Simple, elegant, well build. Three years after the release of the highly successful M12, Questyle M12i is here, designed to be more friendly with Apple MFi standards, but more importantly offering refinement as well on what was already an impressive DAC/Amp of M12.

In general, M12i is surprisingly powerful for such lowly advertised power, practically standing tall when compared against over 2400mW juggernauts of BURSON Audio Playmate 2 (V7) and the stack of JDS Labs Atom DAC2/Amp2. While it can't replace the powerful desktop DAC/Amps, it does offer viable alternative to even drive Sennheiser HD600 and HiFiMan Sundara with good agility, synergy and dynamic transients' authority. I can totally use M12i away from my desktop driving these headphones.

The sound tuning for M12i is admirably natural, devoid of any hint of being metallic or sterile, as would normally be observed from ESS Sabre native tuning. M12i is exceedingly analog/organic sounding as it is competently technical to compete with the best of the best in dongle space category.

Join me here on my YouTube Channel as I unravel the wonders of Questyle Current Mode portable DAC/Amp:

SeeAudio Rinko is a bold and daring contender for the need for energetic, vibrant and bassy sound indulgences. As simple as that. Not intended to be adept at some music genres, but it does amazingly well with modern type of music that entail lots of groove and vibe.

Fairly good technically, Rinko is only held back by less than wide soundstage, while at the same time somehow managed to impart surprisingly good holographic spatial staging with precise imaging even when used to listen to Binaural type of music - even for gaming.

Get Rinko if you hgave craving for solid Midbass performances, backed by equally smooth and seismically groovy Subbass.



SeeAudio Rinko will soon be released on HiFiGo:
AliExpress: https://www.aliexpress.com/item/3256805212259957.html
Amazon US： https://amazon.com/dp/B0BZ3Y6DGG/seeaudio+rinko/
Amazon JP： https://www.amazon.co.jp/dp/B0BZ3ZST41/seeaudio+rinko/
HiFiGo Web：https://hifigo.com/products/seeaudio-x-z-review-rinko

iFi GO Link is the little brother to the magnificent iFi GO Bar. The one thing that I love about this dongle is the analogue and organic sound itself. I must say that I am impressed that iFi managed to tune a relatively (or commonly) bright sounding ESS Sabre DAC into something which is organic and musical. In fact if I am not reading into the specs, I would have not known that the heart of iFi GO Link is an MQA capable ESS decoder.

Fairly good with technicalities, especially when keeping the attached partners to already efficient ones to drive, at under 100 Ohm, the GO Link will sound rich and wholesome. It will not fail to impart proper sense of connection and emotions to the music especially when subjected to listening Jazz, Ballads or even the past paced Rock/Metal genre.

Technically, I would say that GO Link is respectably good. The shortcomings are only evident when compared directly to its own big brother of GO Bar (which is like 10x more expensive). Or when subjected to high driving loads of which the GO Link will then started to lean out on dynamic presentation - but not a deal breaker at all - I am just being anal and critical here for the sake of comparisons.

The fact is, every time I use GO Link, I just can't help feeling satisfied with the smooth velvety sound it impart on my largely (and natively bright sounding partners), GO Link was able to instil good sense of organic balance to the natively analytical IEMs or Headphones - making them more musical while not sacrificing analytical prowess.

iFi GO Link comes highly recommended if you are looking for highly efficient dongle with very smooth and warm sound.

TINHIFI C5 being the latest addition to the Square Magnetic Planar category, is in fact the only 3rd implementation of such IEMs....so far. The most surprising thing about this C5 (at least for me), is that, C5 has been tuned differently from the normal trend of sound nowadays, opting for a more neutral and uncolored sound signature instead.

I must say that, for the 100-120 hours I spent on it, C5 is a solid solution for those wanting an IEM that remain accurate to sound production as offered by the sources, which also means it will not impart any additional vibrancy or aggression to the output itself.

All in all, C5 is a good well rounded unit, especially if you want something that is truthfully uncolored and transparent
You can get TINHIFI C5 from HiFiGo:
https://hifigo.com/collections/new-arrival/products/tinhifi-c5

In the wake of Moondrop Chu popularity, Moondrop has introduced an improved version of it in the form of Moondrop LAN. With some alteration to the 10mm drivers itself, now with Beryllium coat instead of Titanium, also new metal shells which looked like a mini Stellaris. Most importantly, LAN comes with detachable cable which was lacking in Chu.

Sonic wise, LAN also offer marginal improvements over Chu, still with transparent, clean and crisp sound presentation, but now with improved note weight of which I find even drier with Chu. LAN is fairly analytical for a budget IEM, with competent technical prowess to complement the sound signature.

Day by day, the competition for affordable budget IEMs are getting fiercer, the standards pushed ever higher. With the sort of quality LAN offers, one will need to fork out in excess of $100-150 5 years ago. It is without a doubt that this can only prove to be beneficial to the audio consumers in general. Moondrop LAN is one of those IEMs that will live up to the asking price for solid offering as a whole.




Get Moondrop LAN from HiFiGo:
https://hifigo.com/products/moondrop-lan?variant=43778319319279

Yet again Simgot has proved that they know the business of IEMs tuning. Like the predecessors which I personally loved, this EA500 was easy to like from the get go. The sound itself being faithful to traditional dynamic drivers neutral organic timbre, with some hint of modern vibrancy.

Not forgetting the versatile, two sound profiles by just simply swapping the nozzles. I must admit I like the stock red nozzle better, but for some music genres where flatter and crisper upper frequency is needed, like for classical and instrumentals, the Black nozzle will suit just fine. The key thing is, it is easy to swap the nozzles.


Simgot Audio Discord: https://discord.gg/YWfvwSzzvN
EA500 on Linsoul: https://www.linsoul.com/products/simgot-ea500

One of a kind IEM from JOYODIO, practically the only IEM now to offer 16 different sound tuning in one unit. This is not an IEM for the casual user, will require a bit of tweaking with the dip switches on the IEM shells (each side) to find the sweet spot. Shine can satisfy the need to do hardware EQ on the fly, jumping from being V sound curve to W, or anything in between - even going into something which is close to being neutral sounding - you just need to put some effort to toggle the switches - and also experiment with different tips to complement the varying sound curves.

With proper power and synergy, Shine has proven itself to be quite competent with technicalities as well. Being a hybrid, the soundstage is fairly spacious with 3D spatial imaging and positioning. Speed and coherency is good too.

PS: Be mindful that the stock switch settings out of the box were set at 83 Ohm which means that Shine will need lots of driving power to sound good, reversing the switch position will correctly set it to the intended stock sound at 32 Ohm impedance.

Shanling UA3 offer something that I would consider as highly resolving and analytical DAC/Amp dongle that performs really well with technicalities and power. For those seeking a portable DAC/Amp that can dissect the sound, with good transparency and resolution, UA3 will not disappoint.

Several areas of concern would be on the tuning aspect, of which I personally felt that the newer gen of AKM DACs may seem to have forgo the sound signature they were known and loved for...that silky smoothness replaced by analytical precision which takes away a bit on the musical element.



Get Shanling UA3 at HiFiGo:
https://hifigo.com/products/shanling-ua3-usb-dac-amp?variant=43711714689263

My UA3 Has been Updated to the latest Firmware as listed here:
https://en.shanling.com/article-UA3V010107.html

Zetian Wu Heyday arrived to spice up the Planar Wars even more. With the high standards exhibited by competitors, Heyday managed to edge her way to the top crop of the selections. With great sonic qualities to accompany the beautiful looks. Using Heyday is sheer pleasure for me, I am really digging the fine balance between analytical temperament and musical fluidity of Heyday, handling seemingly all type of music genres with ease. Not forgetting the exemplary technical prowess.

However, despite being relatively efficient to drive. Heyday will only shine the best when paired with powerful partners, just like a good Magnetic Planar would behave.

Moondrop Droplet picked up the trajectory started off with Moondrop Quarks DSP. It offers more mature sound with overall refinement throughout the entire frequency range. Polished and with finesse, Droplet is a great all in one solution that is robust, highly portable and usable.

Wearing Droplet is an easy affair, plug in and then just blast the music. Doesn't matter if it is noisy outside. The isolation is good and the resolution, vibrancy and handling of sound is to be had even on the fast lane. Just perhaps would require a bit of practice to attain a good seal (but should not be a problem for folks who are familiar with foam tips).

Ultimately, Moondrop Droplet presents a very promising direction for complete All-In-One solution for portable Audio.

Moondrop Droplet is availabe from HiFiGo:
https://hifigo.com/collections/new-arrival/products/moondrop-droplet

In a nutshell, LETSHUOER Gizaudio Galileo has been tuned and presented as smooth sounding IEM, with not particular emphasis on specific dynamic range, just some boosting on lower frequency with Midbass, and perhaps a bit of mild suppression on upper frequency extensions, but the Midrange is pleasingly transparent and uncolored - yet still rich and satisfyingly dense with note weight.

It is without a doubt that Galileo will appeal very highly to people who love mild and relaxed sound presentation that is still analytical enough without being overly sharp. The balance of articulation and finesse is perhaps the biggest strength of Galileo. It is very easy to wear and very comfortable to use even for prolonged listening sessions. Galileo proved to be quite good as well with many type of music.




Get LETSHUOER Gizaudio Galileo from HiFiGo:
Amazon US Store： https://www.amazon.com/dp/B0BV6WGJJC/letshuoer+x+gizaudio+galileo

Amazon JP Store： https://www.amazon.co.jp/dp/B0BV6YKL91/letshuoer+x+gizaudio+galileo

AliExpress Store： https://www.aliexpress.com/item/1005005192950738.html

Full length review here in my YouTube video:


Sound Impressions Overview

Dynamics, tone and timbre
EN1000 sound profile is a Mild V, close to being neutral, Overall timbre and tonal balance being natural organic with dynamic density being rich and sensibly vibrant, not too euphonic - properly balanced. EN1000 dynamic transients handling is very tidy and cohesive, highly resolving, with dynamic range reach and depth being extensive, just slightly short on Subbass.

Mids

• Rich neutral organic Mids Timbre, realistic, neither bright or warm tonality
• Properly timed attack and decays, with very sensible level of energy and vibrancy
• Mids staging is forward enough even if the general sound curve being V oriented
• Mids exhibited admirable texture and definition, great details
• Works well on all type of instruments, stringed, percussions, air and electronics
• Neutral tone for male and female vocals, does not show any hint of coloration. Handles all type of vocals transparently

Treble

• Clean, accurate and resolving Treble dynamics
• Realistic attack with smooth decays
• Great Macro and Micro details, great texture
• Slightly on the brighter side when in Black Plug mode, most relaxed in Red Plug
• Very airy and organic timbre, Treble transients equally crisp and smooth
• Treble sparkle and shimmer does not get hotter than necessary, No upper frequency sibilance

Bass

• Organic and realistic Bass timbre
• Natural and richly textured overall Bass resolution, great depth
• Symbiotic, seamless Midbass to Subbass dynamic flow
• Exceedingly clean, fast and resolved Bass transients
• Commanding Midbass impact especially for kick drums and electro synths
• Moderate, mild yet well extended Subbass decays, smooth edged
• Probably not big enough presence to satisfy Bassheads, mild Subbass

Technicalities

• Wide open headstage, perceived soundstage being open and expansive, spacious
• Clean and concise imaging, highly resolved
• Great transparency, highly analytical – comparable to BA precision
• Spatial staging being very holographic for a single DD, almost like multiple BA
• Speed and responses are top notch, resolves even the most complex tracks with ease

Scalability

Rated at 32 Ohm (stock Tuning plug) and 108dB of sensitivity, EN1000 is efficient enough to sound great even with my Sony Xperia 1 iV phone. It will scale up better with more power, as exhibited when paired with the likes of CEntrance DACport HD or Cayin RU6, overall sound spectrum will appear even richer and smoother. Even more so for usage with tuning plugs of Blue or Red.

Summary
Simgot EN1000 King Wonder is an exceedingly well crafted and tuned single DD IEM. Tonal and timbre balance being spot on, neither warm nor dry. EN1000 biggest strength being highly versatile with three sound tuning to satisfy different listening preferences, it can be easily toned to be a bit more airy and sparkly, or outright lush warmer overtones, or even somewhere in between. The Tuning Plugs really work and not just for gimmick.

King Wonder EN1000 is highly analytical as it is musical – a balance not easy to achieve. EN1000 works great with practically any genre of music, from modern Jazz to Lo-Fi Black Metal to even Classical and Instrumental, it is simply very versatile and agile.

Simgot EN1000 King Wonder is available from Amazon:
https://www.amazon.com/SIMGOT-EN1000-Dual-Cavity-Monitor-Headphones-Deep-Bass/dp/B0B7RQ6ZZW/

The latest offering from Hidizs, XO is here to enrich the options for good quality audio source.

In a nutshell, Hidizs XO I would consider as a moderately tuned DAC/Amp by ESS Sabre standards. The overall scheme of sound spectrum, tone and timbre being organic and natural. Just as per expected of a properly tuned DAC/Amp, they should always strive to remain uncolored. In this case, XO definitely fit the bill.

Dynamics handling of XO can be best described as smooth and unoffensive, rendering of dynamic transients being moderately tuned to not exhibit aggressive euphony level, it is probably the "most polite" sounding dongle from Hidizs so far, if to be compared against the siblings of Hidizs S9 Pro and S3 Pro. XO offers good technical prowess especially for natively bright sounding partners, can be a bit fuzzy sounding when paired with warmer/darker ones.

Perhaps, one element that pleases me the most is how good XO is with driving heavy stuffs like my Fostex T40RP MK3, a magnetic planar headphone boasting low sensitivity at 91dB and 50 Ohm. I am hearing rich musical output which does not sacrifice the element of technicalities. Dynamic range appearing well extended and with note weight that is satisfactorily rich and dense.

XO also proved to be quite versatile with highly sensitive IEMs, despite lacking gain mode switch. Again the general theme being moderate and never aggressive sounding, imparting admirably organic output that is pleasant as it is musical. Most prominent, XO being super clean with background, devoid of any element of floor noises, which can be quite annoying for highly sensitive hybrid IEMs.

One notable feature that I find useful, real-time switch for toggling two different modes of sound filters, of which the 2nd option will exhibit audible changes with soundstage projection, seemingly expanding wide to either sides and thus imparting a sense of circular spatial sound spread. But this is not evident on some IEMs or Headphones, only the ones that are capable or technically competent enough to emit holographic staging.



On the aspect of usability, XO scored 10-11 hours on continuous runtime on my Xiaomi Mi9T (4000 mAH Battery). XO will remain relatively cool (just mildly warm to the touch) even when subjected to long hours of operations.

Last but not least, XO can be quite a vibrant gadget when the RGB mode activated, simply by pressing the X button, and it will literally become a disco light emitter - party mode to suit the moods. There's several lighting scheme available and all easily toggled by just pressing the X button again to choose the desired projection.

For in depth review, please check it out on YouTube #donglemadness channel.


Hidizs XO will be released soon at:
https://www.hidizs.net/pages/hidizs-xo

Foreword

1. At the point of this article, my AFUL Performer 5 has undergone over 150 hours of runtime
2. I don't do measurements, I just describe what I hear, from my own POV
3. My preferred sound tuning, Diffused Field Neutral (Etymotic)
4. The entirety of my impressions was done with my own Dekoni foam tips
5. Ultimately, my reviews are purely subjective and biased to my personal preference in sound
6. For the purpose of this review, the unit will be mentioned as P5

The Build
AFUL Performer 5 (P5) is a newly developed 5 drivers hybrid IEM from AFUL, boasting some of the most impressive array of technology I have seen yet. For a start, P5 comes with 5 distinctive patented tech - something almost unheard of from most earphone manufacturers (the likes of Etymotic and Shure does have their own patents).

Frankly, I am not well versed with tech stuffs pertaining to audio gears. What I do appreciate is when a manufacturer goes the extra mile to produce bespoke like products to achieve possibilities and maximizing performance, value and dependency. So I will not delve too much into the specifics because my reviews has always been, how do they perform in real life? sounds good? - that sort of thing.


Lets start with the shells. They are made of hardened resin with EnvisionTEC High-Precision 3D Printed Acoustic Tube Structure, I figured that this is where the characteristic of P5 sound are influenced - IEM auditory and sonic characteristics are largely attributed to how the shells are designed. What this means to me, AFUL has spent great effort to tune the internals of the IEM shells to comply to specific target they deem as fitting. Inside the shells, a single Dynamic Driver accompanied by 4 Balanced Amatures, Those 5 drivers deployed with RLC Network Frequency Division Technology - I assume that it means there's some serious tech under the hood to connect and tune the five different drivers, ensuring high level of precision, cohesion and accuracy.

Esthetically, P5 is a thing of beauty. The magma like faceplates looking gorgeous, layered with thick enameled lacquer finishes. The inside section, dark blue-ish black. P5 has been designed meticulously ergonomic to offer comfort and best possible universal fit. I would say the 4mm bore size nozzle exhibiting moderate length - not too short nor does it protrude longer than necessary. On top of that, at just 4.2gm each side, P5 is assuredly among the lightest IEM have ever had yet in my possession. These thoughtful design and implementation meant that wearing P5 is a pleasant affair. It is super comfortable once anchored securely. I have been able to wear my P5 for literally half a day with music on shuffle non stop - no unsavory effects like wear fatigue that I can complain of. P5 literally disappear when the music starts.



On top of that, P5 has something called High-Damping Air-Pressure Balance System, some sort of integrated ventilation system intended to relieve possible build up of vacuum pressure - which means that there will be no sensation of closed vacuum proximity when IEM seal has been achieved. But this was also intended, and perhaps more importantly to impart some element of influence of how P5 would perform sonically (more on this later).



P5 comes accompanied with pretty much standard array of accessories as per expected of an IEM of this pedigree. Nothing too lavish or extravagant - it is more practical than fanciful. The stock cable, I believe being made of SPC, looked just like many other IEM cables seen these days. Well built, offering robust yet pliable feel to it and should stand the test of time with daily rigorous usage.


Then, there's two sets of silicone tips offering 2 variant - wide and narrow bore. Wide for Treble focus and narrow for lower frequency emphasis. I wished AFUL would have also included foam tips but alas none are offered, manufacturers really need to understand that silicone tips won't work for everyone - and I am one of them. The entirety of my review for P5 has been done with Dekoni foam tips instead. I just cannot bear the odd feeling of silicone tips on my ear canals.

Equipment Used

• Sony Xperia 1 iV
• Windows 10 with Native USB Drivers
• UAPP Bitperfect Mode
• HiByMusic USB Exclusive Mode with FLAC files
• CEntrance DACport HD
• Cayin RU6
• Ovidius B1
• Hidizs XO
• 7Hz 71
• VE Abigail

Test Audio Playlist


Sound Impressions


AFUL Performer 5 (P5), I would describe it as a fusion between Harman and W curved sound tuning. Pronounced boosting and coloration especially on the lower frequencies being prominent out of the box. With approx 40 hours of burn-in, I can audibly hear the lower frequencies firmed up and settled down nicely. Otherwise, to my ears which is so accustomed to Diffused Field Neutral sound curve, P5 sounded exceedingly Bassy, colored and vibrant.

P5 is assuredly rich and expansive with dynamic range. The breadth and expanse from one end to the other end practically TOTL level - only bested by the likes of Shure KSE1500. On the aspect of dynamic characteristics, P5 offer lively and vibrant dynamic transients that exhibited silky smooth flow of harmonics. Euphony level exhibited finesse and grace, it is exciting as it is mature sounding at the same time. Always clean and coherent. The transitions of sonic frequency interchanges seemingly fluid and purposeful. Most prominent would be the depth of lower frequency reach, P5 projected them masterfully yet keeping it sensible with imaging crispness - it is cleanly audible, but it does not overwhelm.

Tonal and timbre balance of P5 is highly organic. My extensive listening to P5 covering all possible genres, I was able to throw at it, I have yet to hear any hint of unsavory metallic or plasticky timbre. P5 is natural as it is gracefully realistic with tonal and timbre balance, despite being highly colored and vibrant. On this aspect, I can totally respect tuning acumen as exhibited by AFUL. For the most part, instruments, percussions and vocals presented transparently as how they are meant to be. I think P5 owes it a lot to how the 5 drivers bonded together to always remained cohesive to each other, the technology as stated earlier applied ensuring that the harmonics being well controlled and balanced, resulting in smooth projection of dynamic transients that sounded believable tonal wise.

For something that is relatively V Harman-ish curved, P5 is surprisingly rich and frontal with Mids presentation. Hence why I said earlier this P5 being a hybrid of V and W sounding IEM. It is rich, dense and succinct. The overall theme of P5 Mids being naturally organic, just very mild hint of warmth to the timbre and texture. P5 Mids offer good depth and resolution. Be it stringed instruments, percussions or electronic, P5 Mids will always appear well defined, crisp and smooth. Playing Jazz is an emotional and immersive affair thanks to the ambience of Mids staging which can be intimate depending on how they were mixed and mastered. The V element of Mids will be audible when subjected to listening to Rock/Metal genres, or practically any music that exhibited native suppression of Mids as part of the recording scheme. What this translated to me, P5 being highly transparent to the nature of the recording - the ability and agility to adapt to the source intended design. For someone who listens a lot to Metal music, P5 offer some of the smoothest sound for electric guitars - smooth yet still crispy enough imparting good sense of bite and edge. Or should I say, the electric guitar riffs will always appear well rounded and refined. The attack and decays remained realistic, engaging and vibrant. I can listen to raw Black Metal Lo-Fi recordings all day long and will never get any risk of auditory fatigue due to the smoothness of P5 Mids presentation, especially upper Mids which is absolutely free from any elements of Pinna glare.

For vocals, notably I would say the lower keyed female vocals (Contralto) from the likes of Diana Krall or Sinne Eeg would appear slightly warmer, but it still has ample natural tint to it - which resulted in something that is lush and engaging, highly emotional...that's the purpose of Jazz isn't it? to be emotionally connected to the music and singing. The same can be said of male vocals, typically richer and thicker in density, I am hearing deep chesty singing from Morrissey and Nick Cave, both being Baritone-Tenor type. And last but not least, subjecting P5 to the peakier type of vocals from Alison Krauss and Mariah Carey (Soprano-Alto), P5 exhibited excellent control to emit even the most shrill section of their singing - simply outstanding.

Treble for P5 can be best described as mature and well controlled. In fact compared to some competitors, I would say P5 may appear seemingly moderate with Treble projection. But moderate does not mean P5 being weak with upper frequencies performance. Simply put, it is not an outright bright sounding unit. P5 offer delicate and cleanly audible Treble with deep extensions - evidenced with great presentation of Treble micro details exhibiting smooth decays dispersal. The energy, the attack being highly mature. It is euphonic enough to instill excitement, yet never offensive or sibilant - not even when subjected to highly aggressive music that contain lots of Hi-Hat and cymbals. Treble transients being harmonious and fluid. I daresay, for someone who love refined Treble, I find P5 capable of mesmerizing performances that will not fail to impart sense of satisfaction.

Now to the best part, Bass. Among the many that I have listened to, without a doubt P5 is an absolute champion with Bass performances. I would even describe P5 being a miniature Subwoofer IEM. And thus the subject goes back to the implementation of P5 High-Damping Air-Pressure Balance System, which means that P5 has an advantage of behaving like an open backed earphone instead of an In Ear Monitor. This in return resulted in something that is airy and gracefully flowing. Yes, Bass notes of P5 is literally flowing and mesmerizing, devoid of any sense of closed vacuum - something that is akin to Subwoofer sensations. Midbass of P5 exhibited solid authority and presence, commanding yet never overwhelming. It has details and rich texture, immersive depth and articulation. Impact and slam just as per expected of a Dynamic Driver, with strong seismic sensations all the way to Subbass decays. The Subbass itself being well extended into the furthest region with realistic dispersal of note edge. Despite largely being somewhat Bass heavy IEM, P5 surprisingly does not feel awkwardly boomy or bloated, Bass is always clean and fast. I am no where near being a Basshead yet I am addictively attuned to this sort of lower frequency performances. This is where I would say P5 being strong enough to rival some of the Harman tuned IEMs competitors out there. That deep and engaging Bass will assuredly please those who appreciate beautifully presented lower frequency vibes.

Technicalities

Without a doubt, AFUL Performer 5 is exceedingly good with technicalities. Perhaps the only critic I would say would be on the aspect of overall headstaging width and dimension. I feel that the soundstage could use a bit more space to compliment the open sound. It is not exactly narrow, but I have heard wider staging from other IEMs. Maybe, because P5 being frontal with the projection of Mids, that sort of presentation impart strong sense of intimacy which in turn making my ears perceive the soundstage being not wide enough. But really I am nitpicking here.

As for the rest, P5 exhibited clinical precision with layer separation and spatial imaging. Being a 5 drivers hybrid tuned correctly does that. P5 is highly holographic and immersive. P5 can easily be at home for music as it is for gaming as well, especially for FPS or TPP type of gaming where sound source accuracy is critical.

Transparency and resolution is assuredly top notch. P5 will resolve even better for high quality sources. Extracting all possible details contained therein. The bonus part, despite being highly resolving, P5 is still forgiving enough for Lo-Fi or even YouTube contents - this is not an easy thing to balance out.

Aligned with the rest of technical competencies, P5 is also great with speed. Good coherency between the 5 drivers ensured that P5 is able to resolve even the most complex of music composition, or outright speedy exceeding 250 BPM. P5 will never be subjected to sounding sluggish or muddied.

Scalability
Rated at 35 Ohm with 110 dB of sensitivity, P5 runs perfectly fine even directly from my Sony Xperia 1 iV phone. The output being wholesome and rich.

Subjecting P5 to higher powered partners, P5 will then exhibit improved dynamic density and technicalities. Absolutely mesmerizing when paired with CEntrance DACport HD, Cayin RU6 and Ovidius B1. I must say that I am impressed that P5 was able to handle all that power without any effect of being shouty or overly euphonic. That's the sign of maturity and great scalability.

But I must also mention, P5 may exhibit floor noises on some DAC/Amps, something like Ovidius B1 or VE Megatron, both of which are obscenely powerful.

Final Words
AFUL Performer 5 is a solid and amazing unit end to end. The application of exotic tech does translates into sonic performances that will not fail to instill WOW element. I know it WOWed me, despite of my dogged insistence to sticking to more neutral sounding IEMs.

I like it a lot that P5 is highly organic and natural sounding with timbre and tonal balance (despite being colored with sound spectrum). This is how a vibrant yet mature sounding unit should be tuned. It compels the user to want listening more and more, not wanting to put it aside because music sounded so lively and immersive. While being musical, P5 remained highly acute with technicalities, details and crisp imaging in abundance, always.

And yes the Bass, damm that Subwoofer sensation is an absolute winner in my book. That rich mesmerizing flow of Bass responses, airy and commanding. Bass heavy tracks simply blissful to listen to.

Ultimately, AFUL Performer 5 is a wonder to behold. The build, the tech, the sonic element, the wear all seemingly well crafted. It will be hard to match the unique qualities of P5.


AFUL Performer 5 is available at HiFiGo (to be released 25 November 2022):
https://hifigo.com/products/aful-performer-5

https://www.amazon.co.jp/dp/B0BN5R23ZP/aful+performer+5/ (Amazon Japan)

https://www.amazon.com/dp/B0BN45CJX4/aful+performer+5/ (Amazon)

https://www.aliexpress.us/item/3256804801271867.html (AliExpress)

Foreword

1. At the point of this article, my Wan'er S.G has undergone over 120 hours of runtime
2. I don't do measurements, I just describe what I hear, from my own POV
3. My preferred sound tuning, Diffused Field Neutral (Etymotic)
4. The entirety of my impressions was done with my own Misodiko MIX 460 tips
5. Ultimately, my reviews are purely subjective and biased to my personal preference in sound

The Build


Tangzu Wan'er S.G is a budget IEM, that's pretty evident with the $19.90 price tag. Meant to be highly affordable to the masses. As such, the construction is pretty much very modest with simple transparent acrylic shells. Offered in two choices of color, Wan'Er S.G comes in either Transparent White Motif or Black Opaque theme - resembling Yin and Yang.
The overall build of the shells felt firm enough. It is very lightweight and smooth edged.

Wan'er S.G IEM shells boasted dual cavity chambers for sonic tuning purposes, this can be observed clearly especially with the fully transparent white version. The single Neodymium N52 PET diaphragm dynamic drivers anchored close to the nozzle port with generous chamber behind it.


Accompanying Wan'er S.G, set of accessories including OFC cable with QDC two pin termination, silicone tips and a very artistic piece of cleaning cloth depicting Wan'er S.G herself.

The selection of stock tips, both narrow and wide bore included. Normally wide bore for Treble focus and the narrow bore for emphasis on lower frequencies. For my own usage, I opted not to use any one of them, preferring my own Misodiko MIX460 hybrid tips.



Wearing Wan'er S.G is a straightforward affair. It is very comfortable and lightweight. The shells rest comfortably on my ear concha. I can use Wan'er S.G for 3-4 hours without experiencing any hint of wear fatigue. My only concern would be the stock cable, the ear hook section in particular - the curved hooks kind of looping a bit wider than my ear inner tips, and without a chin slider on the cable, it can appear as if my ears has become like an Elf pointy piece visually - swapping it to Kinera Leyding Cable solved that.

Equipment Used

• Sony Xperia 1 iV
• Windows 10 with Native USB Drivers
• USB Exclusive Mode with FLAC files
• CEntrance DACport HD
• Cayin RU6
• Ovidius B1
• 7Hz 71
• VE Abigail

Test Audio Playlist


Sound Impressions


Before I proceed any further with Sound Impressions, it is best to clarify that 90% of my review for Wan'er S.G will be based on combination of Misodiko MIX460 tips and Kinera Leyding Cable. After some tweaking and swapping, I have discovered that Wan'er S.G improved dramatically with that combo as compared to using stock tips and cable.

Out of the box, Wan'er S.G sounded fairly natural with good sense of organic temperament to the overall sound. I would regard the overall tuning edging closer to neutral territory, with an exception that there's audible elevation of lower frequencies with Bass sounding stronger and denser than true neutral sound curve. It's pretty much the trend nowadays, IEM's tuned with heightened lower frequencies to sate the demands of consumer which has grown fond of thicker and denser lower frequencies. Otherwise, Wan'er S.G would have been quite neutral with the Mids and Treble seemingly uncolored for the most part. To tone down the boosting of lower frequencies, I used the Misodiko MIX460 hybrid tips which has proven quite effective at tidying up Bass responses (more on this later).

Dynamic characteristic of Wan'er S.G can be best described as fairly extended and well balanced. Nothing too extravagant. Dynamic transients largely being clean and smoothly rendered. It has enough energy and pace to the flow of harmonics, as to be expected of sensibly tuned single DD. The vibrancy level being well controlled and mature - in contrast, the likes of HZSOUND Heart Mirror would appear highly energetic and euphonic. Wan'er S.G on the other hand resonate closer to Tangzu' s debutant of Yuan Li (which I really like until today).

Timbral and tonal characteristics of Wan'er S.G being highly organic and musical. End to end from lower frequency to the uppermost region, it is faithfully natural sounding and realistic. The only caveat I would complain would be the strength and depth of timbre imaging which can appear a bit fuzzy (due to preferences for overall smoothness). It is neither warm nor it is bright - just about right. The sort of natural tone and timbre to be heard from the likes of Shure KSE1500, Kinera Idun Golden or Sennheiser HD600 - of course the said devices being highly superior to the actual implementation - but you get the idea, Wan'er S.G hovers close to those sort of sound. It is non-offensive, smooth and flowing. No hint of being digital-ish or metallic - in my book, this is highly favorable to my taste subjectively.

The Midrange of Wan'er S.G is quite impressive actually. The staging and placement being amply forward, properly moderated to appear bold yet never too frontal. It is transparent to the intended nature of the sources - depending on the sort of mixing done on the subjected audio tracks. For example, on Jazz, Pop, Folk and Ballads, Wan'er S.G will appear audibly upfront, taking centerstage with Mids dominance as how it was intended. With Rock/Metal music, which are typically mixed with V curve tuning, the Mids will then appear stepped back appropriately.
Wan'er S.G offer rich and dense Mids, the texture felt wholesome and engaging, organic theme evident with the attack and decays, the pace being moderate and believable. It's absolutely at home for easy listening that impart musical emotions especially for Jazz and Ballads.
Instruments for the most part, sounding smooth and well defined - lacking only some clinical precision and depth as would be heard from higher end IEMs. I like the fact that Wan'er S.G handles stringed instruments and percussions with realistic tone and timbre, electric guitars offering ample bite while keeping the smooth theme still. Perhaps not as strong edged as some of the competitors but this also mean Wan'er S.G offer more musical experience over technical precision.

Vocals wise, Wan'er S.G is highly versatile and adaptable. Does not matter male or female, Jazz or Rock, Wan'er S.G offer good transparency to emit neutral sounding vocals that remained organic - perhaps some small hint of warmth especially for Baritone/Tenor (males) or Contralto type of voices. This in turn helps with imparting good emotions to savor the music with sensible vibe and nuances. Again, I wish the imaging would be slightly crisper here, I felt that the smoothing of Mids in general imparted that tingling sense of fuzziness on lesser quality recordings - but works quite well on the good ones.

Treble of Wan'er S.G is modest, yet sparkly and smooth. Non-offensive tuning that still offer good vibrancy and shimmer. The extension does feel a bit rolled off, with micro details barely audible. The most important part, Wan'er S.G Treble remains natural sounding with no hint of being plasticky or metallic. There's also good air and smooth transients with the flow of Treble timbre, soothing even. Largely attributed to the pairing of Misodiko MIX460 tips and Kinera Leyding Cable.
It is worth to mention as well, despite the decays being somewhat rolled off, it is still admirably clean and crisp - again with polished edge to disperse naturally, clearly evident with highly energetic recordings that contains lots of Hi-Hats and cymbals. What is certain, the range between upper Mids to Treble is free from any Pinna glare element, which means Wan'er S.G will not exhibit any upper frequency sibilance - ultimately offering non fatigue listening even for hours on end.

On the lower frequency, Wan'er S.G exhibited pronounced boosting for Midbass, with ample density on Subbass. After 100 hours of burn in, it is totally free from any element of Bass bleeds (of which up to 40 hours, there may be some occurrences of Midbass messing up with lower Mids, imparting minor element of bloat on some Bass heavy tracks). The good thing is, being a DD, Bass settled in admirably well - now it is very clean and disciplined. The vibrancy seemingly mature and sensible.
Midbass offer good texture and depth, the impact and slam being moderate - which means this may not be dense or heavy enough for Bass lovers, Basshead will still find Wan'er S.G Bass performances being leaner. However, for those preferring more uncolored sound, Wan'er S.G Bass is quite abundance and rich - especially for Midbass presence.
Bass overall texture while seemingly rich, I feel that it still lacks some depth and macro details, it is smooth yes, but then on some music it will appear slightly opaque sounding. This is just me being critical, the truth is, without critical comparison, Wan'er S.G Bass performances are quite good for casual musical indulgences. In fact I normally prefer less Bassy audio equipment. Wan'er S.G offer just about right amount of Bass overall density and body mass.
On Subbass, the decays are quite crisp and smooth - not exactly far reaching like how it is normally heard from Harman tuned IEMs, but Wan'er S.G has ample density to offer satisfying and realistic seismic sensations for the lowest range of Bass frequencies.

Technicalities
Wan'er S.G has wide and open sounding presentation of Headstage, which in turn impart good sense of expansive Soundstage that is spacious and airy. Separation lines being amply clean, not exactly clinical but I would not complain for it being fuzzy as well. Not difficult to track individual layers.
Spatial positioning and projection admirably holographic for a single DD, the imaging crisp enough and smooth. On the aspect of transparency and details handling, Wan'er S.G proved to be a competent unit - again not exactly an analytical set, with the retrieval of Micro details seemingly slightly subdued. Otherwise, it is still very good for casual usage - for enjoying music (not analyzing it). Wan'er S.G, transparency and resolution being quite good too, it renders the source faithfully with natural tone and accuracy - moderately if I must add.
Speed is average for Wan'er S.G. Not exactly as speedy as some of the competitors - with Wan'er S.G preferring the languid smooth attack over prompt precision. At least it is agile enough to avoid being congested or muddy sounding on some of the more complex audio tracks I thrown at it. So that's already a big plus in my book.

Scalability

Just like Yuan Li and Zetian Wu, despite being rated 20 Ohm with 107dB of sensitivity. Wan'er S.G scales really well with power. Yes is does sound already good directly connected to my Sony Xperia 1 iV, the output being rich and highly musical. Subjecting Wan'er S.G to higher powered partners will help to improve some technical aspects like stronger imaging and crisper note weight. Wan'er S.G seems to work really amazing with Cayin RU6, CEntrance DACport HD and Ovidius B1 - with technical element being heightened audibly. Worth to mention that Wan'er S.G remained stable with all the power fed into it without any hint of getting shouty.

Final Words
TANGZU Wan'er S.G is easy to like. The biggest value proposition, Wan'er S.G is a well balanced performer that is sensibly modest and easygoing. Even for certain degree of analytical listening, Wan'er S.G will prove to be competent enough to satisfy technical element of sound - for as long as it is connected to an equally competent partner that offer great technicalities. Not forgetting gearing up Wan'er S.G with good cables and tips. In stock trim I would say Wan'er S.G is more than enough for casual use, pimp it up a bit more and then the versatility will pay dividends with satisfyingly articulate output that remains musically well balanced.

Ultimately, for something that is priced just $19.90, Wan'er S.G offer amazing Bang for the Buck value that is hard to ignore. For the most part, it does not sound like a budget IEM at all. It will appeal greatly for those seeking close to neutral sound with sensible amount of lower frequency boosting. Without a doubt Wan'er S.G falls into something that I would recommend for anything below $20.

Tangzu Wan'er S.G is available at:
https://hifigo.com/collections/new-arrival/products/tangzu-wan-er-sg

Foreword

1. At the point of this article, my OLA Bass has undergone over 100 hours of runtime
2. I don't do measurements, I just describe what I hear, from my own POV
3. My preferred sound tuning, Diffused Field Neutral (Etymotic)
4. The entirety of my impressions was done with my own Dekoni Foam tips
5. Ultimately, my reviews are purely subjective and biased to my personal preference in sound

The Build


For a budget IEM, Tanchjim OLA Bass Version sure does look way more elegant than most. I am truly impressed with the clean, graceful and thoughtful packaging by Tanchjim.

The IEM itself, visually identical to the original OLA released a few months back. So aside from the drivers configuration, nothing new really, because the original OLA was already a well built unit. Constructed of acrylic plastic shell with aerospace grade Aluminum faceplate, Tanchjim somehow managed to impart good sense of solidity to the unit. Design wise, perhaps it is non conventional and will appease some, probably less to others - subjectively.

Internally, OLA B sports a pair of PEEK Composite Diaphragm single dynamic drivers, of which are commonly found on higher end units. The original version of OLA was made of DMT4 Architecture Dynamic Drivers.



OLA B comes accompanied with equally elegant looking High-Purity Litz Braided 4N SPC Cable, with built in MIC and two-pin 0.78mm connectors, terminated on the other end with 3.5mm audio jack. Again I will repeat myself the cable setup does not look like a budget set at all.

Then, there's two sets of silicone tips offering either "Treble Enhancing" or "Bass Enhancing" options. Simply, the Treble version being wide bore and the Bass version being Narrow bore. However due to my personal preferences for foam tips, I don't actually use them - and my review on this unit will be based on this configuration with Dekoni foam tips.


One feature that's quite interesting, OLA B is supposedly dustproof and waterproof (with Nozzle filter). Now, I personally haven't tested this extensively (like jumping into a pool or something), but it does mean OLA B is highly usable for outdoor usage be it for dusty road commuting or rainy days. Or even at the gym when the sweats start pouring. Intentionally OLA B has been designed from the ground up for versatility of active lifestyle.

Comfort wise, OLA B being very lightweight, I have no issues wearing it for hours on end once anchored properly to my ears. Admittedly OLA B is not as ergonomically friendly with the shell design, so it will depend on what sort of ear tolerances the user has - at least for me I didn't encounter any issues and thus no element of discomfort to worry about. In fact once worn, it is easy to forget I have OLA B lodged in my ears.

Equipment Used

• Xiaomi Mi 9T
• Sony Xperia 1 iV
• Windows 10 with Native USB Drivers
• USB Exclusive Mode with FLAC files
• CEntrance DACport HD
• Cayin RU6
• Ovidius B1
• 7Hz 71
• VE Abigail

Test Audio Playlist


Sound Impressions

Despite being different from the original OLA which was made of DMT4 Architecture Dynamic Drivers, OLA B running on PEEK Composite Diaphragms offers similar overall sound signature of being neutral-ish - with mild emphasis on lower frequency boost if to be compared to the original OLA.

Timbral and tonal balance of OLA B, can be best described as generally uncolored, natural and near organic - but this depends on the type of source it is connected to. Plugging OLA to an already bright and dry sounding DAC/Amp can emit an output which may sound a bit leaner, less musical and digital-ish. In my case, I get the best results pairing my OLA with Sony Xperia 1 iV, Ovidius B1, CEntrance DACport HD and Cayin RU6. OLA B will sound slightly lean when paired with most ESS Sabre DACs. Similar to the original OLA, OLA B can even be described as a bright sounding unit, definitely not warm or dark.

Dynamic wise, OLA B offers good dynamic range on both ends. The handling of dynamic transients being well controlled and mature - to a point that it can even be regarded as less energetic or less vibrant especially for those preferring a more euphonic presentation. Being a single DD, there's good cohesion on dynamic flow, with clean temperament throughout the entire frequency ranges.

Mids of OLA B is assuredly neutral and uncolored. There's ample density and mass, just perhaps lacking a bit of depth to make is truly rich sounding. Instruments offer sensible amount of energy, attack and decays. OLA B Mids are neither dry or warm, it is as transparent as it can be, faithful to the original intended timbre and tonality of the recordings. The placement of Mids also sounding proper, not too forward, nor does it sounding recessed. I will admit that, for people who like their Mids thick and rich, OLA B can appear lean and flat - perhaps lacking a bit of musical emotions as would be observed from warmer sounding units. But this is not necessarily a Cons, it is simply the nature of neutrality - ultimately subjective sound preferences will determine if the listener will like it this way, or that way.

For all it's worth, OLA B handle vocals fairly well and transparent. Which means, for certain peaky female vocals like Soprano-Alto of Alison Krauss and Mariah Carey, can be slightly more edgy, more pronounced. While with the lower octave of Diana Krall's Contralto, OLA B is simply neutral and natural, same goes for Sinne Eeg. Male vocals, typically thicker sounding than females, does then sounding a bit richer and dense - as would be heard from the likes of Morrissey and Nick Cave (both on Baritone type).

The upper frequency of OLA B, can best be described as amply sparkly and vibrant. It is well controlled to not sounding outright bright or edgy. I am hearing good Macro details with subtle touches of Micro detail nuances. The only thing that I felt lacking was the airy transients of how Treble flow, OLA B focusing more on prompt and crisp attack and decays. The dispersal of decays being solid yet sensibly extended. Also, worth to note that pre-burn in under 40 hours, I observed some granularity in Treble textures especially for Hi-Hats and cymbals - the decays seemingly a bit grainy edged. But this no longer an issue right after 40 hours and practically smoothened out by 100 hours. OLA B must be commended for being able to remain steadfast and disciplined, avoiding elements of spiky annoying sibilance even when subjected to Treble aggressive tracks. On certain instances, I do feel that the Treble timbre being a bit digital-ish, but thankfully it does not ended up being outright plasticky or metallic (which again will also be influenced by the type of DAC/Amp used). Just avoid using OLA B with bright sounding DAC/Amp and it will be worry free.

Switching to lower frequencies, OLA B offer pronounced boost for Midbass if to be compared to the original OLA. But really, I would still not regard OLA B being a Basshead unit. The heightened elevation of OLA B Bass being sensible and moderate. In fact this helped to impart richer overall dynamic density to the sound - of which the og OLA would sound leaner in contrast. In general Bass is clean, fast and resolving. Lacking only on deeper texture and details. Midbass has good presence and authority, imparting mild seismic impact and slam. Subbass however, will likely not work for fans of Harman V tuning. Subbass of OLA B audibly reserved sounding with signs of roll-off on the decay stage (similar to Etymotic ER series). The good part, OLA B will never be plagued with Bass bleed, with Midbass being highly disciplined to not overshadow lower Mids or Subbass.
OLA B Bass performs the best with stringed and percussion Bass, not so much for electronic Bass. This means OLA B will likely be unsuitable for listening to Electronic or Dance genres.

Technicalities
OLA B strongest trait, the projection of Headstage is wide and spacious. This helps to impart good sense of Soundstage which felt open and expansive. I think this is a trait for most Tanchjim tuned IEMs, and OLA B benefits from this greatly.

For the rest, OLA B is amply resolving, transparent and detailed. Nothing too prominent, it is well balanced to satisfy even for analytical purposes (at least for me it does). Separation lines are clean and succinct, helped by the fact that OLA B is already a crisp sounding unit. Imaging and spatial positioning is also quite admirable, for a single DD it is not easy to sound decently holographic, but OLA B is one of the few that does not sound like typical single DD implementation where they normally ended up with Left/Right bias.

Speed and resolution is also quite good. OLA B being a speedy single DD implementation, it will respond with good agility to resolve busy and complex tracks - thus avoiding the pitfall of sounding muddy or congested even for the most demanding of recordings.

All in all, I would say that OLA B is good with overall technicalities. I do not observe any worrying weaknesses.

Scalability
For a 16 Ohm, 126 dB IEM, OLA B is surprisingly demanding in term of driving power. On my Sony Xperia 1 iV, I actually have to crank it up to 75/100 to get proper listening loudness. To get the best from OLA B, it will need to be paired with something more powerful - something like Ovidius B1 or CEntrance DACport HD.

But really, even on my weak Sony Xperia 1 iV, OLA B sounds great when the proper loudness has been set. It is amply rich and engaging. I am just saying that OLA B does scale better with more power above 2 Vrms - in this case with Ovidius B1 and DACport HD, I observed that dynamic density exhibiting richer body with better airy transients.

The best part, despite having such high sensitivity at 126dB, OLA B will not sound shouty when subjected to powerful drive even above 4 Vrms (just need to be mindful with the volume level).

Final Words


Tanchjim OLA Bass version is yet another solid budget oriented offering from Tanchjim. Perhaps what I find very appealing is how well presented OLA B is end to end. From the elegant build, to robust usability and solid sonic performances. OLA B does not feel like a budget IEM frankly. Yes it is simple and lightweight, it is also less extravagant when compared to many others. Sometimes simplicity is more than enough.

For one, despite the Bass moniker, OLA B will still appeal to those preferring a more neutral sound, or those who are into Bright Neutral sort of tuning. OLA B would probably still not Bassy enough for Bassheads (especially those loving the Harman V curve). OLA B is a solid performer technically, there's no mistaking that wide and spacious headstage which is quite amazing considering this is a single DD. The rest of OLA B being well accounted for, timbral and tonal balance that is admirably transparent and accurate. For the asking price, I see Tanchjim OLA Bass version as a solid unit to recommend based on specific preference of sound.

Tanchjim OLA Bass Version is available at:
https://hifigo.com/collections/new-arrival/products/tanchjim-ola-bass-version

JCally AP10
Review Date: 15 November 2022


SPECIFICATIONS

1. DAC Chips: Dual CS43131.
2. PCM Sampling Rate: Up to 32-Bit/384kHz.
3. DSD Sampling Rate: Up to DSD256 Natively.
4. Headphone Outputs: 3.5mm+4.4mm.
5. Frequency Response Range: 20Hz-20kHz.
6. Color Options: Black/Silver.
7. Weight: 26.5grams approx.

Test Equipment

IEMs and Earbuds:

1. Etymotic ER4SR (Single BA, 45 Ohm, 96db Sensitivity)
2. Shure KSE1500 (Single Electrostatic 200V, KSA1200 Energizer)
3. SeeAudio Bravery AE (4BA)
4. Tanchjim ZERO (Single DD)
5. VE Azure (Single DD, 16 Ohm, 105db Sensitivity)
6. VE Monk GO Final

Headphones:

1. FOSTEX T40RP MK3 (Magnetic Planar, 50 Ohm, 91db Sensitivity)
2. VE Pro Supernova (Single DD, 32 Ohm)

Sources:

1. Windows 10, Foobar 2000 (USB 3.0 Power)
2. Sony Xperia 1 iV (HiBy Music, USB Exclusive Mode, Bitperfect)
3. Xiaomi Mi 9t (HiBy Music, USB Exclusive Mode, Bitperfect)

LISTENING EQUIPMENT USED IMPARTED HUGE INFLUENCE TO SOUND IMPRESSIONS & RATING

Build, Functions, Usability


JCally is not a stranger when it comes to budget oriented audio gears. AP10 is among one of the newest offering from JCally (which seems to keep on coming at every 3 months interval).

Completely built of aluminum chassis, AP10 is a no nonsense unit. Rectangular and angular, it is practically similarly sized to Cayin RU6. Thankfully despite the heft of feel, the weight being sensible at 26gm.

At the heart of AP10 is a pair of Cirrus Logic CS43131, which seems has been quite a popular choice recently for many other implementation of highly portable DAC/Amp. One of the biggest appeal for CS43131, it is probably one of the few DAC options which are easy to implement with dual DAC mode - most prominently with early adopters such as iBasso DC03.

Externally, it will be difficult not to notice the huge rotary volume wheel imbedded on the top side of AP10. At first I was so excited to see this as I am a big fan of independent rotary volume wheel - something that I have grown very fond of from regularly using my all time favorite dongle of CEntrance DACport HD.

Unfortunately, as I discovered later, the volume wheel is NOT an independent unit. It merely serve as a remote adjuster which is still governed by the host. Which means, rotating the wheel will adjust the volume level on the source. The caveat of this approach, AP10 will then be at the mercy of the host limitations - for example on Android system, the volume jump from one level to another can be quite annoying and because AP10 cannot regulate that independently, the remote adjustment (at least with my usage) will only serve pedestrian novelty purpose - may as well use a dongle without volume adjustment and the results will still be the same. The volume gap issue can be addressed slightly with the usage of HiBy App USB Exclusive mode, at least the volume jump between levels will not be as big, but it is still not as refined as how it can be observed from the likes of CEntrance DACport HD, Cayin RU6, Lotoo PAW S1/S2, Shanling UA5 or L&P W2. In fact AP10 sits in the same segment with xDuoo Link2 BAL, Moondrop MoonRiver 2 etc (all of which uses host dependent volume steps).
Another way to mitigate this is to allow USB Audio Player Pro to fully take control of AP10 and then define the volume steps in over 50 steps.
Another thing which I observed, using the volume wheel can be finicky at times. Sometimes it goes backwards the opposite direction when scrolled too fast. The trick is to be gentle with the rolling of the wheel and allow the host to receive the input and then adjust accordingly - and this is the reasons why I said independent volume adjuster is so very critical. Especially if the host is already not the most responsive type, remote volume adjustment can be plain annoying.

One very positive element of the volume wheel, it also serves as Play/Pause button that will always respond even when the host is in standby mode. At least this is something that I find very useful

AP10 is a modular unit which will allow for USB C cable swaps. The package will come with braided short USB C to C, which as you would notice is not shown in my review here because I have no idea where the cable went. Luckily I already have tons of USB C cable lying around and being modular means I can easily swap them in. Problem solved.

Another prominent feature of AP10, it offers two level of gain - or should I say two level of power stages. Aptly labeled as 1.8V and 3.8V. Which means it is easy to manually select desired VRMS on tap. The switch is easy to flick and most importantly it works for both 3.5mm or 4.4mm jacks. For highly efficient and sensitive IEMs, running in 1.8V proved more than enough - especially for multi BA or hybrids. 3.8 Vrms definitely suitable to drive more demanding partners.


As for the rest of AP10, it has a simple recessed led light indicator which will always operate in Green color. The indicator does not change with the variance of source resolution.

Perhaps, the MOST impressive feature of AP10, it is amazingly efficient with power draw to the host. Through extensive tests, AP10 was able to run for 14-15 hours straight non-stop when connected to my Xiaomi Mi9t (4000 mAH Android Phone) - all in HiBy USB Exclusive mode driving 32 Ohm IEMs. In comparison, most dongles would score anything between 10 to 12 hours, clearly AP10 has 2 hours of gas left when all other dongles would have run out of juices (I mean they drained out the phone battery flat).

Then, AP10 admirably remains cool despite being subjected to long hours of usage. With all that dual DACs, I find this to be quite impressive. Just a very mild hint of heat (which is to be expected) when driving more demanding partners in 3.8v mode.

Sound Impressions


I will make this simple. JCally AP10 is an evolution of sound tuning which was first introduced with JCally JM10. Both using CS43131. So I will recap a bit on what JM10 has to offer. JM10 is a 2 Vrms unit with single CS43131. And it is already an impressive dongle with the output quality. Easily one of my favorite during that time.

Now, AP10 built on JM10 success and carries similar tuning principles - which means AP10 is assuredly very neutral and natural with dynamic range. The timbre faithfully organic and realistic. AP10 in fact has improved on several element of dynamic density due to being a dual DAC unit now and with almost double the power of the og JM10. I am not hearing any hint of frequency coloration throughout the frequency bandwidth - which is how a great DAC/Amp should be. The level of dynamic transients vibrancy being highly disciplined without any element of unnatural Pinna glare or metallic digital tint (read, so unlike some ESS Sabre implementation which are unnaturally bright and sterile). So does this mean AP10 is a "warm" sounding unit? NO, being natural and organic is all about sounding well balanced and devoid of any edgy elements. AP10 is actually as smooth as can be expected from the likes of xDuoo Link2 BAL, Moondrop Moonriver 2 and Lotoo PAW S2. The timbre hovers close to being analogue (only CEntrance DACport HD, Cayin RU6 and Ovidius B1 does this better).

For the fact that AP10 sounding as smooth as it is, yet seemingly articulate with crispness, I found myself liking it more and more - the more time I spent using it. Despite the annoying finicky volume adjuster, AP10 is a solid performer when it comes to sound quality. This budget unit does not sound like a budget unit at all.

As I already mentioned so many times previously, and will still say again and again, a DAC/Amp can only be judged with how they perform with the partners attached to them - of how good/bad they synergize with specific partners. In this case AP10 gets two thumbs up from me. AP10 sounds endearingly refined when used with my Etymotic ER4SR - the presentation of sound spectrum being rich yet neutral - it has proper depth and density. I don't feel my finicky ER4SR being lean or dry. And that alone set it right with AP10 in my book. To pass the test of ER4SR is paramount because that exceedingly neutral DF unit sets the benchmark for accuracy and transparency.
Then, partnership with TOTL stuffs, in this case AP10 subjected to driving my Shure KSE1500 Electrostatic IEM, connected to the KSA1200 energizer unit as a Lineout (with volume set to 20/32). The measure of reach, depth, resolution, technicalities and timbre will then be all revealed and AP10 does not falter to stand up tall to sate stringent demands of KSE1500. The output being rich and satisfying with great technical balance and musicality. Worthy to drive TOTL level partners, that's AP10.
Then of course, pushing it to the max. Partnering with Fostex T40RP MK3. As I wrote this particular line, I am listening now to my T40RP (on 4.4mm BAL, 3.8V mode) and I am hearing practically desktop level of output which is probably on par to most 4 Vrms DAC/Amp. The output is rich and dense, the loudness more than enough with room to spare, dynamic density and extension sounded right to my ears.

Switching to more efficient and sensitive partners, my SeeAudio Bravery AE sounded outright blissful and addictive. The synergy being fluid and harmonious. SeeAudio Bravery is the type of IEM that can be a bit sizzling with more power subjected to it. With the 1.8v mode of AP10, I get clean background with no hint of floor noises whatsoever. And then the music just simply flow naturally - does not matter what genre I threw at it. Be it Hi-Fi or Lo-Fi. Jazz or Black Metal. All sounded at home with this pairing. Organic and articulate - very well balanced.

Switching to Tanchim ZERO - my newfound favorite ultra budget single DD IEM which is surprisingly power demanding, yet beautifully tuned similar to Etymotic ER2 series. I am getting wholesome results as well. Perhaps less organic sounding, more like cleaner and flatter sort of neutral sound which I appreciate very much.

So, all in all I would say AP10 delivers. However I suspect the tuning characteristics of AP10 may also be perceived as "lacking precision" especially if the user is more accustomed to Hi-Fi sort of tuning which to my ears typically sounding quite sterile and bright - something that is typically offered by ESS Sabre based DACs or even certain aspect of CS43131 itself as can be heard from the likes of iBasso DC03/DC04 (the iBasso being dual CS43131 as well, they are markedly more euphonic and aggressive sounding with mild coloration on the lower frequencies compared to AP10).

The truth is, AP10 is technically competent. For one the staging of Soundstage being open and wide, I am sensing good expanse of space with airy feel to it. The sort of balance between crispness and smoothness - of sounding mature and coherent. AP10 will resolve admirably great even for the most demanding partners - with all of my listening equipment I am hearing great transparency which reveals Macro and Micro detals with audible nuances - perhaps not as surgically succinct like Ovidius B1, DACport HD, Questyle M15, Lotoo PAW S2 or Cayin RU6, but definitely on par to the likes of xDuoo Link2 BAL and Hidizs S9 Pro. AP10 offers very sensible moderation technical wise, it has the speed to resolve and render even the most complex of recordings without any hint of strain or congestion.

Driving Power

AP10 sure does has lots of power under the hood. With my Fostex T40RP MK3, running on 4.4 BAL 3.8V mode, on HiBy App USB Exclusive mode (bypassing Android SRC), I get full listening loudness at the mark of 17/32 of volume levels. This officially set AP10 being as equally powerful to the likes of xDuoo Link2 BAL and Moondrop MoonRiver 2.

As noted above, despite being exceedingly hard to drive to full potential, my T40RP MK3 sounded wholesome and rich. The loudness being more than ample, the depth and density of sound proper. Perhaps I would say that micro nuances are slightly subdued as when compared to the output of Ovidius B1 or DACport HD, but if I am not comparing then it totally does not bother me one bit.

FINAL WORDS


To summarize AP10, it is a very capable dongle DAC/Amp that is highly versatile and dependable. The sound tuning alone being adaptable to practically any partners being the biggest strength - of being able to synergize with almost anything. Be it hyper sensitive IEMs or doggedly stubborn partners, AP10 handles them all gracefully.

Then there's that excellent efficiency with power draw. For mobile usage AP10 is super forgiving to the host with some of the best battery drain factor I have witnessed so far. AP10 also being admirably cool and resistant to being warm despite used for long hours cannot be ignored.

JCally AP10 will appeal to those preferring their sound to be naturally organic and realistic. AP10 does not exhibit any unsavory Pinna glare or element of sibilance. It is as smooth as can be expected yet amply articulate and technically competent.

Perhaps my only woes, I wished that AP10 would have come with independent volume adjustment instead. That would have totally been a game changer had the volume adjustment offers something like 90 or at least 60 steps of gradation.

Nonetheless, AP10 is an impressive unit for the price asked. It does not offer lavish outlook or luxury feel - but for the intended purposes, AP10 is a solid performer sonic wise.

Best Pairing: Highly flexible and adaptable to most IEMs & Headphones
#donglemadness

JCally AP10 is available at HiFiGo:
https://hifigo.com/collections/new-arrival/products/jcally-ap10

Foreword

1. At the point of this article, my Bravery AE has undergone over 200 hours of runtime
2. I don't do measurements, I just describe what I hear, from my own POV
3. My preferred sound tuning, Diffused Field Neutral (Etymotic)
4. The entirety of my impressions was done with Bravery AE stock tips (both Xelastec and Foam)
5. Ultimately, my reviews are purely subjective and biased to my personal preference in sound

Following the success of SeeAudio Bravery in 2021, ANGELEARS has teamed up with SeeAudio to release a variant of Bravery, aptly named as Bravery AE Limited Edition. With some build changes and improvements here and there (more details on this later). It is no secret that the og Bravery was one of my favorites, an IEM that I use regularly. Alas I used it so much that I broke my og Bravery due to my own mistakes of dropping the right side unit on hard floor. Long story short, here I am reunited with a new Bravery.

The Build

For the asking price, Bravery AE sure does live up to expectations.. and more. Unboxing the Bravery AE, I was greeted with beautiful sight of a pair of blue Bravery AE accompanied with premium companion accessories.

Let's look at the cable first. Just like the og Bravery, Bravery AE comes equipped with premium custom 6N OCC Hakugei cable, tastefully finished in robust nylon twist braid. It is elegant as it is wholesome to the touch and feel. Most importantly, Bravery AE now offers modular plugs too, with all three major sizes included - 2.5 BAL, 4.4 BAL and 3.5 SE.
I can't stress enough how much I love this cable setup, black is already my staple color and the fact that it is also somewhat minimalist in appearance makes it all the more appealing. The only caveat that I would mention would be the chin slider - the nylon sleeving is a bit slippery and thus it is difficult to make the chin slider to stay put. To mitigate this issue, I simply added a small velcro ring underneath the chin slider - problem solved. (chin slider is especially crucial to secure the cable from microphonics).


Then, there's the selection of tips. Bravery AE does not cut corners with the accompanying tips options. Absolutely critical to me personally, the inclusion of Foam Tips which is what I always prefer over most silicones. Even more crucial, SeeAudio foam tips were made of high quality slow rebound composites. These are not the cheap average tips we are looking at. The foam tips felt so pliable and will deform nicely when compressed, then slowly expand as it adapt to ear canals perfectly. Comfort is top notch, once settled in, I literally forgot that I am wearing an IEM. The isolation is great too. I can barely hear ambient noises even outdoors.

Then the premium azla Xelastec. I must admit I was pleasantly surprised how good this Xelastec can be. Normally I would avoid using silicone tips, they seemingly just would not work with my ears. But Xelastec, after initial insertion, takes a bit of time for the "body heat adaptation" to form - of which later it would also disappear when the music starts. I was impressed with the sonic output too, devoid of any unsavory resonances and reverbs (especially lower frequencies).

As it is, I can totally use either the foam or Xelastec silicones. But ultimately I ended using the foam tips more - just some die hard habit of preferring the feel of soft foam - also at least to my hearing, the foam tips sounded more open and spacious (more on this on Technicalities section).


So how does Bravery AE differ from the og Bravery? for one, Bravery AE is more compact and more ergonomic. As seen in the pics below, Og Bravery is visibly larger. The internals are practically the same, but the implementation of the shells makes Bravery AE looking even more sleek. The good news, this more compact body also means improved comfort.
Perhaps the most important aspects, the change in shells design also inevitably introduce some changes with the sonic output - and I would say the subtle changes are for the good. At this scale and size, especially true for IEMs, driver housings play huge role in shaping the sound, we are talking about sound wave here after all - where the surrounding enclosure will impart how they form.


In case I haven't mentioned it yet, Bravery AE is absolutely comfortable to wear. Once settled in, I literally forgot that I had IEMs plugged to my ears. Throughout of last week for example, I was working on my DIY bike project and from the morning until late afternoon, I had music accompanying me on shuffle playlist - my Bravery AE remained plugged practically from the start until I stopped for the day - not a single element of ear fatigue that I am aware of. Simply amazing. I daresay that Bravery AE is on par with my Kinera Idun Golden on this subject, both totally usable for marathon listening for hours on end.

Equipment Used

• Xiaomi Mi 9T
• Sony Xperia 1 iV
• Windows 10 with Native USB Drivers
• USB Exclusive Mode with FLAC files
• CEntrance DACport HD
• Cayin RU6
• Ovidius B1
• 7Hz 71
• VE Abigail 4.4
• VE Megatron

Test Audio Playlist


Sound Impressions

SeeAudio Bravery AE is a very mild V curved IEM. Normally I am not fond of V or Harman tuning, but just like the Bravery OG, Bravery AE is among the very few that appeal to my senses. The elevation of Lows and Highs are done sensibly moderate and thoughtful - to a point that it will even entice a Diffused Field Neutral junkie like me to savor the meticulous and graceful elevation of sound curve.
Most importantly, the tonal and timbre balance of Bravery AE is highly organic - quite a pleasant surprise considering that this Bravery AE being all Balanced Armature drivers, no dynamic driver or anything else in the mix. The tuning exhibited amazing cohesion and fluidity to emit output that is realistically natural, harmonious and believable. In comparison, I would say Bravery AE is almost as organic sounding as Kinera Idun Golden, which offers even more analogue timbre among all Chi-Fi IEMs I have tested so far (only bested by the ethereally realistic Shure KSE1500).

Complementing the natural sounding tone and timbre, is the equally polished and sublime dynamic transients presentation. The vibrancy and energy emitted by Bravery AE can best be described as highly controlled, sensible and mature. The euphony level being kept well in check - imparting great balance between disciplined articulation and fun element. This is evident especially when I subject my Bravery AE to handling myriad of music genres, from the most raw Lo-Fi Black Metal to Hi-Fi complex composition of modern Jazz or Electronic music - what is evident, how deft Bravery AE at handling the variance of transient interchanges - always smooth, always fluid with finesse and grace. Even the most offensive energetic tracks sounded bearable - listening to Lo-Fi is not an easy thing to do if the listening equipment does not exhibit agility to adapt to the chaotic dynamic contents.

Dynamic range and expanse is quite respectable too. Bravery AE lives up to the expectation. While not being an outright bold performer in this aspect, Bravery AE offers sublime depth outreach - it is present yet it is moderate. I can hear proper details on both end of the sound spectrum which indicate Bravery AE being well extended with dynamic range. The theme being highly sensible and does not rub everything upfront - what I am trying to say is that, Bravery AE may not be as bold sounding or resolving as Etymotic ER4SR, but it does not mean it lacks dynamic coverage - just that the presentation is toned mildly which in turn, will allow for longevity of listening without imparting sense of loss for better depth.

Being a V curved unit, Bravery AE must be commended for being rich and highly textured with Midrange presentation. Audibly, I sensed that the staging of Mids being slightly stepped back - just enough to avoid it from being sounding recessed or distant. This is especially evident when subjected to listening to some genres like Rock/Metal which are typically mixed and mastered with recessed Mids. When listening to Jazz, Ballad and Folk music, the Mids sounded as engaging and wholesome as can be expected. It is highly transparent and neutral - I do not sense any element of coloration beyond what I regard as realistic. The tone being properly dense and organic, the attack timed correctly, imparting believable energy and vibrancy - yet it is not warm or dry, just natural and neutral.

The best part of Midrange, being a Metalhead I am absolutely loving how Electric Guitars and Percussions sounded with Bravery AE. The attack of guitar riffs are crisp, solid and commanding - yet utterly smooth edged and harmoniously polished. It does not matter E Minor or D Major, they all sounded right and realistic - engaging and addictive. As I wrote this, right this very moment I am listening to "Heavy Chains" by Loudness, legendary Japanese Heavy Metal pioneer, I had goose bumps on how articulate the stringed notes are, flowing from low octave to high pitched crescendos. Akira Takasaki, Loudness lead guitarist, the maestro guitar legend, has some of the most commanding riffs and speedplay - his guitar solo are peerless, and Bravery AE managed to keep up with the pace and energy with deft fluidity - retaining the bold crisp bite while being smooth at the same time. Totally mind blowing.

On the aspect of vocals, I would say Bravery AE is highly transparent and faithful to the intended sound. It is neither warm nor it is dry, or lean. Be it female or male, Bravery AE handles them all faithfully with great realistic texture, depth and resolution. Alison Krauss with her piercing Contralto or Mariah Carey with her Soprano-Alto, to low key deep singing of Diana Krall contralto, or chesty Baritone-Tenor of Nick Cave. They all sounded neutral and natural. Very much similar to what I am hearing from the likes of Etymotic ER2XR. There's no hint of upper Mids sibilance or Pinna getting hotter than they should be, making even the most prominent piercing vocals sounding smooth and engaging.

As for the lower frequencies, let's just clarify this upfront. Bravery AE will NOT please those liking their Bass big and commanding. From my subjective standpoint, I love Bravery AE Bass end to end. It is slightly boosted from what is regarded as neutral, but in no way being overcooked or Bassy enough for Bassheads. The overtones of Bravery AE Bass is natural, fast, tidy and borderline lean (for those loving big Bass). Which also mean, Bravery AE will absolutely be free from any risk of getting bloaty Bass performances.

The articulation of Midbass and Subbass evidently well projected. They operate respectfully within their own space, the Midbass never attempting to overshadow Subbass, nor does it attempt to subdue Lower Mids.

Midbass of Bravery AE is markedly mild, especially when compared to the likes of Dynamic Drivers equipped competitors. Impact and slam being moderate at best. Yet it has good speed and pace, accompanied by sensibly detailed texture and depth despite not being commanding with overall presence. The best part, at least for me personally, when I listened to KRAFTWERK "Radioaktivitat", Bravery AE became very lively and vibrant - rich, dense and detailed Midbass with equally crisp and lush Subbass seismic responses. Yes it does not pound my head like most Bass heavy IEMs, but it does not lack in energy and excitement. Touching on the Subbass, Bravery AE is quite respectable with how the lower extensions are handled, again it is sensibly realistic and smooth - not as bold as would be observed from Harman tuned IEMs, but by no means lacking in quality - it is just modest yet present. The dispersal of decay edge being velvety smooth and polished.

Last but not least, Bravery AE markedly offer "brighter" upper frequency performances versus the og Bravery. In contrast, I can almost say that the og AE sounded like slightly "darker". It's like comparing Sennheiser HD580 with HD600, if that makes any sense. Bravery AE offer slightly more air, sparkle and shimmer. Treble transients being very disciplined with the presentation - always smooth edged and always dispersing gracefully with the decays. I can hear proper resolution of Macro and Micro details. From the bold overtones of metal Snare drums to the most subtle of Hi-Hats, all present and audible. Again, the overall theme of moderation applies here as well, which in turn making is less likely for Bravery AE to be offensive with upper frequency output. And yet again, I would say the overall Treble tonal and timbre being realistic and natural, I don't hear any element of the overtones being plasticky or metallic. In short, Bravery AE Treble is crisp, clean edged, airy, and highly polished.

Technicalities
Let's start with the best part, especially when equipped with the stock foam tips, I am hearing wide open sound that is generous with headstage width and depth - perceived soundstage being expansive even for an IEM. This is a marked improvement over the og Bravery, which to my ears sounded a bit more intimate and less spacious.

The projection of soundscape is highly holographic with precise imaging and well placed spatial positioning. Effortless to track the source and layers of sound, each respecting their own space yet harmoniously intertwined regardless how complex the composition is. The cohesion between the four Balanced Armature drivers nothing short of being amazing.

When it comes to resolution and transparency, Bravery AE proved to be a competent unit. Not exactly surgically clinical when compare to the likes of Etymotic ER4SR or Shure KSE1500, but on its own I totally have no qualms about the ability of Bravery AE to project highly resolved output which offer great details and imaging. And this also means Bravery AE offer great balance between the need for analytical indulgence to musical enjoyment. I want to enjoy music, not analyze it

Now to my favorite part, speed. Bravery AE is an outstanding speedster. That four BAs are not just for show, they all resolves and respond admirably agile in unified cohesion to emit an output that is capable of handling the most complex of composition, or outright speedy tracks exceeding 250 BPM. Bravery AE will never be subjected to sluggishness or being muddy.

Scalability

Rated at 18 Ohm and with 110db of Sensitivity, Bravery AE is freakishly efficient to drive. Paired directly to my Sony Xperia 1 iV, I will find myself glued to it for hours on end, not wanting to put them down, to be continuously immersed with my music.
Despite that, Bravery AE does exhibit great ability to scale with more powerful partners. Bravery AE sounds the best with the likes of Ovidius B1 and CEntrance DACport HD. With heightened density of dynamic texture (yet still natural) and more sense of air.
Perhaps I should clarify, I actually use Bravery AE more with my Sony Xperia 1 iV phone, direct out from the 3.5m SE. This is a testament for it being so engagingly usable - there's no sense of loss that I would be worried of. Bravery AE efficiency really is spectacular.

The only caveat I would like to note, Bravery AE does have tendency to get a bit sizzling if subjected to higher than normal volume loudness, so when paired with my obscenely powerful 4.1 Vrms of DACport HD, I will need to be mindful to crank the volume low. Even more so with 4.7 Vrms of VE Megatron, practically I need to set the volume at 02/100 and then further tune down on the player side to 30/100 otherwise the atomic power of Megatron will literally send me to the hospital with blown eardrums.

Being highly efficient, Bravery AE will also reveal floor noises on some DAC/Amps, Ovidius B1 and VE Megatron for example, yes they sounds amazing when paired with Bravery AE, but on silent passages I can audibly hear background floor noises. But really this does not bother me at all.

Final Words


At this point, it is evident how much I love this SeeAudio Bravery AE. The very fact that I am still wearing it since this morning, savoring my music non stop is a testament of how great this IEM is - at least for my subjective preferences and taste.

Bravery AE is a superbly well rounded IEM that seemingly capable of anything I thrown at it. It does not matter what genre or what level of quality the sources are, they all sounded addictively appealing to my ears. That smooth dynamic transients handling, always fluid and harmonious, yet highly technical and succinct. Bravery AE is well balanced to sound highly technical as it is engagingly musical, simply amazing.

Without reservation, I would say that Bravery AE made it to the list of my regular rotation alongside Kinera Idun Golden and Simgot EM2 Roltion. All of them quite lovable for what they are.

SeeAudio Bravery AE is available at:
https://hifigo.com/products/seeaudio-bravery-limited-edition

Foreword

1. At the point of this article, my Kai has undergone over 100 hours of runtime
2. I don't do measurements, I just describe what I hear, from my own POV
3. My preferred sound tuning, Diffused Field Neutral (Etymotic)
4. The entirety of my impressions was done with my own Misodiko MIX460 tips
5. Ultimately, my reviews are purely subjective and biased to my personal preference in sound

The Build


Kai is a very fanciful IEM. Comes in duo-toned gradient of gold and blue over chromed undercoat, the alloy aluminum shells are literally eye candy blings. Admirably, being metal shelled, Kai seems to be quite lightweight.

Ergonomically the design is also compliant to my ears, making it quite comfortable to wear even for long period of sessions.

The package as a whole, quite simple. Kai comes accompanied with OFC two pins cable with 3.5mm jack. Quite ordinary just like many others within this price segment. Of course the cable jacks and Y split are encased in gold motif to suit the entire theme. What I find odd is the lack of chin slider as normally would be expected of this type of IEMs. This means it is dangling a bit loose when worn. The chin slider is a small feature but does offer added practicality especially for active lifestyle - of moving around enjoying our music - the lack of chin slider means Kai is more prone to cable microphonics.

I am not a big fan of bling stuffs, for the simple fact that they are fingerprint magnets. Despite the elegant hue and gradient, it will all looked rather mashed up when my oily fingers started to smudge them easily. But then this is highly subjective from my point of view.

Equipment Used
- Xiaomi Mi 9T
- Sony Xperia 1 iV
- Windows 10 with Native USB Drivers
- USB Exclusive Mode with FLAC files
- CEntrance DACport HD
- Cayin RU6
- Ovidius B1
- 7Hz 71
- VE Abigail
- VE Megatron

Test Audio Playlist


Sound Impressions
TRI HBB Kai is an L curved sounding unit. Which means there's pronounced and strong boosting of lower frequency up to Mids and then it started to recess towards upper range of the wavelength. Dynamic range appeared decent especially for the said lower frequency. But audibly rolled off on the upper region - subdued in fact from what my ears telling me.

Dynamic transients of Kai exhibited smooth flow as would be expected of properly tuned single DD. However this smoothness also mean it is a bit lacking with overall attack energy and pace. Which in turn, Kai is suitable for listeners who prefer their listening device being less euphonic and non offensive. Subjectively, and personally I prefer a more pacey presentation - Kai sounds borderline sluggish to my senses. Perhaps because I am so used to speed demons like Etymotic ER4SR and otherworldly Electrostatics speed of Shure KSE1500. Like I said, highly subjective. The silver lining of this, Kai works quite well for Jazz, Ballad and Folk music, that languid dynamic transients imparting sense of velvety warmth to the auditory senses. But, no, not for Rock/Metal genre, where speed is needed.

Timbre and tonal balance of Kai is organic with some hint of Midrange and Lowrange coloration. Yes it is warm and lush - perhaps lacking some element of transparency due to the warming of overall tonal balance.

Mids of Kai can best be described as bold and upfront. The proximity of instruments staging felt closely quartered to each other. It is definitely more audible in comparison of Mids presentation of most V or U curved IEMs. The good part, Kai Midrange seems to offer good texture and depth while at it. In alignment with the overall theme, attack and decays of instruments are moderately paced and relaxing - hence why I mentioned earlier that Kai works really well for Jazz, Ballad and Folk music.

Vocals wise, I would say Kai suits well for both male and female singers. It has ample resolution to impart good sense of emotions for different type of vocals. Even to most peaky of Soprano-Alto to low key Contralto-Baritone, Kai admirably presented them with proper density and weight. The imaging may appear slightly dull edged due to smoothing element - it is warm basically. But most importantly, it is very unlikely for Kai to exhibit upper Mids sibilance - the tuning for this segment is practically on the safe side of things.

The reason I mentioned Kai may not be suitable for Rock/Metal, aside from the lack of pace, Kai Midrange also seemingly lacked the bite and crispness especially for Electric guitars - edge resolution of guitar riffs seemingly dulled and rounded. Well at least this also means the output will be less edgy and sharp - so it depends on the preference of the listeners.

Bass, now this is perhaps the highlight of Kai. There's plenty of Bass. Frankly it was a bit too much for my senses the first time I listened to it. But with over 100 hours of burn-in, and then swapping out the stock tips for Misodiko MIX460, Kai Bass seemed to have settled down just about right. No more booming reverbs and resonance as would be heard when used with silicone tips. Being a traditional single DD configuration, Kai Midbass is presented in spades. It has strong impact and slam, and rumbles strongly especially when subjected to listening to Electronic music. Pre burn-in period and with silicone tips, I can audibly hear that Midbass was in fact quite capable of bleeding into lower Mids and overshadowing the transition to Subbass - but at later stages this was no longer the case.
Subbass on the other hand, I must credit Kai for exhibiting good extension of decays that is smooth with edge dispersal. It is Harman sort of decay that will appeal a lot to those loving elongated Subbass performances.
As would be expected, Kai truly excel with Electronic Bass, Dance music and Drum Machines. Kai will not fail to impress Bassheads.

Moving to the upper frequency, I am hearing prominent roll off for Treble extension - with the decays seemingly receded short and prompt. Kai does offer good amount of air with mild sparkle and shimmer, it has good balance of Treble timbre to not sound outright metallic or plasticky. However I must note that on certain music and recording type, I am hearing a bit of granular texture which suggests Kai being picky with mixing quality of the original sources. Simply put, playing Kai with Lo-Fi or lossy format is not something I would recommend.
Again, as noted earlier, being an L curved unit - it is only fair to not expect stellar performances from Kai with Treble presentation. It was tuned to appease the need for more reserved upper frequency output that will work great for Treble sensitive listeners - my 2 cents.

Technicalities
Kai is average with technicalities. The headstage is amply good to project enough space for perceived soundstage - but still sort of a bit clustered a bit too close for my liking - the staging of instruments especially for complex composition appeared crowded. The good thing is, separation lines and layering is clean enough to not sounding outright muddy or blurred.
The overall resolution of Kai is good, especially when subjected to playing high quality recording and mixing. Just lacking some element of transparency since the overall theme is not to achieve neutral accuracy. Kai is meant for fun and casual use - so I can understand that this focus will impart some element that can be detrimental to those wanting a bit of precision with imaging and resolution.
On the other hand, I am actually impressed that Kai has good sense of holographic spatial presentation. Normally a single DD like this tend to exhibit bias towards Left/Right orientation, but Kai seemingly able to portray holographic enough staging that will sound great with some recording especially the binaural type.
Speed is just average for Kai, in fact it is slower than what I am used to. It is perhaps on par to the likes of HZSOUND Heart Mirror Pro, but definitely slower than TIN HiFi T2 DLC or LETSHUOER D13. This means Kai will exhibit some tendency to sound borderline cramped (but not outright muddy) when subjected to handling complex or speed above 150 BPM - so again Kai not suitable for Rock/Metal or highly complex Orchestra.


Scalability
With 114db sensitivity and 36 Ohm of Impedance, Kai proved to be fairly easy to drive. I am getting good performances with the pairing directly to my Sony Xperia 1 iV, with the volume hovering around 60%. Pushing it further with 2-4 Vrms, I would say that Kai is scalable enough to exhibit richer density and more open sound. However, being a bassy unit, it also mean Kai will get even thicker with lower frequency output which to me, subjectively I am not fond of.

Final Words
TRI x HBB Kai is a specialty IEM for very specific sort of preference. That Bass focused performances will unlikely be appealing to those preferring neutral or bright sound. For the intended purposes, I would say Kai is suitable for Bassheads and those wanting a bit more reserved Treble characteristics. Not forgetting the bling element which will not fail to grab your attention.

Ultimately, Kai is best used for casual music indulgence on the move. That dense Bass presence will work wonders to offset ambience noise especially when commuting in a crowded train or outdoors. Kai is an efficient unit to drive and will serve as good music companion for a very portable setup - anywhere, anytime.

TRI HBB Kai is available at:
https://keephifi.com/products/tri-x-hbb-kai

7Hz 71
Review Date: 03 November 2022


SPECIFICATIONS

DAC: AKM AK4377.
- THD+N: 0.0004%.
- Output Voltage: 1Vrms.
- Output Power: 70mW.
- SINAD: 106dB.
- Frequency Response: 20Hz-40kHz.
- Noise-Floor: <0.9uV.

Supports high-resolution 32-Bit/384kHz PCM and DSD128(DoP) signals.
High-purity 36-core Silver-plated OCC copper cable.
Supports Android 5.1 and above.
Works with iOS devices(Lightning connector to be bought separately).

Test Equipment

IEMs and Earbuds:

1. Etymotic ER4SR (Single BA, 45 Ohm, 96db Sensitivity)
2. Shure KSE1500 (Single Electrostatic 200V, KSA1200 Energizer)
3. SeeAudio Bravery AE (4BA Hybrid)
4. Salnotes Dioko (Single Magnetic Planar)
5. VE Azure (Single DD, 16 Ohm, 105db Sensitivity)
6. VE Monk GO Final

Headphones:

1. FOSTEX T40RP MK3 (Magnetic Planar, 50 Ohm, 91db Sensitivity)
2. VE Pro Supernova (Single DD, 32 Ohm)

Sources:

1. Windows 10, Foobar 2000 (USB 3.0 Power)
2. Sony Xperia 1 iV (HiBy Music, USB Exclusive Mode, Bitperfect)

LISTENING EQUIPMENT USED IMPARTED HUGE INFLUENCE TO SOUND IMPRESSIONS & RATING

Build, Functions, Usability


The first portable DAC/Amp from 7Hz, built on the venerable AK4377 - the exact same one found in Lotoo PAW S1, S2 and Creative SX-Fi. It is an old DAC chip but by no means obsolete.

71 is a simple dongle. The build and packaging quite spartan - intentionally so to keep the price highly affordable. It is very compact, lightweight and highly portable. In fact with the 1 Vrms classification, this 71 can be considered as ultra portable class dongle.

Seemingly made of CNC machined aluminum chassis, 71 comes in no nonsense black powdercoat and adorned with one blue led light that will stay switched on for as long as it is connected to a host. The led itself will not change colors like some other dongles depending on the resolution of the media being played.

The digital USB connection is not detachable, it has a permanent simple ribbon type cable which 7Hz mentioned to be made of SPC strands, and I believe it is also well shielded as proven by 71 ability to resist RF interferences really well when used portably with my phones. In view of this, I do not lament too much on the lack of ability to switch USB cables (normally it would have been USB C mini connectors on dongle side)

Perhaps the most impressive aspect of 71 build is the efficiency of power draw to portable hosts. I subjected my 71 to continuous play on my Xiaomi Mi 9T (4000 mAH Battery), running on HiBy USB Exclusive mode at normal listening level.
71 was able to score a very respectable 12-13 hours of playtime until the battery shows 2% remaining. This is rather impressive. In comparison, dongles like Cayin RU6 and Lotoo PAW S1 scored average 10-11 hours.
Additionally, 71 managed to keep the temperature in check. Just mild hint of warmth that doesn't cause for any concerns.

Sound Impressions

71 is a truthfully neutral and natural sounding DAC/Amp. I am very familiar with AKM based dongles and I must say I am impressed with the tuning to keep it accurate and realistic. The hallmark of a great DAC/Amp has always been their ability to render uncolored output - of which will work well with any pairing partners to reflect on their own sound signature. For example, I always start listening to new dongles with Etymotic ER4SR - an IEM that is widely regarded as a reference for true neutrality. ER4SR would immediately detect any coloration if they are evident in the output - what I heard from this combo convinced me, that 71 does not impart any sort of boosting in any of the frequency ranges. And that is a huge plus in my book.

Dynamic wise, the transients of 71 can be considered as highly mature and polished - as expected from well implemented AKM DACs. The vibrancy level is energetic enough without any unnatural sense of euphony. In fact, drawing comparisons from Lotoo PAW S1 and S2, I would say 71 exhibited a bit more of energy and focused more on crispness - while the S1 & S2 remained as the smoothest (yet still crispy) dongle to exists still. From my perspective, the dynamic temperament of 71 seems to be bridging the gap between Lotoo PAW S1/S2 and Creative SX-Fi - of which the tuning of SX-Fi exhibited even more energy (SX-Fi almost sounding like ESS Sabre type of dynamic characteristics). Still on the same subject, dynamic range of 71 is surprisingly good for a 1 Vrms dongle. When paired with Shure KSE1500 and Fostex T40RP MK3, I am hearing great reach of depth on either ends of the sound spectrum. Micro dynamics audibly heard and present, indicating good extensions on both ends. Well perhaps not as pronounced on T40RP MK3, but the nuances are there subtly.

Tonal and timbre balance for 71 is admirably organic, almost analogue - but not quite as analogue sounding from the likes of CEntrance DACport HD or Ovidius B1 (both being the very best of AKM based dongles still). Notably I can hear 71 just lacking some element of air, the sense velvety organic and realistic tone is there, yet slightly masked by the preference for more crispy timbre deposition. But one thing for sure, 71 has excellent Pinna control than many other ESS or Cirrus Logic dongles - of which most of them would sound digital and edgy - but not 71. 71 offers crisp polished presentation. The pitfall of some AKM tuning, they also tend to sound dull edged and seemingly lacking resolution, but 71 does not exhibit this trait. The tone, the timbre embodies solid natural sound that is crisp and well rounded.

Being a neutral DAC/Amp, 71 is exhibit consistent presentation for Mids, Lows and Highs. As noted earlier, I hear no element of boosting in any of those areas. It will then boil down to the nature of the paired partners to develop sound synergy. Pair it to a bassy unit, 71 will not fail to act accordingly and present strong Bass performances - at least for anything that's not too demanding in term of power. At least up to 50 Ohm, 71 Bass sounded fast, textured and well extended - being neutral means that 71 will not add any boosting to impart additional impact, slam and presence beyond the paired partners ability. The Mids being solid with realistic attack and tonality. The highs exhibiting accurate sparkle and shimmer, with Treble details presented depending on how competent the partners are (which also means 71 will not boost any partners that are already weak with Treble). Treble attack and decays being realistic and organic, never any hint of being metallic or dry even when paired with natively bright sounding partners.

Technical wise, 71 is a highly competent dongle. The most prominent element that caught my attention from the get go was how spacious and wide the headstage is - perceived soundstage for IEMs appeared generous with width and depth.
Then the speed, the manner how agile and efficient 71 is with resolving either highly complex or fast music without sounding sluggish or muddy. On this element 71 is quite capable to tighten up slow sounding IEMs to make them less syrupy or outright bloated - simply amazing. 71 is also very good with overall resolution and transparency, the output is quite faithful to the intended sound as per contained in the sources - Macro and Micro details audibly heard and present. There was never a moment anything felt lacking. In alignment with the spacious headstage, 71 also offer crisp imaging with good spatial positioning, tracking different notes was effortless especially on highly resolving partners.

Driving Power

Despite being rated at 1 Vrms, I am truly surprised that it was able to drive my 50 Ohm, 91db Magnetic Planar of Fostex T40RP MK3. Yes I will need to crank up the volume to get proper listening loudness, and when this is achieved, the sound was in fact wholesome and engaging.

To show some perspective of 71 power, as compared with my favorite dongles:
- Ovidius B1 - 30/100 Volume
- Centrance DACport HD - 34/100 Volume
- 7Hz 71 - 58/100 Volume
- All tests on USB 3.0 900mA Power, Windows 10

Upon closer scrutiny and comparison, I will admit that both Ovidius B1 and DACport HD has upper hand. Especially with the density of dynamic transients which are richer - Bass and Lower Mids being more potent - while 71 appeared leaner and lacking utmost density. However this is only evident when doing side by side comparisons. Otherwise on its own I would say that I can be satisfied with 71 driving my stubborn planars for casual listening. The most important part being, 71 does not exhibit any worrying negative effects subjected to driving heavy load, no hint of crackling or distortion as would be observed from less capable, weaker DAC/Amp dongles. 71 does not sound distant or meek, not at all.

Ultimately, I believe the optimization for 71 is for driving highly efficient IEMs. With the craze on IEMs these days. New ones being released almost everyday - and each of them for the most part are highly sensitive. Regularly, I used my 71 paired with SeeAudio Bravery AE, VE Azure and Salnotes Dioko. The synergy exhibited by 71 to those IEMs being great and fluid. Another important element, 71 also offer very clean and black background with these highly sensitive IEMs, especially hybrids like Bravery AE which are so prone to picking up floor noises.



FINAL WORDS

7Hz 71 is a great sounding dongle - the simple fact. Being highly neutral, resolving and articulate with technicalities, making it such an amazing bang for the buck device. 71 has amazing versatility to pair with any type of partners, especially for those highly efficient IEMs. While at it, 71 does not slack with more demanding pairing, it has ample juice to not sound outright meek and sketchy. But yes, perhaps best to keep it with those under 50 Ohm or with over 100 dB of sensitivity - and then the output would be 100%. Not forgetting how efficient it is with power draw from portable hosts - and keeping sensible with not getting hot, or RF interferences.

71 does some Cons here and there, subjectively I don't see the Cons being detriment to the overall value proposition. The non removable cable or advanced features, or lack of independent volume adjuster - those are highly negligible Cons considering how affordable this unit is - with great sonic performances on top of it and the cable itself has proven to be quite robust for my own daily usage. I can be quite abusive with my audio gears, but 71 seems to withstand all those admirably.

Ultimately, 7Hz 71 is something I would not hesitate to recommend - especially for anything below $40.




Best Pairing: Highly flexible and adaptable to most IEMs & Headphones
#donglemadness

7Hz 71 is available at HiFiGo:
https://hifigo.com/products/7hz-sevenhertz-71