wide slam with more rumble resonance, it’s less muddy and better layered and overall cleaner but less tactile and chunky so even more U shape than warmer U shape of Freya2.
Mids are thinner, shoutier, dryer, brighter and more sibilant with the MS5, it sound more open and airy and it’s better resolve but timbre is plain wrong, while thicker and less spiky in texture with the Freya2.
Treble is notably more extended, snappier, cleaner and airier with MS5, percussions are upfront and more unbalanced but add extra micro details which is higher with MS5 but overall balance is more wonky to out of wack.
Soundstage is wider, taller and deeper with the MS5, bit hall like with recessed front stage while moe intimate and hazy with Freya2.
Imaging while non realistic is crisper and overall clearer for instrument separation, sure the percussions aren’t suppose to be in front of singer but it’s how life goes with MS5!

All in all, tonality is notably better balanced with Freya2 while technical performance is superior with MS5.


CONCLUSION



The Kinera Freya 2.0 are fun and lush sounding hybrid that don't excell at anything but deliver pleasant vocal and have a unique artsy look which Cynthia should be pround of.

It's a bit of a step down from QOA Aviation both in term of tonality and technicalities, which make me a bit dubious to suggest them.

For these, i would say the consumer should be giving lot of credit to the design work to find proper value in it's buy.

Kinera wasn't very inspire for this release I feel, and it's one more to add in overcrownded ChiFi IEM market. But at least it exist like a piece of art you can admire, again, this should be in top priority for this buy. If not, go for QOA Gimlet which certainly offer greater sound value.

Half-recommended!

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PS: I want to thanks Kinera for sending me this review sample. As always, i don't participate to affiliation program, don't have adds sponsors on my site nor favor any companies I collab with. Those are just my subjective audio impressions.

You can order the Kinera Freya 2.0 directly from official store here:
https://www.kineraaudio.com/product/kinera-freya-2-0

TONALITY: 9.5/10
TECHNICALITIES: 8.5/10
TIMBRE: 9/10
SOUNDSTAGE: 8.5/10
IMAGING: 7.5/10
CONSTRUCTION: 8/10
ACCESSORIES: 8.5/10
SOUND VALUE: 8.2/10


INTRO

Letshuoer don’t need a lenghty presentation, this China based earphones company has been around for near 10 years now.
We can say their best seller and most praised IEM is the S12 planar IEM that still is very popular nowadays even with growing planar IEM offering.

Today it’s the following of S12 legacy that I will review, which is the new S15 planar.

The S15 is priced 330$ and use thid generation 14.8mm planar driver in tandem with a 6mm passive filter module to permit a better contoled transient response and acoustic resonance.



Letshuoer has gain experience with passive radiator when they create the 3DD+1PR DZ4 IEM and push this tech further with R-Sonic patent. Planar IEM often have unwanted euphonic resonance and harmonic distortion, the R-Sonic filter module should improve this.

Let see in this review if the S15 is a planar that will stand apart in over crownded planar IEMs offering.


CONSTRUCTION&ACCESSORIES

The construction of S15 is made of of 3D printed plastic front housing with a CNC precision carved back metal plate. The design will be hit or miss in term of aesthetic but I find them good looking enough.
The front cavity housing has a smooth non slippy finish. Housing is quite light and while it don’t feel cheap, it don’t feel extremely sturdy or luxurious too.
The nozzle is rather short so it’s not thinked for deep insertion. It’s slightly angled and the fit is very comfortable.
2Pin connector are fully embeded in the housing, connection isn neither too loose or too tight.



The packaging is very well done and contain a very practical box that act like an IEM drawer chest. I like this creative idea a lot.




Then we are spoil with an excellent modular cable that I adore. It’s a 216 strands silver plated monocrystal copper cable which is braided and look very sturdy, it’s flexible and smooth and don’t create microphonic. One aspect I love a lot about this modular cable is the changeable L shape plug that come in 3.5mm single ended as well as 2.5mm and 4.4mm balanced. A cable like this worth about 50-100$, so this sure participate to the price jump for S15.




Other accessories are the nice round and screwable carrying case and 6 pairs of ear tips in 2 model. I would have like even more ear tips because the short wide bore isn’t the perfect choice, this model has a bumpy nozzle end that don’t permit the sound to fully open unlike more common short wide bore ear tips that I suggest using. Personaly, my fav ear tips is the Penon Fan2 blue wide bore for this very IEM.
All in all, while I’m not particularly impress by the construction and accessories we get for 330$, at least we have an excellent modular cable that add some extra value to the package.



SOUND IMPRESSIONS



(souce used: Tempotec V6 (crisper treble and cleaner, thighter bass, hint thinner mids), Hiby R6pro 2 (leaner dynamic, lighter bass), Questyle M15 (underpowered), Penon Tail (warmer, bassier, chunkier), Hifiman EF600 (wider taller spatiality, heavier note weight, lusher more fowards vocal), Questyle QP2R (underpowered), Xduoo XD05plus (more euphonic, can handle bass boost gloriously, bigger soundstage))



The S15 offer a smooth, bassy and lush tonality that I would call warm neutral with mid bass boost, or softed W shape with mellow punchy bass.
Those are bassy, thats for sure, but not basshead and when it come to mids and treble its among most buttery smooth treble with delicate crispness complementing the top, that in some degree, inflict on very wide and tall soundstage.

Highly immersive as well as lively in macro dynamic, the S15 are balanced sounding and let nothing behind while forcing nothing towards the listener too. Their no spike here, just bump in term of slight bass, mids and treble boost.

The special planar driver in tandem with a passive radiator driver and big sound chamber sure benefit the S15 musicality, which is effortless in sound layering, underlining a fast and clean transient speed that again isn’t forced or excited. Everything flow naturaly, organically, evenly.

While safely tuned, the authoritative bass as well as weighty and dynamic mids wake up the listener, without aggressing him with high pinna gain or upper mids brightness it’s able to extract body and tone of vocal or instruments presence in a tactile and captivating way. The presence is wide of those vocal and embrace the listener, it’s not thin and among most natural vocals you can get from a planar IEM.

Yes smooth neutral with lush mid bass boost, plenty of lower mids that sometime make me consider the S15 as mid centric, and a rich and soft treble, delicate with pinch of brilliance, no harsh grainy or fuzyness and a laid back dynamic that will more likely be fatigue free for most listener yet perhaps problematic for older audiophile with limited hearing range.

We aren’t in harman target territory, nor in any similar musicality to any other planar IEM. If I seek in my mind, first IEM that S15 make me think of is Final E5000, less basshead version with rounder, better layered and less loose slam. I think this tell a lot about how refined is the cozzy balance of the S15.



The bass is fast, round, chunky and tight. We have both hard thumping punch and vibrant sustain-release and rumble, free of boomy resonance. The tone is rich and warm, clean in it’s color, free of euphonic distortion and not very boosted in texturre edge, it’s more physical than cerebral.
This isn’t a 10db bass boost or above kind of basshead bass and headroom of the slam is control, it don’t bleed or dominate the spectrum and will only slip into lower mids naturally to feed fundamental harmonic.
It doesn’t feel detached like too U shape tuned IEM where we have boom without substance, this make it versatile for wide amount of music from jazz to classical to electronic and pop, the thump will be there well balanced but well carved in physical presence too. It’s not fatiguing too, sound pressure being rather low. The passive radiator seem to absorb extra resonance pressure and thicken the sustain-release of impact, very beautifully, juicy way like some will say since we are in sweet bass territory, anti dry and thin, anti distorted and sloppy.
Yet, don’t expect edgy definition, since this is polished bass.
The kick drum isn’t bright here, yet should it be electronic or acoustic kick the dynamic layering is very good with bass line as if we have 2DD dealing with low end.
I do think their just a slight sub bass roll off to avoid this resonance sustain.
Instrument like cello sound magnificent, fully bodied, lush and dense in timbre, smooth but vibrant in texture. Unlike some harman tuned IEM, I can’t mislead cello for violin since lower harmonic are feeding properly chord pitch.
As well, while volontarly smooth and warm in presence, the bass layering is very good and don’t mud macro dynamic, it do thicken it with extra layers in background but mids and treble build up upon it as if the S15 was a multi driver hybrid with 2BAs….and 2DD...ok, it begin to make a lot!

And now oh the mids those sweet highly addictive mids certainly mesmerize me and explain my overwhelming enthusiasm about S15. To say I wasn’t expecting that is an understatement, since it’s very first time I’m truly enamored about planar timbre when it come to mids, and that in a near neutral way, so without big compromise in term of bass warmth that will darken the resolution since in fact those are high fidelity mids for me, unforced or boosted in clarity, that will be the job of listener to dig in rich mid range and enjoy what he want in term of micro details, which aren’t fowarded at all and even smoothed.
Let’s begin by the female vocal which are the most enjoyable I’ve ever heard with any planar and notably smoother than Tangzu Zetian Wu and Raptgo Hook X HBB which offer very pleasant vocal.
Those vocal are upfront, wide and enveloping in presence release and lush, full of natural low harmonic breath, full of air color and richness. It’s vibrant more than loud, it’s free of any sibilance, any loud pinna gain or upper mids imbalance, yet dynamism is there, it doesn’t feel static and lifeless at all.
Like the female vocal, mae vocal have their own layering space, never sound thin and don’t suffer from timbre texture imbalance, they are lush too.
The saxophone sound superbly realist, wide open and dense in presence, not lipsy shoutyness nor thin rendering, texture is slightly softed yet velvety, not plain liquid, like the vocal it’s dense with clean air that vibrate within the pithc as it should. It don’t feel that saxophone pass thrue a mic, it feel it’s with you in the same room, not far away so fullness of air embrace you.
The whole mid range is extremely rich in sound info in a impressionistic yet not too hazy way, definition of each instrument is in their tone color band air density before the texture grain, it sound like open sound system mixing naturaly it’s soundwave and thickening it, without treble know turn to max up or down, just well balanced.
I can rave about the mid range sweetness and richness of S15 all day since it’s what make me go back to them so often, everytime Elina Duni or Arianna Savall voice come to my ears it’s pure bliss with great emotional reach, in that regard it’s a similar experience to my fav planar headphones, the Hifiman HE1000 V3.
When we go tone and timbre as well as note weight, the upgrade from S12 is sky high here, yet, with smoother treble.

This treble might be where some audiophile feel underwhelmed, especially treble head or sparkle lover.
Until now, their only one planar IEM I truly consider sparkly and it’s the Tinhifi P1plus, for this, we need clean airy tonality with very extended (and boosted) upper treble pass 10khz, while not fully roll off in upper highs, the S15 is sure slightly dark, yet it’s super transparent to source so if paired with ultra crisp and clean sounding DAP like the Tempotec V6, you can have ‘’digital sparkle’’, so this planar can produce some, it’s just tamed on top.
This isn’t an analytical treble, nor a thin one, even less so a scratchy one, it’s full sounding and a hint creamy, the attack lead have authority without feeling very edgy or abrasive, micro details can be found in the background but aren’t force at you. Think about a well amped Final E5000 with better sound layering for proper holographic positioning and your not far from S15 highs.
The treble isn’t too polish either, it’s not plain liquid so we will feel macro dynamic is all glued togheter, the snare have proper edge and impact but percussions are softed in brilliance and attack sharpness, they are round not traingle in sustain-release.
Splash cymbals release is natural but not boosted in loudness, so it avoid splashy harshness.
Instrument like violin or saxophone sound wonderfully bodied and natural in timbre with a tactile attack lead and wide presence, it’s not compressed nor shouty.
Even acoustic guitar sound good, which confirm the versatility of highs balance, we have a sens of fullness and enough minimal brilliance for proper attack bit, the release don’t have boosted echo. It’s more with instrument like harpsichord that I feel it lack a bit of crispness, but it’s again evident that note weight is effortleslly natural with S15 too as well as rightness of tone that don’t scoop fundamental of chord since this instrument don’t sound recessed, lean or dry like it do with so so much IEMs.
All in all, I find the treble very refined and perfectly balanced within rest of frequency, it’s smooth without being dull or lifeless too, which is a tour de force in it’s own right.

The Soundstage is quite impressive too, though not the end word of open spatiality like Hidizs MP145 or Raptgo Hook X HBB. Well amped the S15 sure sound out of your head and above average in term of wideness and tallness, but not very deep, clean or airy.

This mean imaging isn’t mind blowing too, the sound layering is great and permit an holographic macro dynamic the listener can travel in, but it feel a bit foggy in back ground when bass occur or mid range instrment like vocal take the lead the wide presence will blur definition edge of other instrument in similar range. With instrumental musical like classical, the imaging improve, so this isn’t very previsible yet I would never ever suggest the S15 for monitoring purpose.





Side Note:

At 30ohm of impedance and 105db of sensitivity, the S15 aren’t hardest planar IEM to drive yet will tremendously scale up with higher amping power. This will mostly translate in dynamic rendering which will gain in note weight and sound layering articulation, the bass too will extend deeper and rounder. It can sound moe flat and distant with dongle or DAP that offer less than 200mW@32ohm of amping power.
But the S15 is transpaent to source too and I was positively surprise by an unexpected pairing with the Tempotec V6 that I consider bass light, since bass isn’t lacking with the S15 the V6 clean lower mids warmth and deepen soundstage, it add sens of air and sparkle on top to, so a clean source is suggested to get all technical goodness of S15, clean and powerfull because V6 offer 610mW-4Vrms balanced output. Pairing S15 with Hiby R6pro2 wasn’t as engaging and dynamic feel compressed and lean.

The ear tips choice is very important too, I suggest wide bore ear tips and my fav is the Penon Fan2 blue wide bore ear tips, it fully open spatiality and avoid dynamic to go mixed up or compressed.

In term of cable, the stock one is excellent and don’t justify urgent upgrade so I haven’t play this game further, I mean, I do feel it had just a slight warmth and boost to mid bass but nothing intense. Lately I pair them with new Simgot LC7 excellent cable and bass is a bit more edgy and clean and treble a tiny bit crisper, mids aren’t as lush though, leaner and more transparent I would say. At they end, I prefer stock cable in term of pairing.


COMPARISONS

VS LETSHUOER S12 (1x 14.8mm planar-110$)

Oddly enough even if I find the S15 notably better in balance, they are slightly bassier than S12 which offer a brighter V shape with more proeminent upper mids edgyness.
What hit first is how more open and articulate in macro dynamic is the S15, when I go from S12 to S15, the spatiality stretch a lot in wideness as well as a sens of 3D holographic musicality.
And that in a smoother, more laid back and immersive way, S12 is overall less W shape in the sens mid range is more lean and recessed, yet brighter and can go louder in vocal without being as near the listener, so singer feel screamy and even sibilant, their sudden loudness peak that surprise negatively my ears which never happen with S15 lusher and thicker mid range.
But let’s begin with the bass, this is where it’s evident S15 is superior in both tone naturalness and fullness and attack speed and control. While less bassy, the S12 is more boomy and the kick is brighter, more grainy, less round, bass is thinner especially in sub bass extension which cut up faster, we have less rumble and bass line are all about bright texture. Transient speed is more excited and loose, not as elastic is the planar driver too, S15 bass feel like we have a whole DD that cover this spectrum, roundness is tactile and impact is more felt, less sloppy in its boom even if juicier in timbre, this mean bass is more transparent in layering too, less sticked to a bright whole like the S12 that sound more unidimensional.
I’ve never been a big fan of S12 mids and thats the opposite for S15, I adore them in term of planar rendering, firstly the layering is more spacious and transparent, since timbre is less boosted and dirty in texture grain, S15 timbre is more natural and buttery, female vocal are bit leaner yet more forward on the stage, nearer the listener while less excited in upper mids loudness so when soprano go high pitch it don’t pierce my ears like with S12 more scratchy mids as well as more compressed in presence. S12 mids are more edgy, thinner, sibilant, shoutier and compressed in imaging, ultimately they are less refined in balance as well as half cook in tone for more instruments, so less versatile too. Note weight is heavier for instrument like piano, toms, clavichord with S15 too, underlining a superior macro dynamic articulation and lower harmonic distortion.
Now S12 teble is sure brighter as well as more excited in attack, less well controled and balanced, percussions can dominate the mix more and are more prompt to splashy release. Again, more edgy are the highs yet less brilliant even if S15 offer sparkle in delicate way I feel treble extend furter and add more air while S12 had more crunch than snap to attack and have a more distorted sustain-release. S15 treble is still darker and not as aggressive and spiky, but we can dig for sound info that S12 will blur with micro distortion and noise, so at they end we have a cleaner treble with S15 even if mid range dominate more the scene, which is normal, we aren’t suppose to have a percussionist in front of singer.
S12 clarity is more boosted, snare and drum are more edgy in definition, less smoothen, more adequate for treble head or those that want the micro details upfront, to the cost of ruining mid range focus, fullness and naturalness. From violin to saxophone to acoustic guitar, the S15 might lack a bit of attack lead energy but offer fuller and more natural tone for all instrument. It’s truly a master of tone.
Soundstage wise, S15 is way wider and taller and S12 feel stock in your head, less open and holographic.
Imaging of both isn’t monitor level, but sound layering has vaster space to dig in, its more realist too and positioning is less compressed making it easier to read the stage where your put in the middle with S15 while you in front of wall of sound with S12.

All in all, this is among wordiest comparison have done...but S15 is way more natural in balance, and even if more bassy its more mid centric, lusher and while less boosted in treble to achieve fake high resolution, S15 offer superior performance from less distorted attack, more extended bass and treble, to higher sens of transparency, less noisy timbre or background, but warmer and smoother balance might lack treble vividness for some, not me since I find laid back treble very refined.


VS HIDIZS MP145 (1x14.5mm planar-160$)

MP145 is among my fav planar IEM right now and soundstage wise they are still unbeatable even if S15 is very close center stage where mids belong are more upfront so sens of depth isn’t as pushed as well upper treble being more smoothen MP145 is more airy and sparkly.
Both these IEM are bassy and well balanced within their own signature but MP145 is evidently more U shape and a hint more boosted in sub bass boost.
The bass is quite different, it have wide more resonant slam, it’s less round and thick as S15, but separation is wider with MP145, lower mids more scooped and mid bass is thinner too, not as tactile in roundness nor as weighty in punch, it’s again underlining more overall U shape balance and while sub bass is more resonant and wide, it’s thinner too, less vibrant and less elastic and meaty.
The mids or MP145 are more recessed, thinner, brighter, a bit similar to S12 in fact but more open. Timbre has this planar dry grain that isn’t present with S15, vocal are notably more bodied and natural sounding and presence embrace listener without this upper mids push imbalance, we have more fundamental harmonic to glue togheter whole tone or chord of vocal and instrument. S15 is more mid centric yet smoother in brighness mean resolution isn’t as boosted as well as texture grain in presence.
MP145 mids are crisper, edgier and more prompt to slight harshness or sibilance from upper mids, vocal and natural timbre lover will prefer S15 without a doubt.
And now the treble which impress me with MP145 is notably more boosted and spiky, it’s more snappy and airy too, as well as sparkly. Micro details as well as percussions are more forwards and bright in extraction, while we need to dig and find it in the back of crowded center stage with the S15. Treble head will certainly prefer MP145 since wow effect is there when it come to fast edgy snappy percussions and crisp airy restitution of harp or acoustic guitar which are sharply define.

The Soundstage is slightly wider and taller with MP145 and way deeper too, In that regard, it’s still the king of open airy spatiality.

Imaging is superior with the MP145 too, we have more space between instrument and layers, transparency of bass line permit better layering with kick drum, positioning definition is edgier and better perceive too. I’m a bit surprise.

All in all, the S15 is like a more mid centric and warmer version of MP145 with darker and safer treble, balance is more organic as a whole and technical performance wise, their thing that S15 win like less excited attack control but MP145 sound more technical and analytical and since imaging is better ill give it to them even if tonaly wise I find the S15 more natural and cohesive, and never making me find instrument sound a bit wonky like it can happen with MP145.


VS RAPTGOP HOOK X HBB (1planar+1piezo-260$)

I’ll be more concise with this comparison because the Hook X HBB is sold out, which is quite a shame because it’s only hybrid planar around here and an excellent that pass test of time for me and still beat near all other single planar IEM out there.

Overall tuning feel more U shape bass wise with the Hook and just a notch bright and more W shape and term of sub bass, upper mids and upper treble spike.

I feel it use same planar driver as the S12 and MP145 since timbre texture has this subtle extra noisy grainy sheen they all have, its more evident in scratchyness of breath release as if the diaphragm was made of sand paper. But thats super subtle, yet, its part of the ‘’brightness perception’’ too.

Then sub bass is more boosted and have longer sustain in rumble with the Hook, it’s more boomy overall, similar to MP145 but thicker and bass line can dominate more the mix than S15 rounder juicier bass.

Mids is where S15 prevail, they are less recessed, vocal are again way more natural, fuller in presence and less aggressive in pinna gain and upper mids brightness, the harmonic ‘’hole’’ I perceive in MP145 is there, though not as paper thin. Definition of instrument is brighter, less lush and liquid, less hazy too, more open and sharply carved in soundscape. Male vocal are thinner too. Overall timbre feel harsher. Resolution is higher and imaging as well as layering is more readable with better contouring.

Treble is more airy, snappy and bright with the Hook. It have more attack bite and more air. Its more boosted and extended and detailed. Percussions are fully extract while more delicate and dark with the S15.

Soundstage is slight wider and taller and notably deeper with the Hook.

Imaging is notably better too, less hazy, sharper in positioning and more vivid in sound layers separation.

All in all, tonality is quite different and conclusion is similar to MP145 here, the S15 is more mid centric and smoother in balance, more laid back and fatigue free for long listening yet less noisy and bright in timbre too. I would tend to conclude S15 is superior in everything but treble extension and speed as well as soundstage size and imaging. What a shame the Hook is now discountinued!



CONCLUSION



When I’m too wordy in sound impressions and comparaisons, it often mean I adore the IEM I review. This is the case with Letshuoer S15 and let say it: even if I’ve tested S12, DZ4, EJ07M and EJ09, in term of musicality these are by far my favorite.

The S15 are the most natural sounding planar IEM I’ve ever heard and deliver lushest and most beautifulland smooth female vocal too. They aren’t tuned to sound technical or blow the mind of listener with analytical micro details boost, but to deliver a cohesive effortless balance of whole frequency range without putting in shadow low, mids or treble, nor over boosted any part so it will dominate whole spectrum.

Letshuoer has retune the S15 after listener feedback of first version and they do well, they achieve a musicality that sit between mature and fun which is highly immersive for long hours of pleasure without problematic aggressive treble peak that would create hearing fatigue.

Not only this is a most have for vocal lover seeking the perfect planar IEM for this task, but bass lover too will be in heaven due to meaty low end that can produce vibrant juicy rumble when asked for.

Sure, the price isn’t as competitive as it’s little brother S12, so in term of pure sound benefit you pay the extra money for something else since unlike S12, you will not need to mod the S15 to get appealing mids without upper mids harshness or sibilance.

All in all, the S15 is among my favorite IEMs of 2023 so it’s certainly HIGHLY RECOMMENDED!

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PS: I want to thanks Letshuoer for sending me this review sample. I don't participate to affiliated program nor get any money with adds or official sponsoring from this company. As always, those are my independant minded subjective audio impressions.

You can order the Letshuoer S15 for 329$ directly from official Letshuoer website here:
https://letshuoer.net/products/lets...ve-filtering-module-hifi-wired-in-ear-monitor

TONALITY: 8.5/10
TECHNICALITIES: 8.2/10
SOUNDSTAGE: 8.2/10
IMAGING: 7.5/10
TIMBRE: 9/10
CONSTRUCTION: 9/10
ACCESSORIES: 10/10
SOUND VALUE: 8.2/10

Penon don’t need lenghty introduction, they are the oldest and more experienced ‘’chifi’’ seller, but not only since they even sale western brand like IMR Acoustic.
Let just say Penon are different and truly passionate about audio product to the point of tuning and manufacturing their own IEMs under Penon and ISN companies.

Ive review tremendous amount of their IEMs, loving about 90% of them. Musicality is their aim first and foremost, whatever number of drivers or tech they use. In that regard: they are big Winner to me.

But I’m already too lenghty, today I will review their latest hybrid offering call the Penon Globe.

Priced 350$, the Dome is an hybrid IEM using 1x 10mm PET diaphragm for low, 2 Sonion balanced armature for mids and 1 knowles BA for highs.

I do think it’s purpose is to replace or upgrade the well received Penon Globe.

Let see in this review if Penon hit the ‘’sweet spot of musicality and tonal balance’’ with good enough technical performance again and if it should be put on your buy list for christmass!


CONSTRUCTION&ACCESSORIES

The Dome construction is quite good and similar to the Globe apart different face plate and a metal nozzle.
The material for housing is medical grade resin which is smoother and slippy, thick and durable. One of my fav material for IEM and whole iem feel molded in one piece, not with a cheaply sticken back plate waiting to pop out.
2Pin connector aren’t recessed and placed on slightly curved top of Dome, which can make the connection a bit anxiogenic in the sens the pin can bent if you aren’t accurate enough in alignment of the pins.
Housing size is average, a bit chunky but not very big overall and ergonomic ‘’ear print like’’ shape is very comfy and versatile for both shallow and deep fit.



As always with Penon IEMs it come in minimalist package with maximalist accessories.
As I like.
We have the excellent Penon carrying case which is big enough for 3 cable and 4-5iems, yet more compact that other offering I own. This is my fav carrying case.
Then a very nice cable, 8 strand silver plated that feel very sturdy and benefit the warm tonality of Dome. You can choose it in 3.5mm singled ended or 2.5mm -4.4mm balanced.
Then you have the leather cable pouch and cable holder.
9 pairs of well choosen silicon eartips in 3 models.
And a cleaning too and cable clip.
As always, quite irreprochable accessories wise.

SOUND IMPRESSIONS


If you have heard IEM like ISN H50, Neo5 or even Penon Globe, you will be in familiar cozzy ground with the lush balanced V shape tonality of the Dome.
The Dome is very bassy, gently warm and near mid centric since mid range is lush, thick and fullied bodied due to good amount of lower mid range warmth and density.
Yet, it’s too balanced to be called basshead and the hybrid configuration bypass mudyness of such tonal balance, thanks to the 3 balanced armature that permit good layering articulation and separation.
The Dome are all sweetness, smooth and round as a whole, organic in cohesion, as natural in timbre as it can get with BAs and very lively in macro dynamic without going into fatiguing or spiky brightness territory.

This isn’t a technical or analytical sounding set that blow your mind with boosted clarity and crazy amount of micro details. And while not very airy or sparkly on top, the soundstage is impressively wide and tall avoiding unidimensional spatiality that lack instruments definition and tactility and instead offer immersive holographic musical readibility.

Like I often say with Penon IEMs, bass and vocal lover are spoil as well as those audiophile that can’t find their musical pleasure and emotional response reach in Harman target tuned earphones that invade nowadays Chifi market.

The bass seem to be the most boosted part of spectrum here and do dominate audio spectrum without mixing in a messy way. Instead it act like a dense bass shelf for mids to built on, which densify timbre by adding lower harmonic fullness and warmth to vocal and instrument. Instead of muddying them, it darken the edgyness of definition and stretch the instrument presence in hazy 3D wideness.
Yes the Dome offer a colored sound that we can call buttery, velvety since both texture of dynamicdriver and balanced armature mix togheter organicaly, adding colorful richness to the mids and bass instead of texture micro details and grain.
The sub bass is thick, with an elastic rumble sustain that don’t create unwanted resonance, it extract meaty bass line in body more than forced presence brighness. Synth bass will be lush and roundly layered above the kick drum, while cello will be lush and vibrant and double bass will gain extra weight instead of long airy clean extension.
The slam isn’t loose here, and even offer hard warm thumping, it hit big and loud with great sens of tactility. It especially do well with R&B, funk, soul, rap and electronic. Artist like Kaytranada or Ravyn Lenae shine with the Dome.
While well layered, the bass separation isn’t clean nor edgy, we don’t have lower mid range scoop that widen separation with mids here so the warm do embrace and darken mid range.
Are we in guilty pleasure territory? Well I guess we are, but for those that hate thin dry bass, this is a big plus and I’m one of those people. As well, I find the bass performance quite versatile since double bass in jazz band don’t sound boomy, it underline the eleasticity of attack and release.

The mid range is lush, thick and hint dark. We don’t have intense upper mids boost that foward presence agressively and can fatigue the listener with shoutyness, yet it’s far from lean in dynamic so upper mids are dynamic too and well rounded within mids package.
With the Dome you are near the instrument, so it’s not recessed mids and center stage don’t feel lifeless and far away, but this mean it’s not crisp open mids too, nor very transparent and higly resolve.
If you seek monitor IEM, the Dome is the opposite of that since it favor tone fullness before presence brightness and imaging readibility isn’t sharpen.
Woodwind instrument and vocal sound better and more fully restitute than piano and violin which are more affected in definition edge polishing than saxophone wich don’t need as much lead attack bite and accuracy.
The saxophone sound marvelously lush, dense and rich in presence, the air is tactile and delimitate the sirupy presence, it never feel compressed or thin, nor can distract the listener with over boosted texture details that make the woodwind blowing lipsy and wetty.
As for piano, it’s far from bad since the balanced armature permit fast rendering of every note which have good impact weight but warmed definition edge and short and colored resonance release, I do struggle to know if pianist press the sustain pedal.
I don’t think I would suggest the Dome for symphony or classical music, apart if solo cello which sound highly musical and full. Definition of each instrument isn’t sharp and clean enough to properly discernate them in soundscape and violin attack is softed in mids and lower treble, which make it even harder to grab.
But this doesn’t mean it sound bad at all, in fact, violin are sweet and lush sounding, free of sibilance or harsh metallic bowing, yet, unless in very high pitch the presence will be hard to delimitate as said.
When it come to timbre, don’t be afraid about balanced armature infamous ‘’metallic sheen’’ since their none here and unless you listen at max volume to the point of making BA struggle with vibration, you will not heard micro distortion grain. I’ve try multiple source and only thing I can pick up is slight brightness in vocal breath release but it might be due to slight treble boost around 8khz.

All in all, I love the mid range colorful flavor of the Dome which isn’t too salted with upper mids, yet got lot of lower mids sweetness.


And now the understated treble. Firstly, the Dome are certainly not aim for treble head as well as those brilliance and sparkle lover. While I don’t like unbalanced highs that force you to put in front stage the high pitch instrument and bombard you with percussions fowardness, I do enjoy crisp airy one as well as refined sparkle resonance that blossom in the air.
Here, highs are a bit dark, they are anti-trebly and rolled off pass 10khz, yet it’s not plain dull and we have a bit of spice for extra snap with certain instrument like acoustic guitar don’t feel too scooped in attack lead and have enough metallic bite, but the release will not be long nor very clean or sparkly.
This kind of darkish treble avoid the lack of energy with this extra snap to some percussions and instrument, like wood block, snare and high pitch cymbal.
Splash cymbal aren’t splashy nor shrill, but the release is thicken and a bit hazy.
Since I don’t graph my IEM, I can’t say which exact treble section I feel have a slight sudden bump, but as noted, some instrument range will feel louder in highest harmonic, this include piano too and violin as say before, so this peculiar mid treble boost add energy to macro dynamic and barely make me consider the Dome as W shape in balance.
What I mean with that is piano feel leaner in mid range and 7th octave note jump more in my face.
Apart this the treble feel linear in balance, full and not thin nor lacking in fullness of instrument restitution.
The level of micro details isn’t plenty so don’t expect a statement like ‘’I heard things ive never heard before’’ with the Dome.
It’s organic as a whole in balance with rest of spectrum, highs don’t boost texture noise and is permissive of bad recording since it damp background hissing of old blues recording like Skip James or Billie Holidays which I can focus on their voice better and don’t get annoy with extra background hiss and noise,
Overall this is a safe treble here that is well balanced and complemented beautifully the tonality sweetness.

The soundstage is quite impressive and quite an improvement from the Globe in the sens its very wide and tall with right ear tips and when their no big bass occuring the depth is good too. You’r in the middle of spatiality surrounded by instrument that aren’t too far yet have good multi layering.

But the warm tonality don’t favor imaging precision and bassy music will get bass opacity in background that stole proper separation definition of instrument by adding sound particule in the clean air between them. In that regard, Dome isn’t impressive and lack sharp definition of each instrument positioning as well as proper clean space between sound layers.

SIDE NOTE

At 19ohm of impedance and 107db of sensitivity, the Dome aren’t exactly what I would call neither hard to drive or very sensitive to source impedance gain.
Yet ill suggest a source with at least 100mw@32ohm of power and an impedance output lower than 2ohm to be sure it will not excited or unbalance drivers.
These benefit from clean crisp source due to there warm nature, so not a good bet for super warm or euphonic dongle or source ill say.
Ear tips wise the one included are good enough and offer open and dynamic sound.
Cable too is good enough, I will never use an all copper cable with Dome for ex.

COMPARISONS

VS Kinera Freya 2.0 (DD+3BA-270$)

The Dome is warmer, lusher, smoother, more balanced and clean sounding as well as just slightly bassier, with notably greater bass performance.
It’s evident all drivers used are superior here, both in attack control and timbre micro distortion. The 2 sonion BA dealing with mid range deliver lusher and more natural mids, with more realistic and less rough tone and wider better rounded presence of each instrument. Upper mids are more butter and liquid in edge, it melt like honey in the ears and offer way more musical female vocal as well as fuller bodied male vocal.
The DD too is next level compared to Freya, it extend deeper with greater headroom slam free of problematic resonance so sub is thicker as well as kick drum and mid bass more rounded and bodied, attack speed is faster and more controled and layered is cleaner, so the bass is more separate with mids. Freya sound quite boomy and muddy compared to Dome even if it doesn’t rumble as much and offer as fun and muscular impact.
The treble of both these IEM is a bit dark, but again, Dome is more refined and better balanced though it lack air too as well as sparkle we don’t have texture or tone imbalance and the snare isn’t jumpin at you as much. It follow more evenlyn the tuning target it aim, which is notably more versatile.
The soundstage is notably wider and taller but about same depth.
Imaging is a bit cleaner and while resolution is less bright and can feel smoother, transparency is superior and layering separation don’t mix their energy togheter as much, so with some effort the listener can find more instrument positioning than with Freya that will go too messy in busy music.

All in all I think it’s evident whoe the winner is here. Tonality is more natural and balanced as well as smoother and more immersive with Dome and technical performance even if not magnify with treble boost are superior in attack control, macro dynamic rendering, bass extension and sound layering articulation and readibility.

VS HIDIZS MS5 (1DD+4BA-400$)

The MS5 are brighter and more U shape.
The timbre is thinner and less natural.
The bass is cleaner, less dynamic, thinner and feel detached and less cohesive with whole spectrum. Dome have rounder and rumblier slam, chunkier warmer timbre, more bass bleed and strangely, it feel positive here since it thicken mids.
Mids are more recessed, shouty, thin and dry with the MS5, vocal sound wonky and I tend to lower volume to endure or bypass them. Transparency, sens of openess is higher with MS5.
So treble is more boosted, instrument presence more edgy, percussions more forwards, again all in a more artificial, dry and thin way.
Soundstage is wider and taller with the Dome, deeper with the MS5 due to more recessed center stage to magnify sens of holography.
Imaging is sharper with the MS5, instrument don’t mix togheter in sirupy macro rendering….but accuracy of this imaging is questionnable since percussions dance all around in a distracting way and bass lack tactile low end so….yes, more techical sounding still is the MS5.

All in all, tonaly wise MS5 is quite a disaster compared to lusher, more cohesive tuning of Dome. Technicalities are on par but boosted to the bone with MS5 so Dome which is darker overall sound less impressive in clarity and imaging.

CONCLUSION



The Penon Dome is all about lush and bassy musicality, it’s not a technical sounding set nor a monitoring one.

It’s purpose is to make musicality alive, engaging and fun, dynamic weighty and full, natural and dense in timbre and it use hybrid configuration to avoid it being plain guilty pleasure.

The Dome is the answer to those that find mids either too bright-shouty, thin or recessed and favor tone sweetness above presence of instrument with boosted fake clarity.

You can get lost in these easily, immerse for long listening laid back tonality with proper bass slam and vibrant rumble, it’s near basshead yet too well balanced to be called so. If you know what you buying. Which I hope my review help a bit to do so!

To my ears, it’s highly recommended even if no end game in term of technical performance.

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PS: I want to thanks Penon forr sending me this review sample. As always, I have no direct affiliation nor any self-interest bias in my subjective audio impressions.

You can order the Dome from official Penon store, they are on Black Friday sale right now for 314.10$ instead of 350$ normal price:
https://penon-official.com/product/penon-dome/

TONALITY: 8.5/10
TECHNICALITIES: 8.2/10
TIMBRE: 8.5/10
SOUNDSTAGE: 8/10
IMAGING: 7.5/10
CONSTRUCTION: 8/10
ACCESSORIES: 7.5/10
SOUND VALUE: 8.2/10



INTRO

Kefine is a new earphones company from China that act as a budget minded IEM maker wanting to push sound value bundaries for the benefit of consumers.
Today I will review their very first IEM release call: Kefine Klanar.
The Klanar is priced 120$ and use a 14.5mm planar driver with a N55 magnet.

Let see in this review if the Klanar can join the podium of good affordable planar IEMs which begin to be a crowdy market, especially with this ''renowned 14.5mm planar driver, celebrated for its versatility and ability to excel across various music genres.''.


CONSTRUCTION&ACCESSORIES


The construction is all made of metal, the design is minimalist and doesn't captivate the eyes. It's elegant but blend too.
The black metal housing is smooth and have a triangular shap without any sharp edge. Nozzle is angled and average long for versatile fit. 2pin connectors is solidly embeded in metal housing and overall durability seem good at least in term of shock proof.



The accessories are minimal and of basic quality as expected with this price range. We have a cheap carrying case. We have 7 pair of basic silicone eartips.
But we have a decent quality cable too, which is a 4 cores braided cable using OFC litz wire in brown and silver-plated copper litz wire in black. As well, you can choose either 3.5mm single ended plug or 4.4mm balanced plug, which is a big plus. Nothing to complaint here for 100$ IEM package.


SOUND IMPRESSIONS


After having tested more than 12 planar IEMs, it's hard for me to be surprise or impress by their technicalities, yet the tonal balance is a real struggle with most of them, 7HZ Dioko and KZ PR2 being the worst, then Dunu Talos being most overpriced, then Tangzu Zeitan WU being among most underwhelming technicaly wise yet most charming tonaly wise and this is where we are with the Klanar: tonality eveness. Female vocal glory. Mid range sweet spot. Bassy, yet not hard basshead way.

You enter the Klanar like in a cozzy home, it's familiar, it's the neighboor of Letshuoer S12, Hidizs MP145 and Tangzu WU which all sound rather similar, yet aren't 100% the same.

We are into warmish V shape territory where bass and mids captivate the audience then a hint of extra upper treble air and sparkle cocoon an overall lush macro rendering.

These are tuned for the masses, they shine with pop and vocal centric music, more so than jazz or classical yet it's not plain bad for this style too. Even rock don't sound bad. I'll be hard pressed sayin a peculiar music style sound underwhelming with those.
If your all about bass and vocal: you'll love those.

As an R&B, Soul and even rap lover as well as intensely addicted to lush female vocal, the Klanar sure hit a sweet spot for me, with great emotional response alot of planar IEM fail to deliver. But my main music style is jazz and classical too. While not as impressive for this music genre, at least the piano is rendered beautifuly and it's another big plus.


When it come to bass, i know i simplify the tonality as V shape but here we are at the intersection of mid and sub bass boost, its the slam that get extra weight, presence and energy more so than the kick drum.
We have more ''oomph'' than hard thumping punch and the overall bass roundness is a bit warmed and do thicken lower mids with warmth too.
It's not a clean well sharpened and separated bass, its thick, tactile and physical.
As well, the vibrant rumble can go in near basshead territory, its a thick slightly compressed in energy rumble that can extract bass line very well, even fast one, but it's more about abstract presence definition that textured one, the layering is good but the resolution of this bass line aren't magnify nor crisply delimitate.
Then the kick presence is indeed more articulate but with a more mellow dynamic, it's not hefty punch nor plain lean in impact, just mellow and lacking a bit of bite like for double bass that we struggle to find the string pulling debut.
Strangely, the cello don't sound very lush and full, it's even thin, it might be due to specific treble boost that focus more on higher harmonic than lower fundamental which would be warmed if well, the cello was hit and all in dynamic loudness.
This kind of juicy dynamic bass response i sure appealing for simple bassy music, but i've try electronic too and unless acid techno or super fast kick centric music, it was rather pleasant. While more quantity than quality, we most not forget were talking about planar bass here and in that regard it's very good, its not too euphonic or boomy.

The mids are surely my favorite aspect of those Klanar, which was unexpected because planar struggle to deliver lush and natural mids and it's mostly what we got here. Especially for vocal and piano lover. There something imprevisible with the Klanar dynamic that tend to favor certain attack release, so the bowed instrument like violin or cello aren't as full bodied in presence than vocal, saxo or piano. In that regard, it's quite similar to balanced armature niche transient delivery.
So back to vocal, it's all about female vocal really, which are fowards, dense, wide in presence, breathy to lush in timbre and captivate the listener right away to the cost of puting in oblivion background instrument if they lack dynamic heft, if it's bass less music female vocal loudness will sure dominate rest of spectrum. These aren't shouty and sibilance will rarely be a problem unless extremely present in the recording.
The piano is presented with good note weight that is felt with a slightly dense sustain and impressive release naturalness that blossom in the air. It's not thin sounding nor distant and fundamentals lower harmonic are present enough.
While not veiled, their hint of warmth going on that stole sharpness of definition in macro resolution, it's not clearest nor cleanest mid range out their and could feel unidimentional to some due to lack of deepness of center stage.

Now when it come to the treble it's mostly safe apart lower treble boost and avoid plain dullness or darkness with slight upper treble boost that tend to add snap and energy to snare drum but the percussion aren't put fowards.
The highs stay in the back of mid range and don't stole the show nor extract unheard micro details of your track, the attack speed is fast and controlled, cymbals aren't splashy and a bit smoothed in release loudness.
As noted, snare is more snappy and sharp in it's dynamic attack than upper register cymbals which can feel a bit half cooked and not as full in body as non metallic percussion.
Both electric and acoustic guitar sound realistic and offer enough sparkle, the strings pulling lack a bit of definition sharpness and is softed, this make the presentation a bit laid back, opposite of agressive or shouty.
All in all, their not alot to say about treble, it doesn't go messy or muddy thanks to fast sounds layering of planar driver, we have minimal sparkle and brilliance so the top feel open and airy enough without being vividly resolved. Everything feel smoothly balanced and act as a whole, we don't have acward micro details or texture artefacts poping out like with 7HZ Dioko. Perfect example of ''jack of all trade, master of none'' treble performance.

The Soundstage sound open enough, epecially in wideness and it's tall enough to not feel stock in your head or compressed. It isn't very deep nor clean. We can say it's average without being bad.

The imaging isn't an highlight of Klanar, while sound layering avoid going muddy it's hard to discern the singularity of each instrument and the positioning is a bit hazy in definition so I would not suggest those for monitoring.

Side notes:

Like all planar, these benefit from proper amping which will open up spatiality and add macro dynamic livelyness. I suggest a minimum of 200mw@32ohm.
The included eartips are OK, i tend to near always use wide bore ear tips with planar unless nozzle is small, the Klanar is no exception and can go muddy if you use eartips with too small nozzle hole.


COMPARAISONS



VS LETSHUOER S12

The Klanar is warmer and more U shape yet with more extended and sparkly upper treble so we can consider it more W shape as a whole too.
The S12 feel like a brighter balanced V shape, with less boosted sub bass and more rounded mid bass that make the punch feel faster and tighter than mellower thumping of Klanar which offer more rumble sustain and slam boom when trigering this exact sub meet mid bass region. Overall bass is cleaner and more controlled with S12, yet more rolled off in sub bass which is more boosted in bass line texture presence.
Mids are lusher and wider in presence with the Klanar, they arent as shouty and bright as more energic S12 which feel more compressed in layering delivery, yet this make female vocal or saxophone a bit more upfront too. Note definition is more softed and warm with Klanar, but note weight seem heavier. While darker, overal mid range sound more open and enveloping with Klanar, while its more in your face with S12. Timbre is less grainy too, so while resolution is more boosted with S12, the layering is more compressed in macror dynamic.
Then the treble is very similar apart lower treble being smoother and less prompt to sibilance with the Klanar and upper treble is snappier, cymbals have more brilliance and are easie to pin point, S12 can be more splashy while crash cymbals are more damped in attack release with Klanar.
Soundstage is notably wider and most of the time deeper too with Klanar.
Imaging being more holographic and vast in spacing with the Klanar, i find it easier to position instrument even if no end word in that department it's more articulate in macro dynamic and layering is notablye less muddy.

All in all, at they end, these 2 feel in same league and at first listen of Klanar i think about S12 similarity, so i do feel both use very same planar driver but Klanar acoustic chamber is bigger and overall tuning is more balance and immersive, and well, bassier too, making me even more puzzle about those people satin S12 is basshead since i don't even consider tha notably rumblier Klanar basshead. So, if you seek for a warmer, bassier yet sparklier and less shouty S12, i do think the Klanar is a good bet!


VS HIDIZS MP145

Ok, now those 2 are even more similar than with S12, but the MP145 has 3 tuning nozzle, red one feel darker, bassier and more laid back. Yet, with balanced tuning nozzle tonality feel more dynamic W shape, about as bass but with more sub bass headroom.

Both these are near basshead U shape with extra upper treble sparkle and air, the MP145 is most open and airy of the 2, its a bit less warm and thick in mid range but less lean overall. Here, the Klanar is more laid back for sure.

The bass is a hitn heavier in slam and cleaner with the MP145, the rumble sustain is longer and wider in natural vibrancy and resonance, it feel more chunky and compressed in boom with the Klanar. We have more bass bleed that thicken and embrace lower mids with Klanar too, affect dynamic layering articulation.

Mids are more open, clean and crisp with the MP145, its a hint lusher and thicker with the Klanar and female vocal are more pushed fowards. I find timbre more natural and less dryish with the Klanar yet upper mids a bit louder so for people sensitive to pinna gain ill go MP145.

Treble is even more airy and brilliant with MP145, its more refined, sharper in definition, offer greater amount of micro details and percussions are fully restitute and more snappy and fowards with MP145. Klanar has darker highs, more softed in attack bite and more damped in natural resonance release and sparkle.

Soundstage is notably taller, wider and deeper with the MP145.

Imaging offer greater articulation and separation of sound layering in both X and Y axis. That plus sharper resolution and less bleedy bass sure permit superior positionning, clean and better define way.

All in all, while I say S12 feel in same league technicaly, the MP145 is a hint superior to warmer lusher Klanar. For plain female vocal, i do prefer the Klanar but for all the rest from imaging to bass quality to treble refinement and sparkle, the MP145 still hold its ground.

CONCLUSION



In all honnesty, I was expecting way worst from a first planar IEM release from an unknown company and i'm positively surprise by both bass performance and mid range sweetness of these Klanar.

Yet, this still feel like more of the same in term of offering and it's hard to clearly state these are better buy than Letshuoer S12, Tangzu Zetian Wu or even Tinhifi Panda since it's just a matter of more or less boost or damping in certain frequency. All of these IEMs isn't something i would call cleanly resolved nor extremely impressive in technical performance and the Klanar is no exception.

But it might be the sweet spot your seeking too, since it's well balanced and offer a laid back bassy and lush tonality that is very versatile for multiple music style from rock to pop to soul and even rap. In that regard, their no doubt it's a good buy as well as a safe one.

Recommended!





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PS: I want to thanks Sivga for sending me this review sample. They aren't even aware i've publish this review yet. As always, i'm free of any affiliation program bias or anything that can affect my integrity since I make zero $ with this review as well as all other I've made before.


You can order the Kefine Klanar for 119$ at this store but it's available on Aliexpress and other store too:
https://audio46.com/products/kefine-klanar

TONALITY: 6.5/10
TECHNICALTIES: 8/10
TIMBRE: 8.5/10
IMAGING: 8/10
SOUNDSTAGE: 7.5/10
CONSTRUCTION: 7/10
ACCESSORIES: 8/10
SOUND VALUE: 6.5/10

TANCHJIM is an experienced IEM compny from China, similar to Moondrop due to their obsession with Harman target.
In fact, it has been founded by an audio engineer that left Moondrop.
This company is mostly known and respected for one IEM: the Tanchjim Oxygen, which i've never try.
Today I will review my third Tanchjim IEM, the Kara.
Priced 180$, the Kara is an hybrid using 1DD+4BAs drivers and promising ''smooth ultra-high frequency response, fantastic lower-end punch, and clear, lively midrange response. Kara achieves a balanced profile in the sound response.''

Let see in this review if Tanchjim hit the sweet musicality target or at least offer competitive performance for it's price.

CONSTRUCTION & ACCESSORIES



The construction of Kara is rather unique and will be hate or love affair in term of both aesthetic and comfort. Personly, i find the design quite ugly and cheap looking due mostly to the 3D printed cloudy looking plastic back plate.
The nozzle is very big and long and dont have nozzle lip to hold steadily the ear tips, it seem thinked for deep fit but the size of nozzle will be problematic for smaller ear canal.
Overall design isn't the most comfortable.




In term of accessories, it's rather minimal. You have an OK but non impressive litx oxygen free copper cable that come in 3.5mm single ended plug. A nice looking carrying case and 6 pairs of silicone ear tips.


SOUND IMPRESSIONS



Ok, this wasn't an easy listening for me since i've been mislead by all those reviewers hyping the mid range of these...which I found so dull, lean, lifeless and boring it drive me depress after 5min of listen.

First and foremost: the Kara isn't mid centric at all and have whole lower mid range tamed to the bone. Then we have hint of sub bass warmth and smooth but centric upper mids bump.

Yes, we are into harman territory, warm wannabe lush but fail to way.

The texture of vocal are boosted in a breathy yet dryish way, their no low harmonic lushness going on here, it make the projection quite lean and not exactly distant due to good presence focus but far from wide in presence release. I can't enjoy my female singer with these even if it's not as shouty as other harman IEM like Aria or Snow.

So, for those that need good macro dynamic liveliness: stay away of the Kara. It's maturely tuned, very safe and smooth, it's grandpa musicality.

And talking about Moondrop Snow, it's quite similar but with less pinna gain shout and hint warmer bass response.

I know that writing this review all grumpy mode way will earn me nothing but a blacklisting from Tanchjim, and i'm more than OK with this since i'm done with Harman bore. But I will try to be mature enough for a maturely tuned IEM.

Saying the tonality is harman tuned mean nothing, and it's not your typical Harman take either since here upper mids aren't boosted too the sky, so overall balance feel like a lean U shape with rolled off upper treble. We can say warm neutral too, with very slight bass boost that belong in sub and mid bass transition.

The BASS offer slight punch and tight sub bass that feel compressed in density and release, it don't rumble alot and will boost and compress bass line in a questionnable way that is uneven in term of musical cohesion yet add a sens of ''oomph'' and dynamic in the back in a thick wobbly way.
Then we have smoothly define kick drum, surprisingly presence is well rounded but feel tiny and a bit distant. It do produce minimal mellow punch and don't get lost in sub bass warmth completly. You will never headbang with the Kara, it's too dull for this so both basshead and bass lover should stay away of those.
This is very polite bass response with an emphasis on bass line extraction, warm way. It's a ''jack of all trade master of none'' kind of very boring bass with safe slam, safe bass line rendering, very safe kick drum punch. It's lean as a spleen and lack proper texture edge to be at least engaging in a cerebral way.

Then this mid range. Lean, blend and dull, yet with a natural timbre that isn't thin nor affected by balanced armature roughness. Timbre is the highlight of the Kara and what surely impress some reviewers but the dynamic is so dead flat that everything feel distant even if it isn't.
Overall presentation is clean and open with flat center stage that feel very static in dynamic, any instrument or vocal will be well resolve in presence enough, dense in natural timbre but sticked on this stage with sound layers that struggle to project towards the listener. Sax sound boxy, vocal sound boxy, but in a lush way! Thats the troubling part of this mid range: i cant appreciate tone and timbre but they never reach me, i'm an observer of colorful image that feel protected behind a glass.
It's dead safe. And surely the Tanchjim with lower pinna gain ever, so in that regard, it's a bit extremist and will get a hate/love reception, the love being very niche I feel, surely people with hyperacusis issue or something.
The definition edge is softed, note weight is mellow, natural resonance is scooped to avoid unwanted resonance issue, its so well behave that listener need alot of ''brain burn in'' effort to make it engaging.
Piano feel miniaturized and overly colored with warmth, its near texture less. Violin and female vocal do better, but again it will not blossom in they air and stay sticked in soundscape as if it was shy to play too loud.
Anyway, I guess it's the best part of Kara, or the worst. Very hard to tell.

So I would say Treble is the most focused part of the audio spectrum even if quite roll off after 10khz. It does lack air, sparkle, brilliance and attack edge and snap but it's smooth and clean.
This is something special in it's own right, we can follow percussions which are less damped in natural resonance and more dynamic than mids. So, Tanchjim are in fact treble centric, darkish way.
It's quite full too and dont tend to lost alot of sound info in them mix, apart fine micro details.
Lower treble is smoother than mid treble wich add just a minimum of crunchyness so percussions splash can be lively enough. Yet, overall definition edge is softed, especially in lead attack of percussions.
Highs are a bit dry and dull still, electric guitar sound wonky, clavicord lack sparkle and overall highs lack air, brilliance and extension pass 10khz.

Soundstage is average wide and lack deepness. Nothing to write about here.

Imaging is decent in term of sound layers projection which doesn't go muddy, yet positioning lack clear definition edge for proper separation.



SIDE NOTE

At 27ohm of impedance and 115db of sensitivity, the Kara shouldn't be that hard to drive but it is. To wake up the dynamic of these you need quite alot of amping in fact, at least 200mW I would say. They don't seem that sensitive to source otherwise.

Then eartips, well, the nozzle is long and thick, so i guess its thinked for rather deep fit, which is conter intuitive with such thick nozzle...so I suggest small short wide bore which is the ear tips that make the sound the more open for me.


COMPARISONS


VS SIMGOT EM6L (1DD+4BA)

Simply put: the EM6L are what the Kara should sound if well tuned. Those are more mid centric, but more W shape in overall dynamic too.
EM6L are a hint brighter due to higher upper mids boost so female vocal jump at your more yet have fuller wider presence with slightly more textured timbre. Mids are less lean, less compressed in presence so instrument aren't as boxy too, bass warmth thicken more the timbre and offer more note weight. Piano has both presence and note weight as well as less softed attack edge so bot lead attack and release are more natural, less creamy and more open.
Kara mids are more distant, leaner in dynamic, more foggy in restitution, more colored too with unatural warmth that don't come from lower mid range but bass resonance warmth it seem.

The bass is more boosted with EM6L, offer more rumble sustain, it's less dry and thin and a hint warmer in mid bass punch, which make kick drum definition less edgy but less boxy too. The sub bass line seem compressed with Kara, and sound one tone too, it's notably more vibrant and open with the EM6L which offer both better bass performance and bigger boost.

Then the treble is darker but cleaner with Kara due to more open and recessed center stage where belong mind range instrument. Percussions are more controlled and better separated with Kara. EM6L can go splashy or blurry in macro dynamic more easily. Both these IEMs dont offer impressive treble and EM6L don't lack as much air and sparkle.

Soundstage is notably wider and taller with EM6L, slightly deeper with Kara.

Imaging is a notch better with Kara due to more transparent layering and less in your face mid range. But both these IEM are just average in that regard.

All in all, im not really afound of any of those 2 but it's clear i love way way more the musicality and macro dynamic heft of EM6L. It's way more lively and mids aren't as lean and dull, bass is rounder offer more slam and rumble, vocal-piano-saxo are more upfront and wide in presence and treble while not as refined and safely smoothen as Kara, add more openess to the spatiality. Going from EM6L to Kara is very troubling since you feel you need to crank up the volume to make those mids lively enough yet: it will not work. The issue isn't just about pinna gain balance here, it's about whole drivers configuration issue and this wide lower mid range scoop.

VS ISN NEO5 (1DD+4 knowles BAs-290$)

I want to compare the Kara to similar priced IEMs like Penon Fan2 or cheaper ISN H30, alas I loan them to a friend. So I'll go with 100$ pricier Neo5 due to similar drivers configuration. And low upper mids pinna gain!

Again the Neo5 feel more W shape in dynamic since whatever IEM I try it sound suddenly more lively than leaner more blend Kara.

But let begin by the bass, the Neo5 are way bassier and near basshead level, it pack more punch and have a more speedy and open bass presentation. Rumble more, move more air and mid bass hit way harder too. It dominate more the mix too and bleed more into mids than cleaner leaner Kara.

Mids are more upfront but it's more evident with bass less music. Solo piano is way more enjoyable with Neo5, each note blossom in a wider way, offer more natural resonance, are fuller in harmonic and drop harder in note weight. It don't feel as compressed in center stage too, and dynamic is less lean. Vocal direction is towards you and embrace listener more with their wide presence but it's not as smooth and natural in timbre, biggest highlight of Kara i feel. Mids are a hint thinner but more textured with the NEo5, it feel more creamy and lush yet boxy way with the Kara.

Treble is darker but cleaner again, more organic with Kara while its more detailed and crunchy with the Neo5, electric guitar feel less blunted, percussions have more splash or decay release, as well we have more air on top and more holographic layering.

The Soundstage is way wider, taller and deeper with the Neo5.

Imaging of both is rather bad but due to leaner more monitor like rendering of Kara, it permit better positioning, you pull out of music to observ it's darkish rendering better while with Neo5 your in middle of it.

All in all, Neo5 is notably more fun and engaging, offer more articulate macro dynamic, deeperr rumblier bass, more fowards near as thick mids and livelier treble....which is near polar opposite of Kara even if graph wise apart bass boost they are very similar the dynamic isn't at all.


CONCLUSION



I think it's evident i don't like the Kara and found it's musicality non engaging and supremely dull....yet, it doesn't mean it's plain bad IEM, just not competitive in it's price range and offering a quite niche tonality that will please god know who.

In fact this review was complete month ago, i struggle to find the motivation to publish it because Kara is one of few IEM i just can't endure, which is strange because it's non offensive in it's nature, but for me the mid range sound plain dead, bass lack definition and punch, and treble is roll off, dry and boring.

Personaly, it's the last IEM i will review ever from Tanchjim. I've done the same with Moondrop. These company just have a ''musicality target'' that lead me completly indifferent and far away from my music.

So, nope. I can't suggest the Kara to anybody because I can't lie and just can't find potential listener for those...perhaps people that seek a warmer darker Moondrop Blessing 2? I don't know, i hate those IEM too..

OK! Thanks for reading this anthipatic review!



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PS: tx to Basking Shark for helping me getting those Kara. No need to help me more with Tanchjim, im done.

You can order the Tanchjim Kara for 180$ here or on Ali express etc:
https://shenzhenaudio.com/products/tanchjim-kara-1dd-4ba-in-ear-headphone

TONALITY: 8.2/10
TECHNICALITIES: 8.2/10
TIMBRE: 8.5/10
SOUNDSTAGE: 8.2/10
IMAGING: 8/10
CONSTRUCTION: 8.5/10
ACCESSORIES: 8/10
SOUND VALUE: 8.2/10

YanYin is a rather new audio company from China, I think it's been around for about 3 years.
They get on the audiophile map with hybrid IEM like the Alladin and first Canon or tribrid like the Moonlight.
Today I will review their latest offering, the Canon2, which is the the follow up of first Canon.

Like the first version, it's an hybrid using 1 biological dynamic driver and 4 (unstated) balanced armature.

Priced 380$, the Canon2 enter a very competitive sub-500$ market where we expect consequent sound benefit, let see in this review if this IEM stand apart from rest of IEMs offering.



CONSTRUCTION&ACCESSORIES



The beautifull design of Canon2 is sure a looker, a glossy sparkly one due to it's shinny backplate colorful design thast show different shade of colors depending of reflection of light.

The construction is all made of thick medical grade resin plastic that feel smooth on hands and isn't prompt to easy scratching which promise long durability. Well, their one metal part and it's the nozzle, so this is only concern in term of potential damage.

The 2pin connector is flat on top of body, i prefer slightly recessed connector for more easy connection but this one look sturdy and have no gap around it.

Then you have the 2 mini switch at the side of shell, again its well embeded in body without gap, but you need a tool to change switch position which can be annoyin on the go. In fact, while walking i seek for small sharp rock on the ground when i want to change the switch, yes, that my survivalist nomad solution.

As for the shell size, its a bit bulky and not really thinked for deep insertion, yet I don't think it's too big for people with small ears.

The included cable is nice enough. It's a 4-strand graphene single crystal copper silver-plated Cable that come in 3.5mm single ended or 2.5mm or 4.4mm balanced depending the choice you make. It doesn't feel like prime high end cable due to rather basic plug but it's a flexible, soft and light cable that don't add weight to the fit.



For the box presentation, it's elegant and minimalist. You have this nice cable, a good quality leather carrying case, 3 pairs of silicone eartips. If i want to be nit picky, i would say more ear tips would have been welcome.


SOUND IMPRESSIONS



The Canon2 is a smooth and gently lush sounding IEM, with an organic cohesion that goes from warm bassy U shape to mellow crispy U shape. The tuning switch here don't inflict greatly on tonal balance and feel a bit unecessary. I mean, like most IEM with switch it play with dynamic driver impedance that boost the bass and mid bass at different level without adding much well felt punch.
2 switch up or 1 up 2down are both warm and bassy U shape with slightly darker mids than both switch down or 1down2up.
Switch ONE inflict way more on sound balance than the 2 which just add or stole a hint of teble air and edge.
Cleaner crisper and most lean U shape tuning is both switch down. So we can say one switch would have been enough and switch 2 is near plain decorative.

For this review, I will focus on 2 switch up and down for bass department, then for mids and treble, it will be mostly 2 switch down since it's cleaner in term of resolution.

The Canon2 are among those harman target chifi interpretation, it's a safe, smooth and polished tonality, with rather organic and natural timbre, it's not spoil with thin mids especially with bass boost that add lower mids warmth. Yet, it's not an highly exciting, engaging or dynamic musicality, but after the ultimately boring Tanchjim Kara, these feel bassy and fowards enough in mid range which has an higher pinna gain, yet, isn't shouty.



With bass boost we are less into classic harman territory and barely into mellow warm V shape, but the slam is too gentle and sub bass focused for calling it punchy V shape. For this we would surely need a second dynamic driver to go all in mid bass boost instead of impendance boost that tend to boost a vibrant, dense boom and had rumble sustain.
Whatever the switch you choose, the sub bass is put fowards and better extracted and layered than kick drum. It's thick sub bass, it's warm and juicy, not very edgy or speedy. It's rather opaque too and don't have a lean extension with boost on, so for acoustic music it's better 2 switch down, we have slightly more texture and overall less warmed bass line release which can be negative for acoustic double bass.
Don't expect basshead fun, it's a rather smooth and organic bass presentation and with 2 switch UP, I can get most fun with soul and r&B but big beat with complex percussions isn't suggest, nor speedy thumpy track, it's more enjoyable with slow music with digital sub bass and boom.
The cello sound pleasant, has a natural timbre enough but is very polished so it's hard to perceive the string stroke or pulling. It's a bit dull and solo bach sonata didn't captivate my attention nor trigger any emotion in me.
Kick drum are dark and a bit flat, for fast rock it will lack hard edgy definition and listener will struggle to follow drummer in any music style that is speedy.
All in all, safe lush bass, non offensive and laid back, the sub bass can be charming but it lack a bit of elasticity, presene and proper well define separation (especially with bass boost)

The mids are for me highlight of the show even if I would not call the Canon2 mid centric because they are too lean and a bit thin too, yet not in a dry way.
They are sirupy and relaxed, the upper mids isn't very loud so it's rather fatigue free. We don't have alot of presence texture boost so fine definition of each instrument is a bit softed in edge and darken in attack lead. Yet overall mid have this natural tone and timbre, liquid way since it's near texture less.
The female vocal shine more than male vocal, it's most fowards ''instrument'' with violin, its a hint breahty and its sibilance free. It's not shouty too. Presence is well centered and even with bass boost the mids will not go plain muddy, but they will be darken and less clean than with 2 switch down that make them pop up more, making them feel louder too.
Piano is a bit light in note weight and lean in dynamic but not too recessed, tone is realist but texture thickness is lacking for proper separation of each note hit, we don't have alot of natural resonance too so it's hard to discern which pedal is pressed or not.
Saxophone feel a bit thin and compressed in center stage, but it's transparent and well layered.
We can say the Canon2 are female vocal specialist, but don't expect monitor level of imaging with them due to smoothen upper mids bite.

And now the treble might be very refined and well balanced with rest of spectrum but it's a bit dark and lean, it's not very sparkly nor very snappy. Again, very safe, too safe I would say and not enough extended. This isn't the kind of IEM that will reveal new micro details yet it's not lacking either.
Percussions are rarely snappy and stay in the back, the lead clang of attack is softed so it affect the pace readibility. With cymbals crash, we will hear more a soft splash that leading hit of it's release.
Same goes for acoustic guitar, it lack bite as well as lower harmonic for bodied presentation so it sound light and soft, not very lively and like with harp and clavichord, it lack long brilliant sparkle release for proper airyness of higher pitch note with metallic string.
In fact, i can't find which instrument benefit from this polite yet sometime gently bright treble, I would say violin which rarely need sparkle is one of well restitute instrument, its transparent, textured enough and can deal with fast phrasing well enough.
Anyway, these aren't for treble head. The treble is neutral mostly but smoothen in dangerous texture or attack spike.

The Soundstage feel open enough, it's average wide, not very tall and have good deepness that can be affect by bass resonance with bass boost.

Imaging is average due to softed definition sharpness, we dont have lot of clean space between instrument for accurate instrument tracking yet the sound layering is effortless and avoid muddy macro dynamic.


COMPARISONS



VS SOUNDRHYME SR7 (1DD+6BAs-380$)

SR7 is an hybrid with 2 switch too, again its mostly about bass boost but this time it can go legit basshead because the tuning is more V shape and mid bass boost more focused. Overall dynamic feel more W shape and lively, as well as more open and holographic than flatter Canon2.

The bass hit harder and have more brighten sub bass line, yet not as deep and warm rumble, it pack a rounder punch and kick drum isn't as recessed. Canon2 feel more mellow in punch even with extra bass boost, whole bass is darker and less textured, bass line have less presence texture and attack edge yet are thicker and more sustain in rumble vibrance.

The mids are more liquid and lean with Canon2, vocal jump more at you with SR7 and are a hint brighter in presence, definition of instrument is better articulate and the stage feel more open too, we have more upper mids bit too than smoother leaner Canon2. Mids are a hint thicker with SR7 too, especially with bass boost.

The treble is notably darker with Canon2, its evident that with 2 more BAs the SR7 extract more sound info and offer a better macro dynamic experience, percussions aren't half cooked like with Canon2 and sound layers are less homogeneous and lean. Yet, the balance is more refined and less prompt to fatigue with softer treble of Canon2, SR7 is mroe crunchy and excited in highs attack.

Soundstage is notably wider, deeper and taller with the SR7.

Imaging is superior with SR7 too, due to less darken delimitation of instrument definition and more open sound layering.

All in all, SR7 is bassier, punchier, more engaging in term of dynamic and for tonal balance, I do prefer the mid bass boost but it's less smooth and refined, less mature tuned than Canon2. Technical performance is superior in everything but upper treble attack control. Yet, we have treble excitment here at least.

VS HIDIZS MS5 (1DD+4BAs-400$)

We have slightly similar balance here, both of these are U shape but MS5 is brigther and has more scooped mid range yet a bit more mid bass punch.

The tonal balance is notably more wonky and less cohesive with MS5, we do feel the mix of different driver more and bass feel a bit detached with its clean boom, it's faster in attack, rounder, but a bit thinner in sub bass which is again thicker with Canon2, yet the separation isn't as good...or detached!

Mids are quite horrifious with the MS5 so in that regard Canon2 is a big step up, its lusher, smoother fuller sounding and has more note weight. Timbre is less dry, more natural, instrument and vocal has wider presence and female vocal are sumptuous compared to shouty dryish one of MS5.

Then the treble feel detached too, and more boxy with the MS5, it's more agressive in micro details and percussions are more upfront but their more unwanted resonance, its more splashy, less snappy than Canon2. Highs are more realist and full sounding, less spiky and distracting than rougher MS5.

Soundstage is similar in wideness and tallness, but deeper with MS5 due to more recessed center stage.

Imaging is more boosted in presence brightness with MS5 so it's easier to pin point instrument, yet it's not realistic at all and mess up with percussions positioning.

All in all, its evident Canon2 is notably superior in both tonal balance and technical performance....it can't even compete. Even if darker tuned.



CONCLUSION



The Yanyin Canon2 is a very refined sounding earphones with an multi persona richness that can go from neutral to bassy and warm U shape.

Canon2 is safely tuned, offer a smooth laidback musicality that will appeal both fan of pop and instrumental due to good macro resolution that feel effortless. It's not an IEM that offer audacious and energic musicality that can benefit more agressive music genre likie rock or Drum&Bass, but it's one of those IEM you can get lost in for hours without feeling fatigued too.

While i would not suggest those to treble head or hard mid bass punch seeker, i feel the Canon2 is the solution for the fan of Harman target that find vocal and upper mids to loud with offering from the like of Moondrop.


This is the very first IEM I test from YanYin and I certainly feel it's a chifi company that worth to be follow, the tuning cohesion is very impressive for such an hybrid.

If you seek for a ''Jack of all trade, master of none'' IEM that captivate in the long run, Canon2 sure worth the bet.

Recommended!








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PS: I want to thanks YanYin for sending me this review sample. As always, i'm not affiliated with any distributor or audio companies and those are my 100% honest subjective audio impressions.

You can order the Canon2 for 380$ here: https://www.linsoul.com/products/yanyin-canon-ii