INTRODUCTION:
Hailing from 2014, TSMR (Tansio Mirai) takes its name from the Tang and Song dynasties, a period synonymous with the zenith of ancient Chinese culture. This is my first foray into the brand, despite having stumbled upon the TSMR abbreviation while lurking in online audiophile circles. Let's just say it hadn't quite piqued my interest – until now! With the company celebrating a decade of sonic exploration, it's natural to wonder if their latest offering, the X, will be a special edition worthy of the milestone. Will it live up to the hype and carve its own niche in the crowded IEM market? Buckle up, as we delve into the X and see if it strikes a harmonious chord.

FOREWORD:

• The gear on hand has undergone at least 10-15 hours of use before it was assessed.
• No EQ is ever applied in my reviews.
• For the sake of convenience, I try my best to use a stock setup. Not everyone has access to personal ear tips or cables. If personal ear tips, cables, or accessories are used, you will be notified.
• As I try to be objective, my claims inevitably will be subjective and biased to my personal preference. I cannot stress more that you should take this with a grain of salt for we have different perceptions to sound and what we hear.

SPECIFICATIONS:
Maker: TSMR (Tansio Mirai)
Model: X
Drivers:
Low frequency: 2 x 8mm strong magnet dynamic, hollow coaxial structure, Carbon mixed diaphragm

Mid frequency: 2 x Knowles balanced armature

High frequency: 2 x Sonion balanced armature

Full frequency effect: 1 x custom film retarding driver (this driver is detachable design, frequent disassembly is not recommended)

Impedance: 10 ohms
Sensitivity: 103db

PACKAGING & DETAILS:

The X arrives in a modestly sized box, its color mirroring the IEMs themselves. While the price tag might have you hoping for a more extravagant presentation, it gets the job done without unnecessary frills. Let's delve deeper and see what sonic treasures lie within.

CASE:

The included carrying case, while undeniably adorable in its compact size, does necessitate a bit more mindful cable management for the X. However, the clean white aesthetic and convenient zipper closure make it a practical choice for portability. While it won't accommodate extensive accessories, its slim profile ensures it'll slip easily into a pocket or small bag.

EAR TIPS:

The X comes equipped with two ear tip options, distinguished by their color – a clean white and a classic gray. The white tips, ever so slightly softer than their gray counterparts, take the cake when it comes to comfort. While the stock tips deliver a decent sonic experience, I highly recommend exploring the world of "tip rolling." This audiophile practice allows you to experiment with different ear tips, shaping and enhancing the sound signature to perfectly suit your listening preferences.

CABLE:

The X's cable is a real looker, boasting a glamorous white finish accentuated with gold accents. It exudes a sense of luxury that's undeniable. However, a minor hitch arises in the lower half's stiffness. It tends to retain the coil you give it, which can be a slight inconvenience. On the upside, the cable has a satisfying weight that reinforces its premium feel. And to cater to your specific needs, the X offers terminations in both 3.5mm and 4.4mm flavors.

APPEARANCE:

The X's visual appeal is undeniable. Crafted from a luxurious resin, it boasts a captivating teal hue that shimmers with a life of its own. A subtle vent strategically placed near the dynamic drivers hints at the sonic prowess that lies within. The faceplate itself features a circular vented design, adding a touch of intrigue. But the true star of the show is the translucent shell. This ingenious design choice allows you, like a fellow connoisseur of transparent marvels, to peek into the X's intricate inner workings. It's a visual feast that complements the sonic journey to come.

COMFORT:
While the X undeniably boasts a head-turning design, a slight ergonomic hurdle presents itself. The nozzle diameter is larger than your average IEM, which is precisely why I needed to downsize from medium to small ear tips for a secure fit. Opting for softer tips would have likely addressed this issue as well. Despite this initial hurdle, I managed to achieve a comfortable seal after some experimentation. However, it's worth noting that the larger nozzle size may necessitate a different tip size than you're accustomed to. Just a heads-up for fellow audiophiles out there – a little trial and error might be required to find your perfect comfort zone with the X.

TUNING SWITCHES:
TSMR has a well-earned reputation for incorporating tuning switches into their products, and the X is no exception. Now, full disclosure – I've always been a bit wary of these sonic dials. They felt like a gimmick, a way to mask underlying flaws rather than true sonic mastery. However, the X's implementation forced me to re-evaluate my stance.

The switches are refreshingly simple. Switch 1 unleashes the bass beast, Switch 2 strikes a harmonious balance, and Switch 3 caters to detail-oriented listeners who crave a prominent midrange and treble presence. The sonic shifts between each setting are undeniable – a testament to the effectiveness of these switches. Switch 2 became my default choice.

Now, a caveat from my fellow X explorers – you can't activate these switches simultaneously. It's a pick-one scenario. But therein lies the beauty – the X offers a level of adaptability that caters to your ever-evolving listening moods. While I may have initially approached the tuning switches with skepticism, their undeniable impact has me singing a different tune (pun intended!).

Note: so what happens if you switch on 2 or more switches? I'll leave that to others to discover. I'm a “set it, leave it” kind of guy. I like to keep things simple and not over-complicate things.

SOUND IMPRESSIONS:

TECHNICALITIES:
The X's technical prowess is nothing short of a revelation. The soundstage boasts impressive width and spaciousness, offering ample room for every sonic element to breathe and shine. This expansive presentation can likely be attributed to the cleverly implemented vented driver. Depth, height, and width are all distinctly rendered, creating an immersive sonic environment that pulls you into the heart of the music.

Imaging precision is another feather in the X's cap. The placement of instruments and vocals is remarkably accurate, allowing you to effortlessly pinpoint their location within the expansive soundstage. But the true star of the show might be the X's timbre. Here, we encounter a remarkable level of realism, devoid of artificiality or unwanted coloration. Instruments and vocals resonate with a lifelike authenticity that's simply captivating.

Coherence is another area where the X excels. The drivers work in perfect harmony, delivering a seamless and unified listening experience. There's no muddiness or dissonance to be found, just a beautifully balanced sonic tapestry.

Moving on to separation, the X strikes a masterful balance. Instruments are distinct and discernible within the mix, but the overall presentation prioritizes musicality over extreme isolation. The separation is there to be appreciated, but it doesn't overshadow the song's natural flow.

In essence, the X's technical capabilities are truly exceptional. It delivers an impressive level of detail and precision, but it never loses sight of the emotional core of the music. This isn't a sterile, analytical IEM; it's a technical powerhouse that prioritizes musicality and sonic enjoyment.

BASS:
The X's bass performance is nothing short of awe-inspiring. Words like "visceral," "captivating," and "full-bodied" barely scratch the surface. It's a clean, realistic, and surprisingly nimble low-end that leaves you wanting more. And the beauty lies in its flexibility. Thanks to the ingenious tuning switches, you can tailor the bass response to your heart's content. Whether you crave the bone-rattling power of Switch 1 or the more balanced approach of Switch 2, the X delivers. But even with the bass cranked up (courtesy of Switch 1), the X never loses sight of the midrange and treble. It's a masterclass in low-end control, where every bass guitar note and drum kick resonates with impressive resolution and texture. The bass presence is undeniably prominent, a detail that will leave bass heads grinning from ear to ear. But here's the shocker – even for a self-proclaimed "neutral head" like myself, the X's bass presentation is undeniably seductive. It's a sonic indulgence that's hard to resist. This powerful low-end makes the X a perfect companion for both music and movies, immersing you in the action with every sonic boom. Dare I say, it's the most captivating bass performance I've ever encountered in an IEM.

MIDRANGE:
The X's midrange is a revelation. Vocals and instruments residing in this crucial frequency range are rendered with remarkable transparency, boasting a satisfying density that keeps them firmly anchored in the mix. The presentation leans ever so slightly forward, a touch that I found particularly delightful. It adds a hint of intimacy to the music, drawing you closer to the emotional core of every performance. Once again, the X's exceptional resolution and textural prowess shine through. Timbre is impeccably lifelike, with instruments and vocals sounding natural and uncolored.

Here's where things get interesting – the X's midrange deviates slightly from strict neutrality, adding a touch of flavorful magic. It avoids the sterile, flat presentation that plagues some IEMs. The X isn't afraid to infuse its sound with a touch of personality, and it succeeds admirably in doing so. Orchestral pieces and jazz arrangements come alive with this touch of vibrancy, making them an absolute joy to listen to. However, it's worth noting that the X's midrange might not be the ultimate choice for purists seeking absolute neutrality. It prioritizes musicality over pinpoint precision, a characteristic often associated with balanced armature drivers.

TREBLE:
The X's approach to treble is undoubtedly smooth and refined. It avoids the fatiguing shrillness and sibilance that can plague some IEMs, opting instead for a relaxed, gentle presentation. This doesn't translate to a lack of detail, however. The X manages to present a surprising amount of treble information, ensuring that every nuance shines through. However, for die-hard audiophiles who crave the aggressive bite of piercing cymbals and raspy hi-hats, the X might feel a touch too polite. Conversely, those with sensitive ears will find solace in this smooth, non-offensive treble response. Ultimately, the X treads a careful line, ultimately leaning towards the warmer side of the spectrum. This might not be for everyone, but it delivers a fatigue-free listening experience that prioritizes sonic comfort.

TEST TRACKS:
Here are some tracks I usually listen to when reviewing:

That’s the way of the World by EWF
Africa by TOTO
The Girl in the Other Room by Diana Kral
Balmorhea album All is wild, All is Silent
Sila by Sud
Smooth Escape by D’Sound
Never too Much by Luther Vandross
P.Y.T by Michael Jackson
Ain’t no Sunshine by Eva Cassidy
Shoot to Thrill by AC/DC
Another one bites the Dust by Queen
Good times bad times by Edie Brickell
Alice in Wonderland by Bill Evans
Ain’t it Fun by Paramore
Redefine by Incubus
Far Away by Nickelback
Lovesong by Adele
Lingus by Snarky Puppy
Harvest for the World by Vanessa Williams
Love Bites by Def Leppard
No Such Thing by John Mayer
As by Stevie Wonder
Whip Appeal by Babyface
Ain’t Nobody by Chaka Khan
Futures by Prep
Landslide by Fleetwood Mac
Every Summertime by NIKI
SADE tracks
AC/DC tracks
Queen tracks


And many more… I always listen to High resolution format, being the least quality 16bit/44khz FLACS be it offline or online.

VERDICT:
The X marks my inaugural foray into the world of TSMR, and what a delightful journey it's been. This IEM strikes a perfect balance between unadulterated musicality and a hint of analytical prowess. The implementation of the tuning switches is a masterclass in simplicity and effectiveness – a testament to TSMR's understanding of this sometimes-controversial feature. While I may not have initially embraced the concept, the X's straightforward switch design won me over.

The X's bass performance deserves a special mention. It's a revelation, a sonic experience that redefined my expectations for in-ear monitors. This is, without a doubt, the most captivating and well-controlled bass I've encountered in an IEM. Even for a self-proclaimed "bass-light" listener like myself, the X's low-end magic was undeniable. It adds a layer of depth and satisfaction to the overall sound signature, making every listening session a joy.

Considering its price point and exceptional performance, the X rightfully earns a crown as a champion of the mid-fi IEM segment. It's a fitting tribute to TSMR's decade of sonic exploration, a testament to their dedication to crafting audiophile-grade experiences.

A heartfelt thank you goes out to the Audio Geek group and its leader, Sandeep Agarwal, for providing the opportunity to experience this sonic marvel. The X has left a lasting impression, and I have no dou
bt it will leave fellow audiophiles equally enthralled.

PS: special thanks to @Dsnuts for walking me through the tuning switches.

INTRODUCTION:
EPZ may be a new name on my radar, but according to the online chatter, they've been around since 2019. My initial encounter with the brand was their Q5, which, while catching some flak for its design resemblance to a certain popular IEM, managed to garner positive reviews for its sonic performance. They maintain a well-stocked AliExpress store and boast a respectable collection of offerings. Their 530 has recently piqued my interest as a compelling mid-fi option, and you can expect me to delve into some of their portable DACs in the future.

Today, however, we set our sights on a more budget-minded contender: the EPZ Q1 Pro. While I typically steer clear of the sub-$30 realm, will EPZ defy expectations and produce a diamond in the rough? Let's embark on this listening journey together and see if the Q1 Pro can rewrite my preconceptions.

FOREWORD:

The gear on hand has undergone at least 10-15 hours of use before it was assessed.
No EQ is ever applied in my reviews.
For the sake of convenience, I try my best to use a stock setup. Not everyone has access to personal ear tips or cables. If personal ear tips, cables, or accessories are used, you will be notified.
As I try to be objective, my claims inevitably will be subjective and biased to my personal preference. I cannot stress more that you should take this with a grain of salt for we have different perceptions to sound and what we hear.

SPECIFICATIONS:
Maker: EPZ
Model: Q1 pro
Drivers: 1x 10mm LCP+PU dynamic driver
Impedance: 32 ohms
Sensitivity: 100db

PACKAGING & DETAILS:

The Q1 Pro's presentation adheres to a minimalist aesthetic. Clad in black with contrasting blue fonts, the packaging prioritizes functionality over flamboyance. While the legibility of the blue text could be improved,

the essential details are clearly displayed on the back. Unsurprisingly, the included accessories are kept to a bare minimum, which is perfectly reasonable considering the budget-friendly price tag. Let's now dissect the contents of this unpretentious package.

CASE:

The included pouch prioritizes portability over ultimate protection. While it easily slips into a pocket, it wouldn't fare well against significant pressure or a nasty fall. However, its presence at this price point is a welcome addition, offering a convenient way to store and transport the Q1 Pro.

EAR TIPS:

The Q1 Pro arrives with three pairs of silicone eartips. While a wider selection would have been ideal, it's difficult to find fault at this price. The provided tips are fairly generic, but for seasoned audiophiles who practice the art of "tip rolling," feel free to experiment with premium eartips to further personalize the listening experience.

APPEARANCE:

Eschewing the typical utilitarian aesthetic of budget IEMs, the Q1 Pro surprised me with its eye-catching design. Crafted through a 3D resin printing process, the smooth, translucent blue housings (though color preference is subjective, of course) boast a sleek and contemporary look. A strategically placed vent hole ensures proper pressure relief for a comfortable listening experience.

CABLE:

The Q1 Pro adheres to a no-frills philosophy when it comes to the cable. While lacking in extravagant aesthetics, it doesn't disappoint in terms of build quality. The cable exhibits a reassuring sturdiness, suggesting longevity with proper care.

Thankfully, it also minimizes cable tangles and microphonics, ensuring an unhindered listening experience.

COMFORT:
The Q1 Pro excels in the realm of comfort, offering a secure and snug fit that remained fatigue-free even during extended listening sessions. The lightweight shells contribute to this luxurious experience, practically disappearing into your ears and eliminating any fear of accidental dislodgement. While isolation falls within the average range, allowing a subtle presence of ambient noise at comfortable listening volumes, it proved perfectly adequate for my home recording sessions. Even during a marathon 3-hour listening stint, the Q1 Pro remained a paragon of comfort.

SOUND IMPRESSIONS:

The Q1 pro was paired with the following sources:

• Cayin RU6
• EPZ TP50
• Fiio M11 LTD plus
• Centrance Dacport HD
• Ovidius b1
• Hiby FC6
• Fiio K9

TECHNICALITIES:
Sure, the Q1 Pro's technical specs might not blow the roof off the audiophile convention. But dig a little deeper, and you'll find some hidden gems that make these IEMs sing.

The soundstage isn't a cramped shoebox, but it won't leave you feeling like you're lost in a concert hall either. It's got decent depth, instruments layered front to back believably, but the width stays firmly in "standard IEM" territory.

Imaging is average. Instruments sits where they belong in the mix, but don't expect any surprise discoveries hiding on your favorite tracks. These guys aren't gonna reveal secret notes you never noticed before.

Now, here's where the Q1 Pro truly shines – timbre! These IEMs are like sonic chameleons, capturing the natural essence of every instrument. It's what you'd expect from a good single dynamic driver – pure, unadulterated realism.

Separation might not be the star of the show, instruments preferring a more cohesive presentation than a completely isolated one. But hey, that just means the music flows smoothly instead of sounding like a disjointed orchestra.

Look, at this price point, the Q1 Pro's technical performance punches well above its weight. It's hard to find fault with these guys. They might not be the ultimate beast technically, but they're a damn fine listen.

BASS:
The bass walks a tightrope between keeping things fun and funky, without ever venturing into the boomy abyss. You get a satisfying punch and thump, delivered with a pleasingly round character. Transients, the little kicks of the bass, might not be lightning-fast, but they stay grounded in realism.

The sub-bass takes center stage compared to its mid-bass brethren. Think of it as a deep, subterranean growl that emerges when the music demands it, clean and controlled. There's a hint of bleed into the mids, an unavoidable consequence of this emphasis, but it never becomes overbearing.

MIDRANGE:
Let's talk about the mids, the heart and soul of the music. The Q1 Pro thankfully avoids the dreaded recession, where vocals get lost in the mix. Instead, they take their rightful place, front and center. Both male and female singers are rendered beautifully, with a natural, transparent quality. There's no artificial sweetness or added richness here, just pure, unadulterated clarity. These IEMs deliver a smooth, detailed midrange that lets the music shine through.

TREBLE:
The Q1 Pro treads carefully in the treble region. It doesn't reach for the stratospheric highs of some IEMs, opting for a safe and controlled approach. This translates to a fatigue-free listening experience – even for those with sensitive ears. Cymbals and hi-hats shimmer with a pleasant crispness, but avoid any harshness or sibilance that can make them sound like a swarm of angry bees. Imagine a gentle summer breeze rustling through leaves, rather than a screeching fire alarm.

COMPARISONS:
Simgot EW200
Here's the thing – while both lean towards a Harman-style tuning, the Q1 Pro does it with a finesse the EW200 can't quite match.

Visually, the Q1 Pro wins hands down. Its build quality feels more premium. But sound is subjective, so let's delve into the sonic landscape. The Q1 Pro takes a more measured approach to the mids, avoiding the overly emphasized Harman signature that might fatigue some listeners with the EW200. The Q1 Pro's vocals have more body and weight, making them a joy to listen to.

Technical prowess might not be the top priority for these IEMs, but even here, the Q1 Pro holds its own. It delivers a more well-rounded performance compared to the EW200. Remember, your experience may vary, but for me, the Q1 Pro is the clear winner in the sub-$50 arena.

TEST TRACKS:
Here are some tracks I usually listen to when reviewing:

That’s the way of the World by EWF
Africa by TOTO
The Girl in the Other Room by Diana Kral
Balmorhea album All is wild, All is Silent
Sila by Sud
Smooth Escape by D’Sound
Never too Much by Luther Vandross
P.Y.T by Michael Jackson
Ain’t no Sunshine by Eva Cassidy
Shoot to Thrill by AC/DC
Another one bites the Dust by Queen
Good times bad times by Edie Brickell
Alice in Wonderland by Bill Evans
Ain’t it Fun by Paramore
Redefine by Incubus
Far Away by Nickelback
Lovesong by Adele
Lingus by Snarky Puppy
Harvest for the World by Vanessa Williams
Love Bites by Def Leppard
No Such Thing by John Mayer
As by Stevie Wonder
Whip Appeal by Babyface
Ain’t Nobody by Chaka Khan
Futures by Prep
Landslide by Fleetwood Mac
Every Summertime by NIKI
SADE tracks
AC/DC tracks
Queen tracks


And many more… I always listen to High resolution format, being the least quality 16bit/44khz FLACS be it offline or online.

VERDICT:
The Q1 Pro isn't your typical harman-flavored IEM. It avoids the pitfalls of overly saturated ChiFi sound, however technical prowess isn't its calling card. Think of it as a sonic entertainer rather than a cold, analytical machine.

For listeners who crave pure technical fireworks, there are other options out there. But if you prioritize pure musical enjoyment, the Q1 Pro is a hidden gem. Its smooth, natural timbre is the star of the show, making music a genuinely delightful experience, even if it cuts a few corners on the technical side.

Here's the bottom line: if you're looking for a fantastically musical IEM under $50, the Q1 Pro is a no-brainer. It's perfect for music lovers, movie buffs, or anyone dipping their toes into the world of hi
gh-fidelity sound.

Thanks to EPZ for sending the Q1 Pro my way – until next time, ciao!

INTRODUCTION:
Buckle up, fellow audiophiles, because we're about to dive headfirst into the latest offering from Kefine! Remember the Klanar? That planar wonder that dropped jaws with its killer sound and budget-friendly price tag? Well, Kefine's back for another round, this time throwing their hat into the crowded sub-$100 IEM ring with the Delci. Did they make the smart move venturing into this hotly contested territory? Will the Delci manage to carve out its own niche in this cutthroat price bracket? Let's separate the wheat from the chaff and see if the Delci has the chops to impress! So, clear your ears and prepare to be transported to sonic bliss!

FOREWORD:

The gear on hand has undergone at least 10-15 hours of use before it was assessed.
No EQ is ever applied in my reviews.
For the sake of convenience, I try my best to use a stock setup. Not everyone has access to personal ear tips or cables. If personal ear tips, cables, or accessories are used, you will be notified.
As I try to be objective, my claims inevitably will be subjective and biased to my personal preference. I cannot stress more that you should take this with a grain of salt for we have different perceptions to sound and what we hear.



SPECIFICATIONS:
Maker: Kefine
Model: Delci
Drivers: 10mm DLC+PU dynamic driver
Impedance: 28 ohms
Sensitivity: 108db

PACKAGING & DETAILS:

Ah, the Delci's packaging - no bells and whistles, just a down-to-earth black box. It's clear Kefine's prioritizing the sound over the spectacle, which I can respect. Let's be honest, in this price range, fancy boxes are like icing on a stale cake. Sure, unboxing can be a fun little ritual, but for a sub-$100 IEM, I'd rather Kefine focus on what truly matters: the sonic experience. After all, as the saying goes, you can't polish a turd, and sometimes, all that glitters isn't gold. Let's hope the Delci's sound is more like a hidden gem than a dime-a-dozen dud.

CASE:

The Delci's carrying case isn't exactly winning any beauty contests. It's your standard, no-frills affair. But hey, at this price point, I'd be singing a different tune if there wasn't one included at all. Let's face it, a halfway decent case is the cherry on top for a sub-$100 IEM. Sure, it might not be the most glamorous, but it gets the job done – keeps those precious Delcis safe from getting tossed around in your bag like yesterday's news. In this case, beggars can't be choosers, and I'm happy Kefine at least threw us a bone.

EAR TIPS:

Kefine seems to be following the "if it ain't broke, don't fix it" philosophy with the Delci's ear tips. Just like the Klanar, they've included a generous spread of different sizes. Now, differentiating between the regulars and wide bores can be a bit of a treasure hunt – they all look pretty similar. Here's a pro tip: feel is your friend! The wide bores tend to be a tad softer, so give them a little squish to tell them apart. As for quality, the stock tips are decent enough to get you started. But hey, if you're a seasoned audiophile who's mastered the art of "tip rolling," feel free to throw on your favorite premium pair and see where the sonic journey takes you!

BUILD:

Let's be honest, I'm no watchmaker, but Kefine seems to have pulled off some serious engineering magic with the Delci's housing. They're using CNC machining, which basically means computer-controlled precision cutting, to craft these beauties. No wonder they're bragging about the quality at such a wallet-friendly price! Picking them up, they feel surprisingly premium – solid and smooth, like something way out of their sub-$100 league. Kefine even throws some shade (without naming names, of course) about how these are built to last, unlike certain other IEMs that turn into chipped paint nightmares after a single tumble. Looks like Kefine put their money where their mouth is, and that's music to my ears!

APPEARANCE:

The Delci might be the Klanar's doppelganger at first glance, but a closer inspection reveals some subtle distinctions. The Delci's sculpted form is noticeably more petite than its predecessor, making it even more comfortable for extended listening sessions. The color scheme takes a turn too, with the Delci sporting a sophisticated dark brown chrome that exudes a touch more elegance than the Klanar's classic black. While the overall layout might share some similarities, the Delci's refined design edges out the Klanar in the looks department, at least in my humble opinion. While a part of me yearns for a complete design overhaul, the Delci's understated improvements undeniably elevate its visual appeal.

COMFORT:
The Delci aces the comfort test! These little guys are light as a feather, nestling snugly in your ears without any pressure or fatigue. The fit is secure, creating a good seal that blocks out unwanted noise. They're so comfortable, I even managed to snag a snooze with them in – that's the ultimate comfort test, folks! Let's just say, if you're looking for an IEM that disappears into your ears and lets the music take center stage, the Delci definitely delivers.

CABLE:

The Delci's stock cable is a bit of a mixed bag. It's on the lighter side, which some might find appealing. Kefine gets points for the color choice though – it complements the IEMs nicely.

SOUND IMPRESSIONS:
For this review, I hooked up the Delci to a variety of sources to see how they performed. This included some heavy hitters like the Ovidius B1 and Cayin RU6, as well as some more portable options like the Fiio M11 Plus LTD and Oppo A94. To keep things interesting, I used a mix of streaming services (Qobuz and Apple Music) and my own FLAC collection. Basically, I threw everything but the kitchen sink at these IEMs!

TECHNICALITIES:
The Delci boasts an impressive soundstage for its price point. It offers a surprisingly spacious presentation, exceeding expectations for a sub-$100 IEM. This translates to a well-defined separation of instruments and vocals, creating a clear and layered listening experience. The spaciousness enhances the overall presentation, fostering a sense of immersion that rivals more expensive models.

The Delci's imaging is a revelation in the sub-$100 realm. Usually, with budget IEMs, you get what you pay for, and that often means a homogenous sonic mush. But the Delci throws a curveball. I found myself constantly surprised, discovering previously unheard details and instrument placements in tracks I thought I knew by heart. It's like rediscovering your favorite record store – you never know what hidden gem you might unearth! This precise and nuanced imaging is a true strength of the Delci, making it stand out from the crowd in its price bracket.

The Delci's Achilles heel, for some listeners, might be its texture. It leans towards a smoother presentation, which can leave certain instruments, particularly bass and guitars, lacking a touch of that raw, textured "bite" some audiophiles crave. Think of it like a beautifully restored vintage car – sleek and elegant, but maybe missing the subtle imperfections that tell the story of its journey. However, it's important to remember that this smoothness falls well within the realm of satisfying resolution and detail. Ultimately, it boils down to personal preference. If you prioritize a ruthlessly analytical sound signature, the Delci might not be your end-all, be-all. But for those who appreciate a smooth and refined presentation, the Delci delivers in spades.

The Delci truly shines when it comes to timbre. As expected from a single dynamic driver design, it delivers a refreshingly natural and organic presentation. Vocals and instruments possess a lifelike quality, free from artificial coloration. This translates to an incredibly engaging and soulful listening experience. While some might argue the Delci leans slightly towards genres like jazz and classical, where its natural timbre can truly flourish, it handles a wide variety of musical styles with remarkable ease. No matter your musical preference, the Delci's smooth and accurate timbre will ensure your music remains rich, detailed, and utterly captivating.

BASS:
The Delci prioritizes subbass, delivering deep, impactful rumbles. While the midbass is less prominent, it remains well-controlled and doesn't overpower the sound. Overall, the bass is agile and responsive, handling intricate basslines with ease. This emphasis on bass might not suit listeners who prefer a neutral sound signature, but bass enthusiasts are likely to enjoy the Delci's powerful bass presentation.

MIDRANGE:
The Delci's sound signature definitely isn't neutral – the mids are lush, rich, and full-bodied, with a warm presentation that keeps the details and transients clear. Instruments sound great, but the vocals are a bit recessed, making the overall soundstage wider. I would've liked them to be a bit more forward, but it wasn't enough to bother me – overall, the mids are still good.

TREBLE:
Kefine impressed me with the treble on the Delci. Initially, I worried the safe tuning might mean a lack of energy in the highs. But to my surprise, the treble delivers a surprising amount of detail, shimmer, and sparkle when the music calls for it. It's still on the safe side, which is great for people who are sensitive to harsh sounds (sibilance). Crashes, cymbals, bells, and hi-hats all come through with a nice balance of liveliness and control.

COMPARISONS:
Simgot EA500
The EA500 undoubtedly boasts a brighter soundscape. It excels in note definition, offering crisp, well-defined edges. However, this brilliance comes at the cost of a narrower soundstage. In comparison, the Delci presents a more natural timbre, faithfully reproducing the intended sonic character of instruments. While the EA500's modular tuning nozzles provide greater flexibility for sculpting the sound to your preference, the Delci takes the cake for pure listening enjoyment. It's undeniably addictive, offering a highly engaging experience that the EA500, despite being a long-standing benchmark for the $100 price point, can't quite match. The EA500 might leave you fatigued after extended listening sessions, whereas the Delci strikes a perfect balance between sonic pleasure and technical prowess. While the EA500 might have the edge in pure resolution, the Delci wins hearts with its ability to keep you glued to your music for hours on end.

Dunu Titan S
The Titan S is the epitome of neutrality – balanced across the frequency spectrum, almost to a fault. While this meticulous approach unveils hidden details with impressive clarity, it can sometimes leave you wanting more. You might crave a touch more bass punch, a hint of midrange warmth, or a dash of treble sparkle. This neutrality, however, makes the Titan S a technical marvel, a pristine window into the recording itself.

The Delci, on the other hand, injects a shot of vibrancy into your music. It prioritizes fun and engagement, adding a touch of color to the sonic canvas. While the Titan S boasts superior technical prowess, the Delci's ability to keep you captivated and wanting more is undeniable. It sacrifices some technical perfection for a more emotionally involving listening experience. The choice boils down to your preference: surgical precision or infectious musicality.


Stay tuned, audiophile friends! I'll be diving into comparisons between the Delci and other contenders in the near future. We'll have showdowns with the EPZ Q1 Pro and the Orivetti OD100, dissecting their sonic personalities to help you, the discerning listener, pick your perfect match.

TEST TRACKS:
Here are some tracks I usually listen to when reviewing:

That’s the way of the World by EWF
Africa by TOTO
The Girl in the Other Room by Diana Kral
Balmorhea album All is wild, All is Silent
Sila by Sud
Smooth Escape by D’Sound
Never too Much by Luther Vandross
P.Y.T by Michael Jackson
Ain’t no Sunshine by Eva Cassidy
Shoot to Thrill by AC/DC
Another one bites the Dust by Queen
Good times bad times by Edie Brickell
Alice in Wonderland by Bill Evans
Ain’t it Fun by Paramore
Redefine by Incubus
Far Away by Nickelback
Lovesong by Adele
Lingus by Snarky Puppy
Harvest for the World by Vanessa Williams
Love Bites by Def Leppard
No Such Thing by John Mayer
As by Stevie Wonder
Whip Appeal by Babyface
Ain’t Nobody by Chaka Khan
Futures by Prep
Landslide by Fleetwood Mac
Every Summertime by NIKI
SADE tracks
AC/DC tracks
Queen tracks


And many more… I always listen to High resolution format, being the least quality 16bit/44khz FLACS be it offline or online.

VERDICT:
The Delci undeniably checks most of the boxes for a stellar IEM. While a touch more resolution, textural detail, and a slightly forward vocal presence would be the icing on the cake, these are minor quibbles when considering the big picture. Kefine masterfully prioritized the right elements, crafting an IEM that prioritizes enjoyment without sacrificing technical merit. At a wallet-friendly $60 price tag, the Delci is a clear winner. It delivers a fantastic balance of accurate timbre and technical prowess, even if it doesn't excel in every single aspect. But that's the beauty of it – Kefine made the right choices, prioritizing what truly matters for a truly engaging listening experience.

A huge thank you to
Collin Yang of Kefine for their continued generosity in providing the Delci for this review.

INTRODUCTION:​

Kefine, driven by their commitment to offer sophisticated audio equipment at a reasonable and pragmatic price point, coined their name from a fusion of the founder's name and the concept of refinement, resulting in the term "Kefine." On the other hand, the term "Klanar" cleverly integrates "planar" with the letter "K." The company places a premium on quality, treating their products with a level of care akin to parenting. They allocate every cent judiciously, striving to maximize quality while keeping costs in check. Their philosophy asserts that top-notch audio shouldn't come with an exorbitant price tag.

While many companies express similar aspirations in their corporate profiles, the pivotal question lingers: Can Kefine truly deliver superior sound quality with the $119 Klanar? Join me on this journey as we delve into the answer.

FOREWORD:​

• The gear on hand has undergone at least 10-15 hours of use before it was assessed.
• No EQ is ever applied in my reviews.
• For the sake of convenience, I try my best to use a stock setup. Not everyone has access to personal ear tips or cables. If personal ear tips, cables, or accessories are used, you will be notified.
• As I try to be objective, my claims inevitably will be subjective and biased to my personal preference. I cannot stress more that you should take this with a grain of salt for we have different perceptions to sound and what we hear.

SPECIFICATIONS:​

Maker: Kefine
Model: Klanar
Drivers: 14.5mm planar driver
Impedance: 16ohms
Sensitivity: 105db

PACKAGING & DETAILS:​

The packaging of Klanar leans towards simplicity, aligning with their reported environmental consciousness. Housed in a moderately sized box, the front showcases a straightforward image of Klanar, complemented by clean and generic fonts. On the rear, you'll find the customary information about the IEM and the company. Now, let's delve into the contents included in the package.

CASE:​

The case comes in a pleasant gray hue with a textured exterior, providing a tactile and visually appealing quality. Internally, the compartment is sleek and compact, requiring a careful arrangement of the cable and Klanar to ensure a snug fit. While a bit more room would have been preferable, the overall functionality remains commendable. Despite the snug fit, the case effectively fulfills its primary purpose of safeguarding the Klanar.

CABLE:​

The cable quality stands out remarkably, especially considering the price point. While it might be slightly on the lighter side for my personal preference, its sturdiness and substantial thickness provide reassurance against potential breakage or snapping in the event of an inadvertent pull during on-the-go use.

EAR TIPS:​

The inclusion of ear tips is notably generous, especially considering the price range. There are two varieties available. The regular bore contributes to a bass boost but slightly narrows the soundstage, while the wide bore enhances details and treble, expanding the stage.

Identifying them at first glance can be a tad challenging as both are uniformly black, necessitating a closer inspection to differentiate based on bore size. The quality falls on the generic spectrum but remains functional. In the course of this review, I opted for the wide bore stock tips.

APPEARANCE:​

Klanar embodies a striking minimalistic design. Crafted from lightweight aluminum alloy, it ensures a comfortable and easy-to-wear experience. The ergonomic design is accommodating to the ears, enhancing overall comfort. Sporting a matte black color, the aesthetic is clean and understated, catering to those who appreciate a minimalist approach. If you're inclined towards simplicity and a sleek appearance, the look and feel of Klanar will likely resonate with you.

INTERNALS:​

Klanar features a 14.5mm planar driver, known for its efficiency and notably easy driveability. Amid the initial skepticism surrounding the planar wars, Klanar stands out as a testament to the industry's evolving understanding of effectively implementing these micro planar drivers. After a year of observation, it's evident that companies have gained valuable insights into optimizing the performance of these drivers. Klanar, in particular, emerges as a legitimate player in the planar realm, and we'll delve deeper into its performance shortly.

COMFORT:​

Wearing the Klanar is a delightful experience, offering a snug fit that proves particularly suitable for on-stage performances. Extended usage doesn't result in soreness or discomfort, thanks to its ergonomic design. The insertion process is commendable, providing a decent depth for a secure feel. Being vented, the Klanar manages above-average isolation. Notably, even after prolonged use exceeding an hour, there is no discernible pressure build-up, enhancing the overall comfort during extended sessions.

SOUND IMPRESSIONS:​

SOURCES:​

• FIIO M11 PLUS LTD
• Centrance Dacport HD
• Ovidius B1
• Cayin RU6
• Apple music subscription
• Qobuz studio
• Offline FLACs

Measurement courtesy of our good friend Baskingshark​

TECHNICALITIES:​

The Klanar offers a stage that, while not the widest among IEMs, avoids a claustrophobic feel and doesn't sound overly in-your-face. Staging gives a sense of more than the conventional 2d presentation. As we speak, I’m listening to a track from Tingvall Trio and I can hear the piano with good depth, plus width and a bit of height all in all.

Imaging is above average, with instruments easily distinguishable and well-placed.

In terms of speed, as expected from a planar, the Klanar delivers a precise and defined attack without overdoing it, providing a sense of realism to the sound.

Where the Klanar truly shines is in its timbre, excelling in delivering one of the most natural-sounding performances for a planar configuration, a realm where planars often face challenges.

The texture leans towards the smoother side, potentially lacking for those seeking an analytical sound. While texture and details are present, they aren't prominently highlighted. In essence, the Klanar isn't a clinical-sounding IEM; instead, it prioritizes musicality.

Equipped with a 4.4mm balanced termination, the Klanar deserves credit for its easy driveability. Despite its on-paper sensitivity of 105dB, I found it manageable even with the old reliable Abigail dongle by Venture Electronics. While highly efficient, the Klanar still benefits from proper amping to truly bring out its best sound.

BASS:​

For enthusiasts of deep bass, the Klanar is tailor-made for you. It boasts a V-shaped tuning, delivering a substantial amount of bass with impressive quality. The bass performance is characterized by its speed, snappiness, punchiness, and precision. Planars are renowned for their exceptional bass responses, and the Klanar lives up to this reputation. While there's a slight bleed into the mids due to the quantity of bass, it remains very tolerable.

Klanar's emphasis on sub-bass adds a layer of fun and engagement, keeping the listening experience entertaining. Given the quantity of bass in its tuning, there's a risk of muddiness in sound, but Kefine has done a commendable job in maintaining the cleanliness of the bass, ensuring a satisfying and well-defined low-end.

MIDRANGE:​

As someone who appreciates the midrange, I can understand how this tuning might give you pause. True to expectations, the midrange on the Klanar takes on a recessed sound and nature. While this tuning prevents an overwhelming abundance of details, it does come at the cost of the presence of vocals and instruments. However, the redeeming quality lies in the note weight and body.

Kefine successfully maintains an engaging midrange by ensuring a robust note weight and embodiment. Despite its recessed nature, the midrange didn’t disappoint mid-centric listeners like myself. Vocals retain good presence, and instruments manage to step into the spotlight when called upon, contributing to an overall engaging midrange experience.

TREBLE:​

Planar headphones often have a reputation for being shouty, splashy, and potentially fatiguing to listen to. However, Kefine breaks this mold with the Klanar, offering a highly controlled treble that is devoid of sibilance. This makes it easy to listen to for prolonged periods. While it may not cater to extreme treble enthusiasts, the Klanar still delivers an exciting and sufficient treble experience.

The upper frequencies maintain a non-piercing quality, bringing joy to those with sensitivity to sharp sounds. The treble, though not excessively bright or veiled, offers a balanced and enjoyable listening experience. If you're someone who desires more sparkle, experimenting with different cables and rolling the top end is an option, but personally, I find the treble on the Klanar to be satisfying with a good balance of bite and grit.

COMPARISONS:​

Tangzu Heyday​

Heyday tends toward a more mature, neutral tuning, showcasing well-placed and forward vocals and instruments. However, there are instances where the bass can be perceived as lacking, potentially leading to a less engaging experience for some listeners. The rendering of female vocals is a notable strength for Heyday. In terms of separation and layering, Heyday demonstrates a slight edge.

Some individuals might find the upper midrange of Heyday to be thin and slightly harsh, whereas Klanar exhibits better control over the treble, providing a more balanced listening experience. Heyday offers modular cables, providing users with options for 2.5mm, 3.5mm, and 4.4mm terminations, adding versatility to the listening setup.

Both Klanar and Heyday maintain proper timbre, producing natural and authentic sounds. While each has its strengths and characteristics, the choice between them would ultimately depend on individual preferences and priorities in tuning and features.

Letshuoer S12 OG​

It seems that the S12 and Klanar share similar bass quantity, delivering a comparable level of fun. However, when it comes to separation and layering, the S12 holds a slight edge. In terms of timbre accuracy, Klanar takes the lead, providing a more correct representation of sound. The S12, on the other hand, exhibits some harshness and heat in the upper midrange, making Klanar a safer and more comfortable listening experience.

In summary, the Klanar appears to be akin to the S12 but without the hotness in the upper midrange that could potentially introduce a sense of brittleness. This suggests that, in my personal opinion, the Klanar might be how the S12 should have sounded, offering a more balanced and enjoyable listening experience.

TEST TRACKS:​

Here are some tracks I usually listen to when reviewing:

That’s the way of the World by EWF
Africa by TOTO
The Girl in the Other Room by Diana Kral
Balmorhea album All is wild, All is Silent
Sila by Sud
Smooth Escape by D’Sound
Never too Much by Luther Vandross
P.Y.T by Michael Jackson
Ain’t no Sunshine by Eva Cassidy
Shoot to Thrill by AC/DC
Another one bites the Dust by Queen
Good times bad times by Edie Brickell
Alice in Wonderland by Bill Evans
Ain’t it Fun by Paramore
Redefine by Incubus
Far Away by Nickelback
Lovesong by Adele
Lingus by Snarky Puppy
Harvest for the World by Vanessa Williams
Love Bites by Def Leppard
No Such Thing by John Mayer
As by Stevie Wonder
Whip Appeal by Babyface
Ain’t Nobody by Chaka Khan
Futures by Prep
Landslide by Fleetwood Mac
Every Summertime by NIKI
SADE tracks
AC/DC tracks
Queen tracks


And many more… I always listen to High resolution format, being the least quality 16bit/44khz FLACS be it offline or online.

VERDICT:​

When the Klanar was en route to me, skepticism lingered in my mind. Despite engaging in thoughtful exchanges with the Kefine representative, doubts crept in, especially considering the V-shaped tuning indicated on the graph—a profile not typically to my liking. The prospect of a recessed midrange added another layer of uncertainty. Against these initial reservations, the Klanar managed to not only satisfy but also connect with me in a genuinely joyous way.

Taking a step back for a more objective view, this V-shaped tuning is executed remarkably well. For those who appreciate this tuning, the Klanar is a treat. It brings forth an excellent bass response, a well-weighted midrange, and a precisely controlled treble, accompanied by technicalities that surpass the average performance. It's essentially a recipe for a well-rounded listening experience. While Kefine might not have ventured into something groundbreaking or unique, they've executed the mainstream with finesse—a product that resonates with a broad audience.

I foresee a strong potential for this company, eagerly anticipating their future releases. I've imparted a piece of advice, urging them not to succumb to the temptation of flooding the market with numerous products. Instead, focusing on quality over quantity could solidify their position. Despite the tuning not aligning perfectly with my preferences, the Klanar adds a unique sound to my collection, earning its place in my rotation.

My heartfelt thanks extend to Collin Yang of Kefine for his graciousness and providing the Klanar for my review. I'd also like to acknowledge Joshua Treinen for facilitating the connection with Kefine. That wraps up this review, and I look forward to catching you on the next one.

INTRODUCTION:​

Simgot requires no formal introduction from my end, having already reviewed several of their products that have left a lasting impression in 2023. Presenting a formidable hybrid IEM with a robust U-shaped sound profile, priced at $109, the EM6L enters the scene as a strong contender. Interestingly, it aligns with my top pick, the EA500, which sets the standard in the $100 price range. The question looms: Can the EM6L live up to the benchmark set by the EA500? Without further ado, let's dive into the evaluation.

FOREWORD:​

• The gear on hand has undergone at least 10-15 hours of use before it was assessed.
• No EQ is ever applied in my reviews.
• For the sake of convenience, I try my best to use a stock setup. Not everyone has access to personal ear tips or cables. If personal ear tips, cables, or accessories are used, you will be notified.
• As I try to be objective, my claims inevitably will be subjective and biased to my personal preference. I cannot stress more that you should take this with a grain of salt for we have different perceptions to sound and what we hear.

SPECIFICATIONS:​

Maker: Simgot
Model: EM6-L
Drivers: 1DD + 4BA
Impedance: 26ohms
Sensitivity: 119db
FR Response: 20hz-20khz

PACKAGING & DETAILS:​

CASE:​

The scenario here mirrors what accompanied the EA500 – precisely identical. I appreciate the spacious compartment that avoids squeezing your IEMs and the sturdy build capable of withstanding considerable pressure. While the tactile sensation might come off as generic, the case excels in fulfilling its primary purpose: safeguarding your valuable gear.

EAR TIPS:​

Eartips, a critical element that can either elevate or diminish the sound profile, warrant meticulous consideration. Drawing from multiple reviews and hands-on experience with their offerings, Simgot consistently bundles their IEMs with these firm, moderately wide-bore, yet not excessively wide, balanced eartips. I find them satisfactory, but I do have a preference for some personal favorites. It seems Simgot assumes that at this price point, the discerning buyer is well-versed in the art of tip rolling, as they consistently provide just one type of eartip. Perhaps in future releases, Simgot could explore collaborations with eartip manufacturers to diversify this aspect. Nonetheless, for the entirety of this review, I stuck with the stock tips.

APPEARANCE:​

The EM6L is not just an auditory delight but a visual stunner that boasts undeniable appeal. Personally drawn to all things black, the EM6L's aesthetic exudes a certain allure that captivates my eyes. Crafted with high precision through 3D printing in resin, its construction is both sleek and sexy. The faceplate, seemingly metallic, adds an extra touch of sophistication. On the right side, an emblem reminiscent of the phoenix catches attention, while on the left proudly sits the distinctive Simgot logo.

INTERNALS:​

Internally, the EM6L adopts a hybrid configuration. In line with recent trends in the audio community, many hybrids have surfaced in the $100 price range. The EM6L, too, embraces this ethos, featuring a combination of 1 dynamic driver and 4 balanced armature drivers, a configuration that holds promise for a nuanced and dynamic sonic experience.

COMFORT:​

Comfort deserves commendation with the EM6L. Despite a fit that doesn't delve exceptionally deep, attributed to its relatively larger nozzles compared to the norm, the stability of the grip is noteworthy. It maintains a secure hold without inducing any discomfort or soreness to the ears. Achieving a good seal is easy, effectively blocking out external noise. Worth noting is the absence of a vent hole, which might lead to a bit of pressure build-up during extended usage for some users.

SOUND IMPRESSIONS:​

SOURCES:​

• Fiio M11 plus LTD
• Ovidius B1
• Centrance Dacport HD
• Cayin RU6
• Apple Music
• Offline FLACs

TECHINICALITIES:​

The realm of soundstage often requires a discerning ear to notice significant differences. Yet, with the EM6L, I can confidently say it's "spacious." This IEM provides that extra headroom that's not only felt but distinctly heard, elevating the listening experience.

Moving on to imaging, it falls into the realm of the usual – good and decent, but not particularly extraordinary.

Now, let's dive into the timbre. Upon initial listen, it seemed acceptable. However, the true litmus test came when I connected the EM6L to my Nord keyboard, renowned for housing one of the best-sampled pianos in the musical world. The result? The emergence of that unmistakable BA timbre. Hovering around the upper mids, a subtle sense of unnaturalness comes into play. It's not a deal-breaker, but the BA timbre makes its presence known.

Driving the EM6L demands a bit of amplification, and the 28-ohm impedance plays its part. A dedicated DAP or a reliable dongle is highly recommended for optimal performance.

When it comes to pairing, I'd advise opting for a more analog source. In my experience, the Cayin RU6 proved to be a savior in synergy. Interestingly, my beloved Ovidius B1, although cherished, rendered a sound that felt too thin in the mids when paired with the EM6L. It appears the EM6L is quite source-dependent. Thus, a bit of experimentation with different tips, cables, and sources is strongly suggested to uncover the ideal synergy.

BASS:​

The bass on the EM6L carries a substantial weight, particularly emphasizing the sub-bass frequencies. Anticipate a satisfying rumble that adds excitement to genres like Hip hop, R&B, and even orchestral compositions, such as those by Hans Zimmer. This characteristic lends a dynamic and engaging quality to the overall sound. While the mid-bass remains commendable, it doesn't take a prominent role.

The texture, while average, retains the subtle nuances of bass guitars without overly highlighting them. In terms of quantity, it might fall short of satisfying a basshead's preference and could be a tad much for those leaning towards a neutral sound signature. Notably, the bass exhibits excellent control, avoiding any hint of being overly pronounced. The agility and tactility are very adept and sufficient for an immersive listening experience.

MIDRANGE:​

The midrange might not be the EM6L's strongest suit, and as a mid-centric enthusiast, I did find this aspect a bit underwhelming. In my favorite instrumental tracks, the midrange exhibits a slight recession — a personal preference would lean towards a more forward presentation. Surprisingly, in the realm of vocals, there's a noteworthy emphasis on female voices over their male counterparts. While the texture is present, it does feel somewhat lacking. Given this tuning, a certain amount of thinness is evident. The recessed nature is tolerable, pushed back but not excessively so. It is a hit and miss depending on the track. At times the midrange is ok, at times it is lacking in weight and body.

TREBLE:​

The treble on the EM6L is remarkably energetic, offering a generous dose of sparkle and air without veering into sibilance, a refreshing departure from the norm. While Simgot has a penchant for bright tuning, the EM6L stands out by maintaining tight control over its treble presentation. In contrast to the EA500, where I needed some adjustment to the treble, the EM6L instantly resonated with my preferences. If I may extend this to the upper mids, they sound a tad thin. While snare drums exhibit liveliness, I found myself wishing for a bit more body and weight. Notably, the treble is highly accommodating and caters well to treble enthusiasts and even those with sensitivity concerns. It strikes a delicate balance and I must commend Simgot for their tuning in this particular spectrum.

COMPARISONS:​

Tangzu Fu Du​

Fu Du steps onto the stage with a more balanced tuning, offering up lush mids that align perfectly with my personal preferences. While it may be a tad soft on note definition, the trade-off is a natural timbre that resonates well. Fu Du doesn't skimp on generosity, especially evident in the wealth of eartip inclusions. When it comes to layering, it takes the lead, showcasing an impressive depth.

In the realm of treble, Fu Du opts for a safer presentation, steering clear of any sharp edges. There's a subtle warmth that envelops the overall sound profile, adding a touch of coziness to the listening experience.

Hidizs MS3​

The MS3 steps into the arena with a more energetic overall sound profile. Its bass packs a punch, and the treble dances with liveliness, although a word of caution—there's a susceptibility to sibilance. In the realm of soundstage, it leans toward the narrower side. Both the MS3 and EM6L adhere to the Harman tuning. When it comes to note definition and attack, the MS3 takes the spotlight, delivering precision.

A noteworthy feature is the versatility offered by tuning nozzles, allowing users to tailor their experience. Both portray a touch of BA timbre, albeit less pronounced in the MS3.

Binary Acoustics Chopin x Gizaudio​

The Chopin gracefully follows the Harman tuning, standing out with a more prominent bass presence and less recessed mids. The treble presentation aligns closely with the EM6L. In terms of soundstage, both share a narrower profile. However, when it comes to technical prowess, the Chopin takes a step ahead.

Similar to the EM6L, the Chopin hints at BA timbre, though less pronounced. Overall, the sound profile remains almost similar, with the standout feature being the less recessed mids in the Chopin. Adding to its appeal, the Chopin proves to be more amiable in the power department, requiring no external amplification from DACs or amps.

TEST TRACKS:​

Here are some tracks I usually listen to when reviewing:

That’s the way of the World by EWF
Africa by TOTO
The Girl in the Other Room by Diana Kral
Balmorhea album All is wild, All is Silent
Sila by Sud
Smooth Escape by D’Sound
Never too Much by Luther Vandross
P.Y.T by Michael Jackson
Ain’t no Sunshine by Eva Cassidy
Shoot to Thrill by AC/DC
Another one bites the Dust by Queen
Good times bad times by Edie Brickell
Alice in Wonderland by Bill Evans
Ain’t it Fun by Paramore
Redefine by Incubus
Far Away by Nickelback
Lovesong by Adele
Lingus by Snarky Puppy
Harvest for the World by Vanessa Williams
Love Bites by Def Leppard
No Such Thing by John Mayer
As by Stevie Wonder
Whip Appeal by Babyface
Ain’t Nobody by Chaka Khan
Futures by Prep
Landslide by Fleetwood Mac
Every Summertime by NIKI
SADE tracks
AC/DC tracks
Queen tracks


And many more… I always listen to High resolution format, being the least quality 16bit/44khz FLACS be it offline or online.

VERDICT:​

Stepping out of my personal preference for Harman-tuned IEMs, I'll offer a more objective perspective as we conclude this review. The EM6L stands as a capable IEM, boasting commendable technicalities, a visually appealing minimalist design, and catering to a market well-versed in tip rolling and amping. If you're a fan of Harman tuning and the recessed mids aren't a deal-breaker, the EM6L warrants consideration in this price range.

It's crucial to note that personal preferences play a significant role, and for someone with a mid-centric inclination like myself, the tuning may not resonate as strongly. It's a subjective experience—hit or miss. For monitoring purposes, the EM6L didn't quite make the cut in my evaluation.

However, I'd recommend it to those who engage in casual listening, appreciate a robust bass presentation, desire good treble extension, and seek that extra headroom in the soundstage. While BA timbre is still present, it's within tolerable limits. Ultimately, whether the EM6L aligns with your preferences is a matter of personal taste and listening habits.

My heartfelt gratitude to Simgot for providing this unit, allowing me to thoroughly test, review, and scrutinize its capabilities. Their generosity is genuinely appreciated. It's worth noting that, as I pen down this review, the EA1000 has been released, catching my eye as an IEM that might align more closely with my preferences than the EM6L. Cheers, and I look forward to catching you on the next review!

INTRODUCTION:​

Aful, a company frequently teased for its name's resemblance to "awful," stands as a relatively recent entrant in the audio realm. Their initial offering, the P5, garnered mixed reviews from both critics and users. Enter the P8, a fortuitous addition to my collection. This intricately detailed and technically proficient IEM has become my go-to for various musical needs—whether on stage, in the studio for recording, or during the critical phases of referencing and mixing.

In my third evaluation of Aful's products, a discernible pattern in their house sound signature is emerging. While undeniably impressive in technical aspects, the P5 and P8 lean toward a less musical and organic sound, leaving me desiring a heightened sense of engagement. Despite their prowess, I find myself reserving these IEMs exclusively for professional purposes, aligning with my role as a musician, rather than indulging in them for leisurely listening.

Now, onto the latest release, the MagicOne. This newcomer has swiftly become a focal point in the audio community, drawing both praise and criticism. Some reviewers laud it, while others face backlash for what's perceived as undue hype. Frankly, I couldn't care less about the ongoing debate. Today, I'll share my unfiltered impressions of the MagicOne and offer insights into how it stacks up against some of my preferred IEMs. Ready to dive in?

FOREWORD:​

• The gear on hand has undergone at least 10-15 hours of use before it was assessed.
• No EQ is ever applied in my reviews.
• For the sake of convenience, I try my best to use a stock setup. Not everyone has access to personal ear tips or cables. If personal ear tips, cables, or accessories are used, you will be notified.
• As I try to be objective, my claims inevitably will be subjective and biased to my personal preference. I cannot stress more that you should take this with a grain of salt for we have different perceptions to sound and what we hear.

SPECIFICATIONS:​

Maker: Aful
Model: MagicOne
Drivers: 1 x BA
Impedance: 38 ohms
Sensitivity: 103db
Frequency response: 5hz to 35khz

PACKAGING & DETAILS:​

For a $140 item, the packaging is straightforward, albeit a tad underwhelming when juxtaposed with the likes of my cherished Kinera Idun. Housed in a relatively diminutive box, roughly the size of a palm, the MagicOne's packaging features a front-facing photo of the IEM and standard details on the back. Sliding off the box sleeve reveals the inner box.

Now, let's delve into the inclusions, addressing each element briefly.

CASE:​

The case is a familiar sight, having come across similar iterations in several review units that have crossed my path. It sports a metallic, round, pop-up design, albeit on the slimmer side. While lacking in extravagance, it efficiently fulfills its primary function of safeguarding your IEMs.

EAR TIPS:​

Eartips, a pivotal aspect of any purchase, pleasantly surprised me with two variants included, a departure from the offerings with the P5 and P8.

The familiar ones, hued in blue and red, boast a regular bore and a notably rigid composition. A newcomer to the ensemble is the white, semi-transparent counterpart, also featuring a regular bore but exhibiting a softer texture. Opting for a change, I stuck with the new tips throughout this review, steering clear of the older, stiffer ones that Aful traditionally provides.

CABLE:​

The cable proves to be quite commendable given the price point. Gleaming in a silvery sheen, it boasts a substantial thickness that imparts a sense of durability and solid construction.

Notably, there were no issues with microphonics during my usage, contributing to an overall positive impression. The inclusion of the 3.5mm plug, coupled with the conventional 0.78 2-pin connection, aligns with standard expectations. So far, I'm quite pleased with it.

DOCUMENTATIONS:​

Included in the package is a straightforward instruction manual along with a diamond-shaped cardboard serving as a certificate of eligibility—standard fare. I won't delve into the specifics here.

APPEARANCE:​

The aesthetic appeal of the MagicOne is quite distinctive, particularly for someone with a fondness for transparent designs like myself. The IEM's visual allure resonates with me, and I appreciate the transparency, almost as if Aful is declaring, "we've got nothing to hide." In the audio community, there's a subset of individuals who enjoy tearing down IEMs, exposing any gimmicks or inconsistencies. Aful's transparent design appears to be a bold statement, asserting their commitment to authenticity.

But let's move on from the verbosity; I believe a few photos can convey this sentiment more effectively than a lengthy paragraph.

INTERNALS:​

The MagicOne boasts a configuration that stands out as a rarity in the realm of IEMs—utilizing a single Balanced Armature (BA). This marks my initial encounter with such a setup. Ordinarily, IEMs feature at least two BAs, each handling specific portions of the frequency spectrum, while Dynamic Drivers (DD) often tackle the entire spectrum solo. However, Aful takes a distinctive approach here, entrusting a single BA to manage the entire field.

The company emphasizes that their in-house developed BA ensures a broad frequency response. Incorporating their Acoustic Maze of Nautilus structure and a SEM acoustic structure, the technical details delve into territories beyond my expertise. Admittedly, I'm a musician, not an engineer. For those seeking more technical insights, I'd recommend checking out reviews from fellow enthusiasts who delve into the geekier aspects.

COMFORT:​

The wearability and comfort of the MagicOne bring to mind the experience with KZ IEMs, known for their comfort prowess. While not snug per se, the grip is commendable, ensuring a secure fit without any risk of slipping from the ears. The IEMs sit comfortably without inducing pain or soreness, and their lightweight nature almost makes them disappear once worn. Though I've encountered better fits with some other IEMs, the MagicOne holds its own in the comfort department, with no notable complaints.

SOUND IMPRESSIONS:​

The MagicOne took center stage alongside my trusted dongles – the Centrance Dacport HD, Ovidius B1, and the Cayin RU6, with the Fiio M11 plus LTD orchestrating the ensemble. Offline FLACs and tunes from my Apple Music subscription set the rhythm.

Upon plugging in the MagicOne, the initial revelation is its demanding nature when it comes to power. For the casual listener eyeing a direct phone connection, the full sonic potential remains elusive. Even with the formidable Fiio M11 plus LTD DAP, I found myself cranking up the volume by an additional 10 steps. To truly unlock the intended symphony of the MagicOne, I had to turn to my trusty dongles. It's clear – this IEM calls for a robust DAP or, better yet, a high-powered dongle for the ultimate auditory voyage. This quirk, however, somewhat narrows the audience to seasoned audiophiles armed with an arsenal of dac/amps, be it in the desktop or mobile domain.

The soundstage of the MagicOne earns commendation, providing additional headroom compared to the standard IEM offering. While it doesn't blow the mind, it sits comfortably in the realm of the average. When I'm craving that special spatiality and a grand stage, I find myself reaching for other IEMs in my collection, leaving the MagicOne in the realm of the everyday.

The MagicOne flaunts an impressive prowess in layering and separation. It's so remarkable that each instrument in my music exists in its own pristine space, rarely overlapping. This particular attribute is a critical factor for me as a musician, significantly easing my professional life. Even in the face of complex tracks, the MagicOne handles them with apparent ease, showcasing a level of clarity and distinction that resonates well with my musical needs.

The timbre of the MagicOne, boasting a single BA, approaches the realm of disbelief. Acoustic instruments resonate with an uncanny realism. Granted, a BA will always be a BA, and in the timbre arena, a DD driver tends to take the spotlight. However, the MagicOne managed to forge a connection with me in an emotionally profound way—a feat that even the P8 (Performer 8) couldn't replicate. The enigma behind this allure leaves me in awe, compelling me to consider acquiring my own unit simply for the unique emotional resonance that the MagicOne elicits.

Likewise, the MagicOne mirrors its excellence in imaging, achieving pinpoint accuracy within the soundstage. While it doesn't quite reach the level of mind-blowing, it consistently retains an impressive quality. The meticulous precision in the placement of auditory elements adds to the overall allure of the MagicOne's sonic experience.

BASS:​

The bass of the MagicOne takes a subtle approach, leaning towards neutrality. While maintaining a presence of punch, thump, and slam, it refrains from an excessive emphasis that, personally, I find more natural. The bass responds adeptly, making its entrance when summoned. This versatility is particularly notable when traversing through diverse tracks, from the electronic beats of Daft Punk, where the bass shines with enjoyment, to the lighter bass tones of Stevie Wonder, where it seamlessly edges towards a near-neutral quality. In this regard, the MagicOne reveals itself as a highly versatile and almost all-around player in the bass spectrum.

MIDRANGE:​

The midrange of the MagicOne is remarkably transparent and clear, carrying a slight lightness in weight. It strikes a delicate balance, avoiding an overly thin profile that could be deemed lifeless or dull. While texture might be on the smoother side, the true essence lies in the timbre—natural and realistic. Vocals, on the other hand, emerge unexpectedly as a standout feature. They take a prominent and forward position, catching me off guard with their engaging presence. This quality positions the MagicOne as an excellent player for vocal-centric tracks, offering a delightful treat for those with a library primarily dominated by vocals.

TREBLE:​

The treble, at my initial encounter, struck me as somewhat conservative, and that perception holds steady. It's undoubtedly not tailored for the treble enthusiasts seeking bite and grit. However, from my perspective, everything in this domain unfolds in a deliciously smooth manner. Similar to the midrange, the texture may not be top-notch, but it possesses just enough sparkle to prevent any veiling of the sound. This particular attribute is a boon for musicians like myself, relying on IEMs for on-stage performances. The warmer signature and safe treble ensure a safeguard against potential hearing damage, recognizing the distinct demands of live monitoring on stage compared to the nuances of listening to a meticulously mastered track.

COMPARISONS:​

Aful Performer 8​

While it may appear somewhat unfair to draw comparisons, especially given the P8's higher price and premium tier status, let's delve into some key points for the sake of analysis.

• The P8 exhibits a more neutral, dry, and cold sound profile, which, for many, might make it less appealing for the sheer enjoyment of music.
• The P8, while less engaging, benefits from pairing with an analog source or R2R to achieve a more natural sound. Surprisingly, there are instances where I find myself opting for the MagicOne over the P8.
• Although the P8 is easier to drive, it still strongly benefits from additional amping to extract its full potential.
• The P8 exhibits less note weight, making it somewhat challenging to fully appreciate. Despite both leaning toward a neutral sound, the P8 falls short in conveying emotion compared to the MagicOne. However, the P8 emerges victorious in the realm of technicalities.

Simgot EA500​

• The EA500 leans towards brightness and is susceptible to sibilance. While this imparts an abundance of details to the listener, it does come at the expense of being somewhat fatiguing to listen to over extended periods.
• The EA500 boasts punchier and more impactful bass, delivering a superior thump and punch. While the agility is comparable between the two, the EA500 takes the lead if you're seeking a more pronounced and forceful low-end experience.
• The EA500 excels in attack and note definition, maintaining a more natural timbre. However, it's worth noting that the treble might introduce a hint of sheen, and there's a presence of grit and bite on the top end, a quality that can occasionally be lacking in the MagicOne.
• One might assume that the MagicOne, running on a BA, would triumph in technical aspects. While it does hold its ground admirably, the EA500, with its overall speed, keeps pace closely, and the difference between the two is not considerable.
• In the grand scheme, the EA500 comes across as more aggressive, whereas the MagicOne exhibits a somewhat tamer demeanor.

Kinera Idun​

• The Idun ventures much closer to a neutral sound profile, almost approaching a dead-flat response. This characteristic, while occasionally bordering on dryness and boredom for casual listening, positions the Idun as an unrivaled choice for monitoring purposes. Its sound signature serves as a pure reference for stage monitoring, setting it apart in the realm of professional audio.
• The MagicOne steps into the scene with more pronounced and smoother bass, while the Idun, on the other hand, might leave you wondering, "where the heck is the bass?" It's a distinct contrast in the low-end presentation between the two.
• Both the Idun and MagicOne excel in rendering vocals with a forward presentation, but the MagicOne takes it a step further by providing a more engaging and captivating tonal quality.
• In the grand picture, the Idun stands as the go-to choice for monitoring and referencing, meeting the demands of sound producers in search of a flat sound. Meanwhile, the MagicOne, while equally capable for monitoring, introduces a touch of color to the sound compared to the Idun. In terms of technicalities, the two are closely matched. The Idun can occasionally come across as flatter and sterile, while the MagicOne injects a bit of magic, soul, and emotion into the listening experience.

TEST TRACKS:​

Here are some tracks I usually listen to when reviewing:

That’s the way of the World by EWF
Africa by TOTO
The Girl in the Other Room by Diana Kral
Balmorhea album All is wild, All is Silent
Sila by Sud
Smooth Escape by D’Sound
Never too Much by Luther Vandross
P.Y.T by Michael Jackson
Ain’t no Sunshine by Eva Cassidy
Shoot to Thrill by AC/DC
Another one bites the Dust by Queen
Good times bad times by Edie Brickell
Alice in Wonderland by Bill Evans
Ain’t it Fun by Paramore
Redefine by Incubus
Far Away by Nickelback
Lovesong by Adele
Lingus by Snarky Puppy
Harvest for the World by Vanessa Williams
Love Bites by Def Leppard
No Such Thing by John Mayer
As by Stevie Wonder
Whip Appeal by Babyface
Ain’t Nobody by Chaka Khan
Futures by Prep
Landslide by Fleetwood Mac
Every Summertime by NIKI
SADE tracks
AC/DC tracks
Queen tracks


And many more… I always listen to High resolution format, being the least quality 16bit/44khz FLACS be it offline or online.

VERDICT:​

The MagicOne undeniably lives up to its name by conjuring a unique magic that has left the community in a state of bewilderment. Some prominent YouTubers have labeled it as a "normal" sounding IEM, a sentiment I cannot somewhat agree with. For those accustomed to a more energetic sound profile, the MagicOne might indeed come off as too normal or safe. However, from my perspective, I can appreciate its capabilities and conceptual design.

The standout traits that have etched themselves into my audio experience include the forward and engaging vocals, a commendable neutrality, the visually stunning design of the shells, the impressive technical prowess, a natural timbre, and all of this at a price point of $140. Aful is making a bold statement with the MagicOne, and in my opinion, they are on the right path. The sound signature might not be everyone's cup of tea, but for those seeking a mature-tuned IEM with a balanced frequency spectrum or musicians in pursuit of a highly capable monitoring gear for stage performances, the MagicOne emerges as a compelling choice. While it's not without its nuances, it managed to tickle my fancy, earning my high recommendation.

I extend my sincere gratitude once again to my friend and co-reviewer, Eiji Romero, for graciously lending me his unit, allowing me to delve into the intricacies of this IEM. A heartfelt thanks also goes out to Aful and Hifigo for making this review tour possible. Their generosity is genuinely appreciated, and it's through collaborative efforts like these that the audio community continues to thrive.

INTRODUCTION:​

Binary Acoustics is a recent discovery for me, a hidden gem that's just made its debut on my radar. In contrast, Gizaudio shines as a prominent YouTube figure, renowned for in-depth reviews on audio equipment and even venturing into the fragrant world of perfumes. I had the privilege of evaluating his inaugural collaboration with Letshuoer, the Galileo. Now, with this being his second joint effort, it's no surprise that he sings its praises. However, Timmy (Gizaudio) and I don't always see ear to ear when it comes to audio gear. Will the Chopin bridge the gap in our perspectives this time? Let's dive into the review and find out.

FOREWORD:​

• The gear on hand has undergone at least 10-15 hours of use before it was assessed.
• No EQ is ever applied in my reviews.
• For the sake of convenience, I try my best to use a stock setup. Not everyone has access to personal ear tips or cables. If personal ear tips, cables, or accessories are used, you will be notified.
• As I try to be objective, my claims inevitably will be subjective and biased to my personal preference. I cannot stress more that you should take this with a grain of salt for we have different perceptions to sound and what we hear.

SPECIFICATIONS:​

Maker: Binary Acoustics
Model: Chopin
Drivers: 8mm ceramic diaphragm DD + 3 BA drivers
Impedance: 12 ohms
Sensitivity: 122db

PACKAGING & DETAILS:​

The packaging arrives in an elegant shade of gray, presenting a front design that tastefully showcases the name 'Chopin' amidst a graphical representation reminiscent of a frequency spectrum. On the flip side, customary specifications and an auditory treat, a frequency graph, greet those who find pleasure in hearing with their eyes.

With this tour set, I acquired the 4.4mm cable, a choice that sets the stage for this audio journey. But what truly captures the essence of uniqueness is the packaging's innovative approach to unveiling its contents. Instead of the conventional left or right sliding box, the Chopin packaging introduces a refreshing upward slide, adding a dash of novelty to the unboxing experience.

In the sections below, I'll delve into the inclusions, offering brief impressions of each.

CASE:​

The case provided with the Chopin brings a smile to my face. This particular pelican-style case suits the needs of a gigging musician like myself perfectly, as the nature of my work sometimes exposes my gear to a bit of rough handling. An added bonus is the handy IEM pouch included.

In case the case proves too bulky for your smaller bags, opting to carry the IEMs with the pouch alone is a lightweight solution. This pouch serves as a shield against scratches, especially if you need to share pocket space with keys, coins, and other potential culprits for those unwanted marks.

EAR TIPS:​

There's a noticeable scarcity of ear tips in the package, which might raise concerns for some. Ear tips play a crucial role in shaping the sound of IEMs, and the absence of options could potentially lead a consumer to consider returning the purchase. It might just be a matter of experimenting with different tips to unlock the full potential of the IEMs.

Given the $200 price point, this limitation is a drawback. Many competitors in the market offer a more generous selection of tips. The included tips feature a regular bore and exhibit a firmness that suggests a preference for enhancing bass. Personally, I lean towards wide-bore tips, and the limited choices might confine those who aren't well-versed in the art of tip rolling. However, it's worth noting that the provided tips maintain decent quality.

DOCUMENTATIONS:​

Inside the package, you'll find a straightforward documentation that covers essential details regarding the package contents, wearing instructions, storage guidelines, and well-crafted safety advice. The other half of the document is provided in Chinese.

APPEARANCE:​

Crafted using dermatologically-friendly 3D-printed resin, complemented by a stainless steel faceplate, the Chopin embraces an intriguing teardrop-shaped aesthetic. The faceplate seamlessly mirrors the frequency spectrum design found on the packaging. On the left earpiece, you'll find the 'Binary Acoustics' label, while the right proudly displays 'Chopin.'

INTERNALS:​

Within the Chopin, you'll discover a 4-driver hybrid configuration:

- An 8 mm ceramic diaphragm dynamic driver takes charge of the bass.
- A custom-tailored balanced armature (BA) driver orchestrates the midrange.
- Meanwhile, a pair of customized BA drivers harmonize the treble frequencies.

These components are artfully woven together via a dedicated three-frequency RC filter band.

COMFORT:​

Thankfully, the Chopin's comfort during wear is truly praiseworthy, offering an average level of isolation. It fits snugly in the ear and maintains its lightweight feel even during extended sessions. What's truly astonishing is how this unconventional design manages to provide a sense of familiarity. As a musician who spends hours in recording sessions or completes typical 45-minute sets on stage, comfort is paramount. I'm delighted to report that these IEMs didn't cause any discomfort or ear soreness during use.

SOUND IMPRESSIONS:​

For this review, I chose my preferred DAP, the Fiio M11 Plus LTD, as the primary source. I also used the Cayin RU6 as a secondary reference. To maintain consistency, I relied on the stock tips and cable provided with the Chopin. My music sources encompass a combination of my own offline FLAC collection and tunes from my Apple Music subscription.

In terms of technicalities, the Chopin impresses, especially given its sub-$200 USD price range. Accurate imaging, highlighted by excellent instrument separation and layering, stands out. Complemented by an above-average soundstage, the music avoids congestion, and the resolution is commendable.

BASS:​

The Chopin primarily places its focus on the sub-bass realm, delivering a visceral, earth-shaking experience on bass-heavy tracks. However, it's important to note a mid-bass dip, and this can be a polarizing aspect. Undoubtedly, this design choice contributes to excellent bass quality, featuring swift and clean basslines, textured nuances, and a total absence of bleed.

MIDRANGE:​

The midrange of the Chopin offers a pristine quality with a subtle touch of warmth, striking a balanced middle ground. When it comes to male vocals, they exhibit an average presentation, not leaning excessively toward lushness and forwardness, yet maintaining a neutral demeanor without sounding thin or overly distant. On the other hand, female vocals possess a pleasing forwardness, adding an engaging element without venturing into excessive shoutiness or intrusiveness.

Instruments and timbre sound exceptionally natural, which is quite remarkable for a hybrid IEM. There's hardly any discernible influence of BA timbre, and at most, there might be a very faint trace at times, but it's unlikely to significantly impact the overall listening experience. Note weight and density reside on the neutral side, striking a balance that neither feels overly thin nor excessively thick; it's just right.

TREBLE:​

The treble aspect of the Chopin carries a generally smooth character, delivering ample sparkle and liveliness to the music without venturing into harsh or sharp territory, ensuring a fatigue-free listening experience. In the upper treble, there's a touch of airiness, judiciously balanced to create a slightly airy and open ambiance while maintaining a natural tonality.

Details in the treble are readily accessible without excessive emphasis, striking a harmonious balance that doesn't require excessive effort to discern intricate nuances.

COMPARISONS:​

TANGZU FU DU VERSE 1​

In Tangzu Fu Du Verse 1, both IEMs share a treble character that's generally safe, albeit somewhat short on air and sparkle. This makes them a comfortable choice for those sensitive to treble, but less exciting for treble enthusiasts. Fu Du shines with its impressive ear tip options.

Regarding bass, both IEMs offer a comparable amount, but Fu Du distinguishes itself with a mellower transient response and attack. The midrange, on the other hand, exhibits more body and weight. Technical chops are more defined with Chopin.

HIDIZS MS3​

When comparing the MS3 to the IEM under review, there are notable differences. The MS3 boasts a brighter treble with increased air and sparkle, although it may carry a slight potential for sibilance. It's worth highlighting the MS3's tuning nozzles, which enhance its versatility. The bass on the MS3 leans more towards neutrality. Meanwhile, the midrange appears slightly thinner with the MS3. In terms of technical capabilities, both IEMs are closely matched, with the MS3 holding a slight edge. Additionally, the MS3 comes with more extensive inclusions.

TEST TRACKS:​

Here are some tracks I usually listen to when reviewing:

That’s the way of the World by EWF
Africa by TOTO
The Girl in the Other Room by Diana Kral
Balmorhea album All is wild, All is Silent
Sila by Sud
Smooth Escape by D’Sound
Never too Much by Luther Vandross
P.Y.T by Michael Jackson
Ain’t no Sunshine by Eva Cassidy
Shoot to Thrill by AC/DC
Another one bites the Dust by Queen
Good times bad times by Edie Brickell
Alice in Wonderland by Bill Evans
Ain’t it Fun by Paramore
Redefine by Incubus
Far Away by Nickelback
Lovesong by Adele
Lingus by Snarky Puppy
Harvest for the World by Vanessa Williams
Love Bites by Def Leppard
No Such Thing by John Mayer
As by Stevie Wonder
Whip Appeal by Babyface
Ain’t Nobody by Chaka Khan
Futures by Prep
Landslide by Fleetwood Mac
Every Summertime by NIKI
SADE tracks
AC/DC tracks
Queen tracks


And many more… I always listen to High resolution format, being the least quality 16bit/44khz FLACS be it offline or online.

VERDICT:​

The Chopin earns commendation, and I struggle to identify significant flaws given its price point. Yet, I can't shake the feeling that its sonic performance lacks a distinctive edge. While nothing disappointed me, there was also nothing particularly remarkable. The one exception was the bass, which, in my opinion, leaned a bit too heavily for my taste. The Galileo left a lasting mark, but regrettably, the Chopin didn't resonate with me in the same way. Let me clarify, though - the Chopin is a capable offering, but it didn't quite match my sonic preferences. It does come at a reasonable price, and those seeking an engaging IEM with solid technical attributes should definitely consider it. However, if you're in pursuit of something truly unique, the Chopin might not be your answer.

I extend my gratitude to my friend and co-reviewer, Eiji Romero, for lending his unit, and I also appreciate Hifigo for sending us a tour unit of the Chopin. Stay tuned for the next review.

INTRODUCTION:​

In 2023, Simgot had a promising beginning, setting the stage with the acclaimed EA500, which garnered accolades from the audiophile community, myself included. It remains my yardstick for excellence within the $100 price range. Today, I have the pleasure of delving into the EA2000 "Boson," a curious name aside, we'll focus on what truly counts. Simgot has also ventured into the realm of budget-friendly offerings, exemplified by the EW100p, which, I must confess, didn't quite strike a chord with me. Our network of reviewers is currently evaluating various Simgot models, and I'll be exploring more of this brand in forthcoming reviews. Let's embark on this journey, aiming for brevity without sacrificing depth.

FOREWORD:​

• The gear on hand has undergone at least 10-15 hours of use before it was assessed.
• No EQ is ever applied in my reviews.
• For the sake of convenience, I try my best to use a stock setup. Not everyone has access to personal ear tips or cables. If personal ear tips, cables, or accessories are used, you will be notified.
• As I try to be objective, my claims inevitably will be subjective and biased to my personal preference. I cannot stress more that you should take this with a grain of salt for we have different perceptions to sound and what we hear.

SPECIFICATIONS:​

Maker: Simgot
Model: EA2000 “Boson”
Configuration: 1 x Dynamic driver. 1 x Passive radiator
Pin system: MMCX
Termination plug: interchangeable 3.5mm, 4.4mm
FR Response: 10hz - 50khz
Sensitivity: 114db
Impedance: 23 ohms

PACKAGING:​

The EA2000, which we'll affectionately refer to as Boson throughout this review, arrives in a moderately sized black box, as is customary, with substantial dimensions. The box's front proudly showcases a captivating image of Boson, while the sides bear informative labels detailing some of its key features. On the back, you'll find two frequency response graphs illustrating the impact of the tuning plugs on sound, accompanied by a brief explanation of these plugs' various applications.

Slide the inner box to the right, and you're greeted with the phrase, "Salute to the great pioneers of constructing quantum theory." Frankly, the relevance of this phrase eludes me, so let's swiftly move forward. Within the inner box, a division becomes apparent. To the left, we encounter essential documentation: a warranty card and a special message from the CEO. Ah, now the pieces fall into place. After perusing the CEO's message, the reason behind the name "Boson" becomes clear—it's intricately linked to quantum theory and its implications for the dynamic's acoustic quality. While I may not possess the expertise of a scientist, at least I can provide a glimpse into the name's background.

Beneath the documentation lies the protective case, housing the indispensable cable. Now, let's shift our focus to the eastern wing. Boson securely presents itself, with user manuals and accessories tucked below. This compartment holds a treasure trove of ear tips and tuning plugs. It's time to delve deeper into these inclusions and share my impressions of them.

CASE:​

The silvery gray carrying case exudes an undeniable allure. Its petite and charming size, although not ideal for petite bags, strikes a balance that should snugly fit into most standard bags. At the case's base, you'll find the inscription, "Salute to art and science," while the top proudly bears the Simgot logo and name.

What truly captivates is the interior of this case. It ingeniously houses garters tailored to snugly secure the three tuning plugs. The case itself offers a spacious embrace, ensuring that your Boson rests comfortably without a sense of compression. Additionally, an inner net pouch is thoughtfully included, serving as a versatile space for auxiliary items or accessories.

CABLE:​

The cable possesses an air of premium quality, bearing a striking resemblance to the stock cables typically associated with "Bqeyz" products. However, what truly distinguishes this cable is its robust and reliable modular design. The connectors exude a sense of unwavering security thanks to their screw-type mechanism. In terms of aesthetics, the cable adopts a white silvery hue, which imparts a distinct premium vibe. Although a darker color scheme might have been my personal preference, it harmonizes quite fittingly with the Boson's overall presentation.

EARTIPS:​

okay, eartips inclusions is something that Simgot should give more attention. We have two kinds, or is it? Well, with careful examination, and without clear indication what kind of eartips are these, I find the eartips is only of one kind. They look and feel a lot like balanced eartips, medium bore. I like these tips actually, and I’ve encountered them on Tangzu Heyday and some other sets. But yeah, only one kind here. Just like with my qualms with Simgot’s EA500.

TUNING PLUGS:​

Simgot has consistently been a proponent of tuning flexibility. While I may not personally favor excessive tuning options, it's reassuring to see that Simgot provides tuning choices but keeps it to a manageable one or two alternatives. The tuning plugs, in this case, aren't just mere gimmicks; they genuinely impact the sound profile.

In this instance, the difference in sound primarily influences the upper mids to trebles. The blue-indicated plug, positioned at the bottom, imparts a smoother sonic signature. Conversely, the black plug is more inclined towards reproducing intricate details but does introduce a hint of sibilance. Notably, the blue plug boasts a 3.5mm termination, while the black plug offers both 3.5mm and 4.4mm options. Throughout the entirety of this review, I found myself gravitating towards the blue plug for its sonorous qualities.

APPEARANCE:​

Boson's faceplate flaunts an elegant pearly white color scheme adorned with the distinctive Simgot logo. Crafted entirely from metal, the IEM maintains a weight that never becomes cumbersome to wear. Notably, the base section features a ventilation port, likely linked to its passive radiator design. In terms of aesthetics and tactile experience, there's a noticeable resemblance to the EA500, which, of course, shares a common trait—being a magnet for scratches and fingerprints. Preserving this exquisitely crafted IEM demands an extra measure of care.

INTERNALS:​

Boson takes pride in its unique hybrid configuration, featuring a single 12mm dynamic driver that's notably larger than most. As the saying goes, in the world of audio gear, "bigger is better," and this principle often holds true. However, what truly distinguishes Boson is the inclusion of a passive radiator. Unlike traditional drivers, a passive radiator doesn't produce sound on its own; instead, it complements and supports the primary dynamic driver, which in this case is the 12mm DD driver.

The pivotal question here is whether Simgot has effectively and accurately implemented this configuration. We'll delve deeper into this aspect when we discuss the sound characteristics of Boson a bit later in the review.

COMFORT:​

The wearing experience of the Boson IEMs is undeniably praiseworthy. However, it's worth noting that your comfort journey takes a detour, hinging significantly on the eartips you employ. The stock tips, though, strike a chord of stiffness that could leave your ears somewhat fatigued during extended listening sessions. A noteworthy quirk here is the larger-than-usual nozzle, which suggests a softer eartip might be the sage choice.

It's important to acknowledge the uniqueness of ear anatomy, as what suits one may not fit another like a glove. The shell's size, on the other hand, hits the sweet spot, keeping it lightweight for an overall comfortable experience. In sum, comfort is within reach, but do exercise prudence in your choice of eartips to ensure a harmonious listening journey.

SOUND IMPRESSIONS:​

Boson had the pleasure of partnering with my cherished DAP of choice, the Fiio M11 Plus LTD, and the Cayin RU6. This dynamic duo, along with stock tips and cables, set the stage for our audio journey. Throughout this review, the trusty blue-indicated plug was my steadfast companion. As for the musical source, I drew upon my collection of offline FLACs and tapped into the wealth of Apple Music's subscription library.

The sound stage presented by Boson leans towards the intimate end of the spectrum, bringing the vocals almost "in your face," so to speak. However, there's a silver lining here. Boson exhibits an impressive ability to render reverb faithfully, delivering a sense of head space that adds a layer of depth to the listening experience. But, let's not kid ourselves; Boson doesn't quite venture into the realm of a three-dimensional presentation. I'll spare you the overused and somewhat clichéd term "holographic." We audiophiles often find ourselves bombarded with such buzzwords, don't we?

Instrument placement and imaging stand as the crown jewels of Boson's technical prowess. They transport you to new sonic landscapes, unveiling previously unheard nuances in your favorite tracks. In this realm, Boson proudly strides alongside the upper echelons of audio gear, displaying a level of precision that's truly remarkable. Pinpointing individual elements in the music becomes an immensely enjoyable pursuit, elevating the listening experience to a realm of auditory delight.

The timbre that Boson offers is accurate and well-aligned, but it leans towards the thinner side due to its bright sound profile. If we were dealing with a balanced armature (BA) configured IEM, I'd likely label this as "BA timbre." However, we'll delve deeper into this aspect shortly. When it comes to the mids and bass, they exude a remarkable sense of naturalness. However, it's the treble that doesn't quite march in harmony with the rest. I would consider it a minor drawback in an otherwise stellar soundscape. Nevertheless, treble enthusiasts will find ample reason to rejoice with Boson's performance in this domain.

The speed exhibited by Boson's drivers is a notable feat, worth a moment of bragging rights. It approaches the nimbleness often associated with balanced armature (BA) drivers, and I must say, it's among the swiftest dynamic drivers I've had the pleasure of encountering. This exceptional speed becomes a true asset when tackling intricate and bustling tracks, as they are effortlessly executed. The attack and note definition are swift, leaving no room for ambiguity, and delivering a level of precision that's truly commendable.

Boson proves to be an incredibly easy load to drive, making the addition of amplification an optional rather than a mandatory step. Even when connected to a less potent source, you won't find yourself struggling to crank up the volume to achieve a comfortable and satisfying listening experience. It readily adapts to a variety of setups, ensuring that the music flows effortlessly without requiring excessive power.

BASS:​

Boson delivers the fastest and snappiest bass execution, leaving a distinct impression of punchiness and a satisfying slam. With its near-neutral tuning, this clean bass presentation remains precisely contained without any undesirable spillover into the mids. The result is a remarkably clean bass representation that ensures the lines between the bass and mids remain resolutely unblurred. Drum kicks and bass guitars come to life with a tactile and agile presence that's truly remarkable.

If your heart sings for precision and note definition, then Boson is poised to deliver the utmost pleasure. It excels in providing a listening experience where every nuance and detail is meticulously presented, catering to the discerning audiophile's appetite for clarity and precision.

While the bass performance is undeniably commendable, I must admit that, according to my personal preference, the bass presentation leans a tad too much on the side of speed, at times shying away from sounding completely natural. This characteristic could potentially deter those who prioritize a more lifelike and realistic bass reproduction.

MIDRANGE:​

The midrange, which serves as a home for an array of musical elements such as pianos, guitars, drum snares and toms, flutes, woodwinds, and the string section, has a tendency to lean towards a less lush presentation. Personally, I hold a preference for a midrange that's richly textured, and in this regard, Boson certainly excels. However, there's a touch of nostalgia for the lushness, with a desire for more weight and body. In this domain, precision and clarity are Boson's forte, though it does come with a slight compromise on the weightiness of individual notes.

Vocals, following a similar genetic code, exhibit a noteworthy character. Female vocals, in particular, find a special sweet spot in comparison to their male counterparts. There's no trace of recessed qualities here; in fact, they occasionally step a bit forward, which should certainly pique the interest of midrange enthusiasts. However, for those who lean towards a thicker midrange, it might be worth exploring alternative options, as Boson tends to embrace a more vivid and forward vocal presentation.

TREBLE:​

By this point, it becomes evident that Boson leans toward the brighter side of the IEM spectrum. While this is what sets Boson apart and gives it its distinct character, it also comes with a caveat. Irrespective of the tuning plugs in use, the treble can occasionally veer into sibilance territory. Consequently, it's advisable to keep the listening volume on the lower side.

The black tuning plug, while offering a wealth of intricate details, opens the door to a Pandora's box of sibilance issues. I dare say that Boson could prove to be a fatiguing companion for extended listening sessions; it indeed runs a bit hot in terms of treble presentation. The Cayin RU6, with its prowess, manages to tame the treble, making an R2R setup a wise choice for those with more sensitive ears or those who indulge in marathon listening sessions.

Boson, in essence, doesn't cater to the sensitive folks. Instead, it caters primarily to the treble enthusiasts. It's almost as if it were designed with this particular audience in mind.

COMPARISONS:​

Versus Aful Performer 8:​

With both priced at around the $300 mark, the Aful P8 seemed to be a fitting contender for a comparison. Many aspects of the Aful P8 share similarities with Boson. Let's dive into this showdown and see how these two stack up against each other.

• Aful establishes itself as a more neutral contender when it comes to the overall sound profile. This makes it well-suited for monitoring purposes and appeals to those who prefer a flat and balanced signature.
• In contrast, Boson veers towards a brighter and more energetic sound profile, and it does exhibit sibilance tendencies. Its sonic character is characterized by a livelier and more prominent treble presence.
• Surprisingly, the P8's midrange carries more weight and body, creating a contrast with Boson's midrange, which tends to sound thinner in comparison. This difference in midrange presentation could be a notable factor for those with specific preferences.
• In terms of technical prowess, both Boson and the P8 are evenly matched, showcasing similar capabilities. However, Boson takes the lead in the realm of imaging, demonstrating more accurate instrument placement and providing a heightened sense of precision in this aspect.
• Boson, with its more pronounced bass, delivers a punchier and more impactful slam. On the other hand, the P8 treads a similar path but in a slightly milder manner, with a subtle reduction in the intensity of the attack. The difference is discernible but not drastically significant.

TEST TRACKS:​

Here are some tracks I usually listen to when reviewing:

That’s the way of the World by EWF
Africa by TOTO
The Girl in the Other Room by Diana Kral
Balmorhea album All is wild, All is Silent
Sila by Sud
Smooth Escape by D’Sound
Never too Much by Luther Vandross
P.Y.T by Michael Jackson
Ain’t no Sunshine by Eva Cassidy
Shoot to Thrill by AC/DC
Another one bites the Dust by Queen
Good times bad times by Edie Brickell
Alice in Wonderland by Bill Evans
Ain’t it Fun by Paramore
Redefine by Incubus
Far Away by Nickelback
Lovesong by Adele
Lingus by Snarky Puppy
Harvest for the World by Vanessa Williams
Love Bites by Def Leppard
No Such Thing by John Mayer
As by Stevie Wonder
Whip Appeal by Babyface
Ain’t Nobody by Chaka Khan
Futures by Prep
Landslide by Fleetwood Mac
Every Summertime by NIKI
SADE tracks
AC/DC tracks
Queen tracks


And many more… I always listen to High resolution format, being the least quality 16bit/44khz FLACS be it offline or online.

VERDICT:​

As I embark on my third product review from Simgot, a pattern is starting to emerge. It appears that Simgot has a penchant for crafting bright, technically adept sets. In the context of the $300 price bracket, the primary drawback I've encountered with Boson is its tendency towards borderline sibilance. While this characteristic should certainly cater to treble enthusiasts, it may not be the best choice for those with more sensitive ears.

Boson excels in the realm of imaging, providing an impeccable experience, with precision and clarity being at the core of its sonic identity. The passive radiator's influence is palpable in bass-heavy tracks, but it leaves me pondering if it's more of a gimmick, especially given Boson's very near-neutral tuning.

Regardless of whether you opt for the blue or black tuning plugs, the inherent brightness can become fatiguing during extended listening sessions. This bright nature of Boson comes at the cost of sacrificing some timbre in the treble region. While transients are undoubtedly a point of pride, they lean towards the side of being slightly too fast to sound truly realistic.

Boson comes highly recommended for individuals who value technical prowess, favor a neutral tuning, and have a penchant for energetic and clear trebles. It's a set that clearly caters to those with a penchant for a certain type of sonic signature and should satisfy the needs of treble enthusiasts.

I extend my heartfelt gratitude to Simgot and my co-reviewer, Obed Boaz Sanchez, who displayed an exceptional level of patience during the creation of this review, which was admittedly long overdue. I appreciate the opportunity they provided me to explore and experience this adventurous IEM.

INTRODUCTION:​

Greetings, fellow audiophiles! Here we find ourselves once again, delving into the realm of my most cherished hobby, exploring the world of audio gears. Today's spotlight is on a territory that resonates deeply with my passion, and I'm thrilled to present to you the Yanyin Canon II in-ear monitors!

This marks my inaugural encounter with a product from the Yanyin brand, and my anticipation was palpable, as I've been eagerly awaiting the opportunity to audition their IEMs. Yanyin, as a company, is a relative newcomer when juxtaposed with industry stalwarts that have been entrenched in this sonic game for an extended period. Their approach, however, is one that I deeply admire – quality over quantity. In an era where new products flood the market with alarming frequency, Yanyin's dedication to crafting exceptional audio experiences without breaking the bank sets them apart. It's a familiar refrain in the audio world, but let's delve deeper to see if Yanyin truly lives up to this lofty ideal.

Now, let's delve into the nomenclature behind the name "Canon." I took the liberty of inquiring with a representative to decipher the significance of this model name. Interestingly, "Canon" isn't a reference to artillery but rather a nod to the world of canonical music techniques and compositions. Reflecting on my own musical journey, which began with piano lessons at a tender age of 7 to 10, classical music and its intricacies often eluded my understanding. Yet, as I matured in my craft, I came to appreciate the distinct character of canon movements – the art of repetition and the principle of imitation. Now, let's explore how these musical concepts align with the IEM we hold in our hands.

Before I proceed, I'd like to extend my heartfelt gratitude to Yanyin and the generous Joseph Yeung, also known as Joebloggs, for facilitating and loaning the Yanyin Canon II tour unit for us audiophiles here in the Philippines to put under scrutiny. Their trust in our community is profoundly appreciated, and I look forward to unearthing the auditory treasures that the Canon II has in store for us.

FOREWORD:​

• The gear on hand has undergone at least 10-15 hours of use before it was assessed.
• No EQ is ever applied in my reviews.
• For the sake of convenience, I try my best to use a stock setup. Not everyone has access to personal ear tips or cables. If personal ear tips, cables, or accessories are used, you will be notified.
• As I try to be objective, my claims inevitably will be subjective and biased to my personal preference. I cannot stress more that you should take this with a grain of salt for we have different perceptions to sound and what we hear.

SPECIFICATIONS:​

Maker: Yanyin
Model: Canon II
Drivers: 1 x biological diaphragm DD, 4 x BA drivers
Impedance: 27-40 ohms depending on tuning switch
Sensitivity: 112db

PACKAGING & DETAILS:​

Getting straight to the point, the packaging of the Canon II leaves much to be desired. Given its $379 price tag, I had higher expectations. I'm a firm believer that unboxing should be a part of the overall experience, and unfortunately, this aspect fell short. It's worth noting that apart from Yanyin's address and office location, all the text is in Chinese, leading me to speculate that this product might not have been intended for international release. However, this remains my own conjecture.

The design of the unassuming black box is punctuated by a neon green accent, which does resonate with the Canon II's overall aesthetic. Let's delve into the contents and my impressions of each component briefly.

CASE:​

The case, I must say, is a sight to behold, exuding an air of opulence with its leather-like texture and appearance. Adorning the top, the Yanyin logo is elegantly engraved, further enhancing its aesthetic charm. Its rectangular shape ensures ample space for the Canon II without subjecting it to undue compression. Inside, a plush padding graces every nook and cranny, and the light brown color scheme harmonizes seamlessly with your collection of watches, wallets, and compact bags.

A clever addition is the net on the inner lid of the case, providing a cozy abode for small accessories. However, it's worth noting a minor drawback: the case doesn't fully open due to the presence of an internal belt, which somewhat hinders the unveiling of its treasures. But, to be clear, this is a mere nitpick. Overall, the case exudes a sense of premium craftsmanship and sturdiness, assuring that your Canon II is enveloped in protection worthy of its stature.

EAR TIPS:​

Let's discuss the ear tips now. It's worth noting that there's only one type of ear tip included in the package. From my research, these appear to be Yanyin's proprietary ear tips, reputed for their performance. However, I'll be candid; I found these tips to be somewhat on the stiff side, which doesn't entirely align with my personal preference for a softer feel.

Nevertheless, I must acknowledge that from a sonic perspective, these tips seem to deliver benefits that align nicely with my auditory preferences. For the sake of this review, I've opted to stick with the stock ear tips, despite my inclination toward a softer alternative.

DOCUMENTATIONS:​

Now, let's address the paperwork that accompanies the Canon II. A bundle of documentation appears to be sealed in an envelope, and regrettably, the seal is so tight, and as this is a tour unit, I did not want to rip it open. I was told by our good friend from Yanyin that they are indeed documents that were bilingual.

Additionally, there's another set of instructions with some images of the switches and notes about it. This cardboard paper is labeled "Product Characteristics". For the sake of convenience, I have the translation for you directly from Yanyin. Good for us eh?

"The new generation Canon II employs an all new, more universally comfortable earmold. The driver complement comprises a bio-cellulose 10mm dual-chamber DD and 4 individual BAs (not any twin BAs) in 1DD+2BA+2BA 3-way configuration both in terms of crossover electronics and acoustic tubing. The crossover has been optimized compared to the Canon I for improved bandwidth and greater performance e.g. listening to complex orchestral performances and OST soundtracks, exhibiting the instruments’ attack and decay more realistically, portraying the works’ spatiality better. The crossover has been optimized to enhance bass impact while cleaning up the mids. As the tuning for the mids and treble has matured on this model while bass level remains the main point of contention among audiophiles, the switches have been streamlined to 2, both in charge of bass gain. The bass gain may be adjusted via the switches to provide different tonality for different listening / music needs, with both switches conveniently functioning equally in terms of the shape and level of bass boost when flicked up compared to down, for quick easy adjustment on the fly."

Click to expand...

APPEARANCE:​

The Canon II's visual appeal is undeniable, boasting craftsmanship that's both robust and artistically conceived. Its design exudes a lively color palette with vibrant neons, where green, teal, and purple playfully dance in striking horizontal stripes.

On the right unit, the Yanyin logo makes its presence felt,

while the left unit proudly bears the label "Canon."

The placement of the tuning switches, positioned near the base and clearly marked "ON" alongside another symbol whose meaning eludes me, adds a touch of intrigue.

At the base of each earpiece, you'll find serial number indicators and carefully placed vent holes, a thoughtful addition for extended listening sessions. These vent holes are distinguished by the colors red and blue, intuitively indicating whether it's the left or right earpiece. In sum, the Canon II's aesthetics have exceeded my expectations, surpassing even my TOTL entry, the Unique Melody MK3, which leans towards a more minimalistic design. Notably, the use of resin materials has resulted in a comfortable wearing experience, devoid of any discomfort or irritation.

CABLE:​

While it may not boast the bespoke craftsmanship of boutique cable makers, it certainly gets the job done. The cable's quality aligns with its price point, offering a serviceable but unremarkable experience. It does bear a resemblance to the cables often paired with BQEYZ IEMs, if you're familiar with those.

There are no significant gripes to be had, nor are there any standout features. The cable strikes a balance in terms of weight and thickness, providing an overall average experience. To get into the technicalities, it features a 2-pin, 0.78mm termination and is constructed from graphene single crystal copper with silver plating – quite a mouthful, I must say.

On a personal note, I can't help but wish for a modular cable option at this price range, but I understand that such preferences can vary widely among users. A little rant now and then is only natural!

COMFORT:​

The Canon II's fit and comfort level are truly exceptional, ranking among the best I've experienced. I can attest to the fact that I've enjoyed marathon listening sessions with these IEMs, and they've never caused a hint of discomfort or soreness. Despite falling into the medium-size category, which may raise concerns for some, as an Asian user, I found the size to be perfectly accommodating and not at all bothersome.

One notable feature is the exceptional isolation achieved with the stock ear tips. They create a snug fit that leaves no room for concern about them slipping off my ears during use. This level of secure fitment further enhances the overall listening experience.

TUNING SWITCHES:​

I must admit, I'm not typically a fan of tuning switches, but I'm willing to make an exception for the Canon II. Much like the Dunu SA6 MK2, I find myself appreciating fewer options more. When faced with an array of endless choices upfront, it tends to overwhelm me. The good news is that the Canon II keeps it simple, offering a mere four tuning options, or perhaps, just three. To clarify, the first switch is labeled "ON," while the second features a mysterious symbol that I can't quite decipher. So, when I refer to "up/down," it means adjusting the "ON" switch up and the symbol switch down. Let's keep it as straightforward as possible.

- **For More Bass (Up/Up):** This setting caters to those with an appetite for amplified bass. We'll delve into the quality of this bass later, but it's safe to say that it can satisfy the cravings of mild to moderate bass enthusiasts.

- **For Detail Enthusiasts (Down/Down):** If you're seeking a more neutral presentation that accentuates midrange and treble details by taming the bass, this configuration is the way to go.

- **Balanced (Up/Down or Down/Up):** This happens to be my personal favorite, as it maintains thumpy, punchy, and engaging lows while preserving details.

Now, originally, there seemed to be four tuning options, but as I and other co-reviewers discovered, there's no noticeable difference between "up/down" and "down/up." So, for all practical purposes, you have three tuning options to explore. Additionally, it's important to note that these tuning options primarily affect the low frequencies. Here’s a measurement from our friend Baskingshark to shed more light on the Canon II's sonic profile.

SOUND IMPRESSIONS:​

The Canon II was carefully matched with my trusted audio sources, including the Fiio M11 Plus Ltd, Cayin RU6, Centrance Dacport HD, and Fiio K9. All connections were made using single-ended terminations. This ensemble was thoughtfully coupled with my extensive collection of offline FLACs, along with subscriptions to Apple Music and Qobuz.

TECHNICALITIES:​

The Canon II envelops us in a soundstage that, while not quite reaching the realm of holographic presentation, offers a commendable sense of depth, height, and width. In this facet, the Canon II's performance surpasses the ordinary and aligns with the expectations of discerning audiophiles.

When it comes to imaging, this IEM shines as its most distinguished characteristic. It breathes life into every element of your music, affording them the luxury of space while portraying them with unparalleled clarity, precision, and pinpoint accuracy. The ability to delicately layer elements and unravel intricate chordal harmonies is one of its standout features. This attribute proves to be a boon for both vocalists and instrumentalists, allowing them to revel in the intricacies of their craft.

Timbre, often a challenging aspect for hybrid-configured IEMs, emerges as a triumph for the Canon II. It strikes the rare balance of tonal correctness, avoiding any semblance of artificiality in its rendering of instruments and vocals. Everything resonates with a natural and faithful rendition, a testament to the Canon II's exceptional sonic integrity.

Now, let's delve into coherence. During my initial listening sessions with the Canon II, I encountered sporadic moments where certain elements in the music felt slightly out of place or, to put it more precisely, out of sync. However, these occurrences were exceptionally rare. Upon revisiting those particular segments of tracks, the issue seemed to vanish, though not entirely. It's worth noting that this facet could benefit from some refinement. Encouragingly, after a week of usage, this anomaly significantly diminished, hinting at the potential for further improvement. It's a facet I felt compelled to highlight, not as criticism, but as constructive feedback for Yanyin's consideration.

Lastly, in terms of driver speed, the Canon II displays remarkable agility and responsiveness. It effortlessly tackles even the most complex and intricate musical compositions, confidently maintaining pace with the intricate demands of audiophile-grade tracks.

BASS:​

Now, we come to the star of the show – a revelation for those who revel in a bass-forward sonic profile. The Canon II isn't for the purists seeking true flat or neutral sound signatures; instead, it embraces and accentuates the low end. When configured with the up/up switch setting, it caters to the cravings of bassheads, delivering a bass response that's nothing short of remarkable.

This bass is substantial, substantial to the point of being downright chunky and meaty, packing a weighty punch that immerses you deeply in your music. It's nearly impossible not to be swept away by its presence, adding an engaging layer to every note and rhythm. What truly sets it apart, however, is the level of cleanliness and precision it brings to bass reproduction. To be candid, I found myself yearning for this caliber of bass presentation when comparing it to my Mest MK3 – it's simply that exceptional.

And here's the icing on the cake – you're not confined to a bass-dominated soundscape. By simply switching to the down/down configuration, you unlock a realm where midrange and treble details shine with newfound clarity. Whether you're delving into rock, pop, reggae, funk, disco, trance, house, soul, jazz, or orchestrations, the Canon II's bass is unequivocally addictive. It adds an intoxicating layer to your music that's hard to resist.

MIDRANGE:​

Close on the heels of the exceptional bass performance, we find the midrange claiming a well-deserved second spot. It proudly wears the badge of tonal correctness and propriety, showcasing a richness that avoids any hint of thinness. Among hybrid IEMs, the Canon II boasts one of the finest midrange presentations in terms of timbre. It breathes life into vocals, creating an engaging, pristine connection that tugs at the heartstrings. Now, as an instrumentalist, my heart leans more toward instruments than vocals, so let's delve into that realm.

Pianos, in their lush, rich, and weighty glory, take center stage. Guitars, on the other hand, are a tapestry of textures and details, unraveling their sonic stories with finesse. Organs carry that desirable raspiness, while rock guitars wield a gritty, biting edge. Be it male or female vocals, neither takes precedence over the other, ensuring an equitable treatment for both. For those who revel in the mid-centric realm, the Canon II offers a delectable treat.

Although I've had the pleasure of testing some IEMs that excel in the midrange department, the Canon II has managed to impress me in this facet. The only IEM that currently outpaces the Canon II in terms of midrange prowess is none other than the illustrious Dunu SA6 MK2, a comparison we'll delve into later.

TREBLE:​

Describing the Canon II's treble, I'd use words like smooth, buttery, and inoffensive. It manages to strike a balance that avoids the pitfalls of sounding veiled or overly warm. While maintaining a pleasant tonal balance, it still manages to convey details with an airy quality, although I find myself yearning for a bit more in this department.

Cymbals retain their gratifying presence with a moderate bite, though some micro details at the highest frequencies are slightly less pronounced. When it comes to brass sections and boisterous trumpets, the Canon II continues to offer a satisfying rendition. Even the most demanding sax altissimo notes, those soaring above the norm, are portrayed with impressive detail without ever veering into sibilance.

In the high registers where pianos often dance, the Canon II delivers exceptional details without overly accentuating them in a manner that might leave treble enthusiasts craving more. It walks the fine line admirably, assuring those with sensitive ears that it will cater to their delicate auditory faculties with finesse.

COMPARISONS:​

Aful Performer 8​

The P8 certainly brings a more neutral disposition to the table, characterized by its more defined attack and faster transients. It can boast a technical advantage, albeit by a modest 10%. However, the P8 does have a downside – it leans towards a slightly dry sound signature, which may not resonate with those seeking engagement and an emotional connection in their music.

This is where the Canon II shines, infusing music with a lifelike quality, soul, and an emotional depth that draws listeners in. While, for my critical musical pursuits, the P8 might take the lead, when it comes to forging a genuine connection with one's music, which should be the essence of the musical experience, the Canon II unquestionably takes the crown. It's a choice I'd make any day for that authentic and emotionally resonant musical journey.

Softears Studio 4​

If the Canon II offers a touch of warmth in its treble, the Studio 4 takes warmth to the next level. It's warm to the point where the sparkle and openness you might expect from the treble are somewhat compromised. The Studio 4 was meticulously designed for on-stage performances, where a myriad of sonic variables comes into play. A great deal hinges on the sound engineer's ability to sculpt the overall sound of the band. Softears, with the Studio 4, has taken measures to safeguard us, the musicians, from the unexpected and often loud impulses of our bandmates. This protective measure gives rise to the warm signature.

Both the Canon II and Studio 4 exude a sense of organic musicality. However, the Studio 4 holds the upper hand in certain technical aspects like separation and layering. Nevertheless, it's worth noting that both IEMs are on equal footing and share the same boat, each possessing its unique set of strengths and characteristics.

Dunu SA6 Mk2​

The SA6 mk2 still retains its throne when it comes to orchestral tracks and delivering an organic musical experience. While the SA6 MK2 edges slightly towards warmth, it offers a minute difference that sets it apart. Additionally, the SA6 MK2 and Canon II provides a bass boost feature for enhanced engagement. However, when it comes to bass presentation, the SA6 mk2 maintains a more neutral stance.

In terms of technical prowess, the Canon II takes the lead, boasting superior imaging, clarity, precision, and accuracy. This is where it shines, eclipsing the SA6 MK2 in these aspects. Given the price difference, with the SA6 MK2 being the more expensive option, I find myself once again leaning towards the Canon II. The discrepancy in their musicality and timbral accuracy is so minor that I'm more than willing to make that sacrifice for the Canon II's compelling performance.

TEST TRACKS:​

Here are some tracks I usually listen to when reviewing:

That’s the way of the World by EWF
Africa by TOTO
The Girl in the Other Room by Diana Kral
Balmorhea album All is wild, All is Silent
Sila by Sud
Smooth Escape by D’Sound
Never too Much by Luther Vandross
P.Y.T by Michael Jackson
Ain’t no Sunshine by Eva Cassidy
Shoot to Thrill by AC/DC
Another one bites the Dust by Queen
Good times bad times by Edie Brickell
Alice in Wonderland by Bill Evans
Ain’t it Fun by Paramore
Redefine by Incubus
Far Away by Nickelback
Lovesong by Adele
Lingus by Snarky Puppy
Harvest for the World by Vanessa Williams
Love Bites by Def Leppard
No Such Thing by John Mayer
As by Stevie Wonder
Whip Appeal by Babyface
Ain’t Nobody by Chaka Khan
Futures by Prep
Landslide by Fleetwood Mac
Every Summertime by NIKI
SADE tracks
AC/DC tracks
Queen tracks


And many more… I always listen to High resolution format, being the least quality 16bit/44khz FLACS be it offline or online.

VERDICT:​

A bass presentation that aligns seamlessly with my penchant for pure music enjoyment, a midrange that oozes with lushness, and a treble that, while inoffensive, manages to shine and convey intricate details – this trifecta is an irresistible combination that I simply can't get enough of. Yanyin has admirably achieved and executed their vision with the Canon II. It stands as a testament to top-tier audio quality wrapped in a refreshingly practical price tag.

For me, the litmus test of any gear is its ability to take me on a musical journey. Even as we converse, I find myself lost in the Canon II's spell, often stopping in my tracks to savor the music it unfolds. This IEM is an all-rounder, effortlessly adapting to any genre it encounters. While I did encounter a minor hiccup in coherence initially, rest assured, that anomaly dissipated with prolonged exposure to the Canon II.

This set strikes a near-perfect balance between engagement and technical prowess, a rarity in the audio world. If you have $379 to spare, I wholeheartedly recommend the Canon II; it's a must-have for audiophiles and musicians who take their craft seriously. It confidently punches above its weight, rivaling IEMs that bear price tags upwards of $500. As an added bonus, the tuning switches provide a genuine avenue for tailoring the Canon II to your precise preferences – a feature that proves far from gimmicky.

My heartfelt gratitude once again to Yanyin and Joseph Yeung for granting me the opportunity to experience this tour unit. I will undoubtedly miss this IEM, and if circumstances allowed, I'd eagerly add it to my collection without a moment's hesitation.

PRICE: $379​

INTRODUCTION:​

Hello fellow audiophiles, I'm thrilled to kick off this review with a little heads-up. Life, as we all know, has a way of keeping us on our toes. Balancing the demands of a pregnant wife in need of constant care, nurturing a new talent in my band, meeting tight recording deadlines with the pressure to churn out two tracks per week, all while juggling my beloved hobby – it's a symphony of chaos. As a result, I've decided to switch gears from my usual lengthy reviews to concise, no-nonsense mini-reviews. I'm serving up only the juiciest bits, leaving out anything that doesn't hit the audiophile sweet spot.

Today, I'm diving into the sonic realm of the Hidizs MS3, and I want to extend a heartfelt thank you to my friend and fellow reviewer, Eiji Romero, for hooking me up with this unit through Hidizs. The MS3 has been making waves in the audio community, and my take on it aligns with the chorus of praise it has received. So, let's cut to the chase and stick to that brief prelude I just gave you.

FOREWORD:​

• The gear on hand has undergone at least 10-15 hours of use before it was assessed.
• No EQ is ever applied in my reviews.
• For the sake of convenience, I try my best to use a stock setup. Not everyone has access to personal ear tips or cables. If personal ear tips, cables, or accessories are used, you will be notified.
• As I try to be objective, my claims inevitably will be subjective and biased to my personal preference. I cannot stress more that you should take this with a grain of salt for we have different perceptions to sound and what we hear.

SPECIFICATIONS:​

Hidizs Mermaid Series IEMs
Model: MS3
Configuration: 1DD(10.2mm dual magnetic circuit, dual cavity) + 2BA drivers (Knowles SWFK-31736)
Material: CNC formed all aluminum alloy cavity
FR Response: 20hz-40khz
Sensitivity: 112db
Impedance: 18 ohms

PACKAGING:​

The Hidizs MS3 arrives in an understated matte black packaging, sized somewhere between compact and moderately proportioned, boasting a substantial thickness. The design exudes a sense of minimalistic elegance. On the rear, you'll find essential information that suffices even for those embarking on a blind purchase. However, one notable omission is the absence of a frequency graph, which would have been music to the ears of those who revel in deciphering sonic signatures from visual representations.

Cable:​

The cable accompanying the Hidizs MS3 is a testament to quality, crafted from high-purity oxygen-free copper, featuring a 4-strand mixed braiding, and boasting a generous length of 1.2 meters.

As a devoted audiophile with a penchant for warmer sound signatures, I must say, I have a soft spot for copper materials. This cable carries a weight that resonates with my sonic sensibilities, all while ensuring a comfortable listening experience. Its robust construction left an indelible mark on me, providing the reassurance that even during a hectic commute, this cable won't falter or snap under pressure.

The termination plug, in my case, is a 3.5mm connector, and the connection utilizes the industry-standard 0.78mm 2-pin configuration. Adding to its allure, the cable sports a lustrous dark brown chrome finish, exuding an elegant charm that perfectly aligns with my personal audio aesthetics.

Pouch:​

I fully acknowledge that when a product like the Hidizs MS3 comes with an asking price of approximately $120, cost-cutting measures are inevitable. In this case, it's evident that they've made concessions in the accessories department. Instead of an elaborate case, you receive a practical pouch. It's a trade-off that enhances portability; this pouch effortlessly slips into a pocket or a small bag, albeit at the cost of comprehensive protection.

The materials chosen for this pouch are commendable, featuring quality synthetic leather and a snappy metal mechanism that securely cradles your cherished MS3. However, I'd like to emphasize a crucial consideration – be cautious about where you stow it within your bag. Despite the pouch's merits, the softness of its material means that your precious IEMs could still be susceptible to damage if exposed to excessive pressure.

Ear Tips:​

Hats off to Hidizs for their generous offerings in the ear tips department – a triple whammy of variety! Now, that's what I call flexibility. They've truly outdone themselves in this regard. The ear tip ensemble, available in S, M, and L sizes, covers the vocal, bass, and balanced preferences. What's even more commendable is that these tips are not exclusive to the pricier MS5; they grace the MS3 as well. It's a testament to Hidizs' commitment to delivering a consistent experience across their lineup, irrespective of the price gap.

Despite the generosity of these stock tips, I found myself gravitating towards my personal favorites, the Final Audio type E ear tips. While the stock tips are undoubtedly of good quality, they have a somewhat generic character that didn't quite align with my discerning taste.

Tuning filters:​

I must confess; I'm not one to dabble in the myriad of tuning options. Give me one choice, and I'll stick with it. However, I appreciate that for many audiophiles, these options aren't just gimmicks; they can genuinely impact the listening experience. In the course of this review, I remained steadfastly loyal to the gold (balance) filters.

Graph courtesy of @baskingshark Thanks mate!

But for those of you who relish the notion of tweaking and enhancing your sound, Hidizs has you covered with the red filter for a bass boost and the silver filter for an elevation in treble. These filters open up a world of sonic possibilities, allowing you to tailor your MS3 to your exact preferences.

Appearance:​

The Hidizs MS3 offers a visual experience that's both elegant and sophisticated. Its matte finish prompts my imagination to conjure images of mermaid scales, a shimmering and mythical aesthetic that seems as if I've glimpsed it in reality. To complement this mesmerizing design, a rose gold border encircles the faceplate, a choice of color that transcends gender boundaries and can make a striking fashion statement for both men and women. On the flip side, the base plate maintains an understated matte finish, devoid of intricate designs, yet exuding an aura of sheer elegance.

COMFORT:​

Wearing the Hidizs MS3 is a seamless experience in terms of both comfort and ease. Achieving a secure seal is a breeze, thanks to their lightweight construction that feels practically weightless once they grace your ears. The ear hooks on the cable embrace my ears with a gentle touch, ensuring they stay in place without causing any discomfort. Moreover, the cable's weight never raised any concerns during my listening sessions, allowing me to fully immerse myself in the music even with extended listening hours.

INTERNALS:​

The inner workings of the Hidizs MS3 truly earn my commendation, especially the inclusion of Knowles drivers. For those well-versed in the world of balanced armature (BA) drivers, Knowles has secured a prestigious position. But it's not just BA drivers that steal the spotlight here; the dynamic driver (DD) deserves a mention too. With a mere 0.2mm extension, it gains a tad more room to vibrate, and I firmly believe this minor tweak significantly influences the sonic character. For those craving a more in-depth dive into the specifics of these drivers, you can always revisit the 'specification' segment for a more detailed breakdown.

SOUND IMPRESSIONS:​

Here we stand at the heart of this review, where we delve into the auditory landscape of the Hidizs MS3.

In my pursuit of auditory excellence, I partnered the MS3 with my tried-and-true sources, including the Fiio M11 plus LTD, Cayin RU6, Centrance Dacport HD, and Fiio K9, all linked via the stock 3.5mm cable, adorned with my trusty Final Audio Type E tips.

Starting with the soundstage, it doesn't evoke a sense of claustrophobia, yet it doesn't venture into the realm of extraordinary spatiality either. The MS3 gracefully offers a 2D presentation rather than the immersive 3D experience some audiophiles crave.

When it comes to imaging, the MS3 hits the mark; every sonic element finds its rightful place within the soundscape, making it easy to trace their movements across the stage. While it's undoubtedly a desirable quality given its price point, it doesn't ascend to the ranks of top-tier or even midrange killers.

Timbre remains predominantly faithful to realism, with very few flaws to pinpoint, considering the MS3's hybrid configuration. If I were to nitpick, a mere 5% deduction could be attributed to an occasional hint of unnatural thinness.

Speed and transients display remarkable agility, never succumbing to sluggishness, even when confronted with complex and intricate compositions. They navigate busy tracks with ease.

Separation deserves recognition, providing instruments with the breathing room they need. Once again, it doesn't reach the stratospheric levels of top-tier gear but can undoubtedly be an enlightening experience for the casual listener.

Detail retrieval stands at a commendable medium-high level. While there are no glaring flaws, it doesn't quite venture into the realm of extraordinary detail retrieval. Perhaps this is merely a reflection of my exposure to higher-tiered audio equipment.

So, does the MS3 outperform its asking price? Perhaps it does, but let's continue onward, for the true magic lies in its tuning.

BASS:​

The bass response of the Hidizs MS3 is nothing short of impressive, delivering a punchy, tight, and snappy performance that commands attention with unwavering authority. It undeniably adds a touch of color to the sonic palette, making it an enticing option for those who lean towards the mild end of the basshead spectrum. However, for those seeking a more neutral audio journey, you might want to explore alternative options.

When I immersed myself in tracks from the likes of Stevie Wonder, Bobby Caldwell, and the Alan Parsons Project, I couldn't help but notice the MS3's knack for injecting an extra dose of vitality into the music. It shines brightly in its ability to amplify the engagement factor, enticing listeners to groove and sway to the rhythm. Even within my primary genre, jazz, the MS3 managed to captivate me. While it may not deliver an utterly faithful representation of what a jazz track should sound like, it imparts a flavor that's incredibly easy to embrace and desire.

The MS3 also works its magic with orchestral compositions, bestowing them with a fuller, more luxurious richness. The rumbling depths of contrabasses, cellos, and low-frequency rumbles offer a truly satisfying listening experience. As for rock enthusiasts, tracks from the likes of RATM, Linkin Park, and Red Hot Chili Peppers receive an added punch that's practically an invitation to start headbanging.

MIDRANGE:​

The upper mids of the Hidizs MS3 offer a rich, full, dense, and utterly non-offensive listening experience. It's a welcomed departure from the challenges I encountered with the MS5, which, at a higher price point (around $400), struggled in this sonic territory. Fortunately, the MS3 has been cured of that particular affliction. My jazz and orchestral tracks truly came to life with the MS3 in the equation. Pianos exhibited newfound fullness, string sections bathed in a luscious sonic landscape, Rhodes keys delivered creamy textures, and guitars, especially acoustic ones, carried an added weight that enriched their timbre.

Listening to the various guitars in the iconic 'Hotel California' by the Eagles became an absolute delight. In comparison to more neutral sets, which can sometimes introduce a dry presentation, the MS3 bestows its midrange in a 'wet' manner. This approach is both inoffensive and maintains a delightful touch of smoothness while never compromising on the finer details and nuances that discerning audiophiles crave.

TREBLE:​

The treble performance of the Hidizs MS3 is a study in being inoffensive, steering clear of sibilance, and boasting a commendable reach without ever teetering on the precipice of piercing and discomfort. The MS3 confidently maintains its energy in the upper registers, never veering into the territory of thinness. While cymbal strikes could benefit from a touch more bite, grit, and raspiness, the MS3 strikes an admirable balance, catering to both treble enthusiasts and those with more sensitive ears. It's worth noting that a friend of mine found these a tad spicy during his trial with the MS3, so I'd recommend that individuals with heightened sensitivity audition them first to ensure they can embrace this flavor of spiciness.

When it comes to rock genres and tracks with bright mixes, the MS3 truly shines, thanks to its extended treble reach. My Earth, Wind & Fire tracks, particularly 'Boogie Wonderland' and 'September,' burst forth with an abundance of energy, offering a satisfyingly entertaining listening experience.

COMPARISONS:​

versus Tangzu Fudu​

This matchup is indeed a thrilling encounter, as these two IEMs share the same driver configuration and fall within a very similar price range.

When it comes to tuning, the Fudu takes a path that exudes warmth and gentleness, catering especially to those with sensitive ears. What pleasantly surprised me was that despite this warmer signature, the Fudu manages to excel in separation and imaging, qualities often traded off by such signatures. On the other hand, the MS3 ventures into spicier territory in the upper frequencies, embracing an energetic sound signature with snappier transients. If precision and lively dynamics are your calling, then the MS3 stands as the prime choice. However, if you seek a more laid-back, relaxed listening experience, the Fudu beckons as the preferred option.

In the realm of accessories, it's a tale of reliability versus premium touches. The MS3 boasts a more dependable cable, while the Fudu shines in its inclusion of high-quality ear tips. I attribute this to Tangzu's introduction of the new Sancai ear tips and Fudu's collaboration with Divinus.

versus Seeaudio Rinko (to be updated)​

TEST TRACKS:​

Here are some tracks I usually listen to when reviewing:

That’s the way of the World by EWF
Africa by TOTO
The Girl in the Other Room by Diana Kral
Balmorhea album All is wild, All is Silent
Sila by Sud
Smooth Escape by D’Sound
Never too Much by Luther Vandross
P.Y.T by Michael Jackson
Ain’t no Sunshine by Eva Cassidy
Shoot to Thrill by AC/DC
Another one bites the Dust by Queen
Good times bad times by Edie Brickell
Alice in Wonderland by Bill Evans
Ain’t it Fun by Paramore
Redefine by Incubus
Far Away by Nickelback
Lovesong by Adele
Lingus by Snarky Puppy
Harvest for the World by Vanessa Williams
Love Bites by Def Leppard
No Such Thing by John Mayer
As by Stevie Wonder
Whip Appeal by Babyface
Ain’t Nobody by Chaka Khan
Futures by Prep
Landslide by Fleetwood Mac
Every Summertime by NIKI
SADE tracks
AC/DC tracks
Queen tracks


And many more… I always listen to High resolution format, being the least quality 16bit/44khz FLACS be it offline or online.

VERDICT:​

When Hidizs unveiled the MS5 a month or two ago, it felt like a leap of faith. Truth be told, the only aspect that truly resonated with me regarding the MS5 was its technical prowess.

Personally, I view the MS3 as a redemption story. This should have been the MS5's tuning from the beginning. Even in terms of aesthetics and build quality, my preference leans toward the MS3. It's truly astonishing to discover hybrids in this price range delivering performance that can rival IEMs twice their price.

The MS3 is by no means a challenger to the top-tier IEMs nor does it claim to topple midrange champions. As I concluded this review, I switched to my midrange benchmark, the Aful P8, and immediately noticed a discernible difference in performance. However, within their respective price range, the MS3 stands as a commendable contender worthy of both praise and recommendation. Its engaging and punchy lows, mids exhibiting minimal BA timbre, impressive top-end energy (although treble-sensitive individuals should exercise caution), and quick-footed transients are among its standout facets. These characteristics had my toes tapping and delivered an enjoyable listening experience.

I have one Hidizs product in my collection, the AP80 Pro, my first DAP, which was highly regarded as one of the best portable DAPs in its price bracket. When I initially reviewed the MS5, I couldn't help but wonder if Hidizs should have stuck to their DAPs. However, the MS3 has proven me wrong in the most delightful way. I must commend Hidizs for their responsiveness and ability to embrace feedback constructively, resulting in the birth of a wonderful, commendable, and affordably priced product that I can confidently recommend to fellow musicians and audiophiles alike.

I want to extend my sincerest gratitude to Eiji Romero for orchestrating this tour and to Hidizs for their generous support. I hope you find this review helpful, and as always, remember to take it with a grain of salt. Until next time, cheers!

INTRODUCTION:​

Alright, my fellow audio adventurers, buckle up and prepare for another riveting review journey! Here we are again, diving into the world of Tangzu goodies. But hold onto your headphones, because this time I'm skipping the company backstory - trust me, we've had our share of Tangzu tales. Instead, let's plunge headfirst into the main act, none other than the star of today's show: the FU DU Verse 1! Yep, that's right, a delightful collaboration with the mysterious Divinus.

Now, picture this: I've just laid hands on the Fudu, practically a few heartbeats ago. And let me tell you, the auditory enchantment that's currently serenading my ears is on a whole new level of WOW. So what's a music aficionado to do? Well, naturally, I had to put pen to paper (or fingers to keyboard) pronto to capture all the warm fuzzies the Fudu's giving me.

Hold onto your ear tips, because here comes the tech stuff: the Fudu is riding the hybrid train, sporting 1 dynamic driver and 2 balanced armatures. Oh, the nostalgia! My audio journey began with a hybrid beauty, the Bqeyz KC2. It's like my heart knew from the start that hybrids were my jam, a preference that's still grooving strong even after more than 24 months of sonic exploration.

A quick pause for a special note: As much as I relish weaving intricate tapestries of words and explanations in my reviews, I'm taking a pit stop here to serve up a dose of brevity. Why, you ask? Well, life's tossing a whole symphony of responsibilities my way: a bun in the oven (yep, you heard that right, a little audiophile in training), a weekly serenade commitment with my band, juggling house recording sessions, and, of course, a never-ending battle with household chores. With my listening window being tighter than a drum, I'm not exactly setting speed records for consecutive reviews.

Alright, let's raise the curtain on the main event, shall we? Grab your sonic snacks, folks, because we're about to set this show in motion!

FOREWORD:​

• The gear on hand has undergone at least 10-15 hours of use before it was assessed.
• No EQ is ever applied in my reviews.
• For the sake of convenience, I try my best to use a stock setup. Not everyone has access to personal ear tips or cables. If personal ear tips, cables, or accessories are used, you will be notified.
• As I try to be objective, my claims inevitably will be subjective and biased to my personal preference. I cannot stress more that you should take this with a grain of salt for we have different perceptions to sound and what we hear.

SPECIFICATIONS:​

Brand: Tangzu
Model: Fu Du verse 1
Drivers: 1 x 10mm DD, 2 x Balance armatures
Sensitivity: 106db
Impedance: 16 ohms
FR range: 20hz - 20khz
Plug type: 4.4mm
Termination plug: 0.78mm 2-pin

PACKAGING:​

Picture a sleek, matte black rectangular box resting in landscape mode. It's the epitome of simplicity, exuding a sense of mystery and professional charm. As you turn to the back, you'll find the specs lined up like eager notes on sheet music.


But that's not where the excitement ends! Slide open the inner box, and there it is – another layer of minimalistic elegance awaiting your attention.

Right at the center, the words "Tangzu x Divinus" stand proud, making their statement without any flashy magnetic gimmicks. A gentle shake is all it takes for the lower part of the box to gracefully join the party.

Now, let's venture deeper into this packaging treasure trove.

Imagine a trio of goodies, each with its role to play. On the left, the ear tips sit patiently, ready to make their musical debut. In the center, the stars of our show, the Fu Du, stand ready to deliver their sonic performance. And on the right, completing the ensemble, we have the case and cable, ensuring we're equipped for our sonic explorations.

EAR TIPS:​

Let's dive into the world of ear tips, where Tangzu has laid out a generous feast for our sonic senses. And guess what? They've gone above and beyond by skipping the generic fare and serving up two distinct flavors. It's like a buffet for our ears.

First up on this menu of musical delights, we've got the Tang Sancai ear tips. Oh, how I adore these gems! It's like they've struck a balance between being a solid backbone and delivering a punch of energy to the lows. And that's not all – they bring a dash of sonic landscape improvement to the party. Talk about a tip that knows how to groove!

But wait, there's more. Brace yourselves for the all-black wonders – the enigmatic Divinus tips. These babies sport a wide bore and a tube pathway that's as stiff as a rockstar's posture on stage. Now, usually, wide-bore tips are all about being as soft as a lullaby, but not these bad boys. They're here to make a statement and, if I'm reading the sonic tea leaves right, they're aiming to amp up the bass game.

CARRYING POUCH:​

Personally, I'm all about the convenience factor. Slip this pouch into your tiny bag or even your pocket, and voila – you've got an instant shield against scratches and minor mishaps. But hey, let's be real, it's not going to perform miracles against a Hulk-level impact. It's like trading off full armor for the agility of a ninja.

Now, let's talk dimensions. This pouch is the Goldilocks of storage – not too big, not too small, but just right. It's like a cozy home for a single pair of IEMs. And here's the kicker: the Fu Du's cables can stretch their metaphorical...cables. Not legs, mind you – we're talking about music, not aerobics!

Oh, and the pouch even plays host to a smaller sleeve inside, perfect for all those bonus accessories you've got up your sleeve. And the star of the show, the Fu Du, gets its own designated pocket. All dressed in black, embracing that oh-so-chic minimalist vibe that's just right up my alley. And let's not forget the pièce de résistance – the trusty zipper that keeps everything snug and secure.

CABLE:​

Now, fair warning, folks – the cable that comes bundled might be on the thinner side. But hold the disappointment for just a moment! Remember, we're hanging out in the $100 neighborhood, so a leaner cable isn't exactly a plot twist.

Now, let's talk aesthetics. The colorway? Oh, it's a classic choice – all dressed in sleek black with a rubbery texture. Now, I've got to be honest, it's a touch generic for my personal taste. But hey, for all you cable aficionados out there, go ahead and roll those cables to your heart's content.

Now, here's where things get a bit technical – the cable is silver plated. Brace yourself for a mini lesson: silver tends to bring a pinch of brightness to the sonic table compared to the warmth of copper. But wait, don't get your audio swords ready for battle! I'm not here to ignite a cable debate. These are just my personal findings, the musical breadcrumbs I've picked up along the way. And if you're keen on keeping the Fu Du's sonic signature in check, you might want to hunt down a cable that shares the same material.

So, to sum it up, the cable might not win the award for most unique, but it's as easy to carry as a tune in your heart. And just so you know, this cable struts its stuff with a 4.4mm plug type.

FU DU’s APPEARANCE:​

This beauty is the epitome of sleekness and minimalistic allure. But hold your horses – before you get caught up in the photographic reverie, there's a little surprise waiting. You see, at first glance, you might expect a grand entrance from metal, but alas, the reality is a bit more...plastic. And no, I'm not throwing shade at its appearance – it's got that good looks game on lock. But the kicker? It doesn't quite have that premium feel. It's like a movie set with an A-list cast but B-list set design.

The faceplate? Oh, it's a work of art, curved to perfection, embracing every ear's unique contours. And don't forget, this piece is lighter than a feather's sigh. Look to the right, you've got the suave "Tangzu" logo making its appearance, and to the left, it's "Divinus" stepping into the limelight. And what about that base, you ask? It's like a smoky mystery, revealing the dynamic driver at the heart of things. Now, here's a twist – despite all the lighting tricks, those balanced armature drivers are playing hide and seek. But hey, let's give Tangzu the benefit of the doubt, shall we?

Moving down the lineup, the base rocks a matte finish, a canvas for our oily ears to leave their mark like eager fans at a concert. And the faceplate, oh so minimalist, is like an artwork waiting to happen – just remember, it's not exactly scratch-resistant. So, a word of advice: give these beauties a bit of extra TLC to keep them looking as fresh as a melody.

All in all, the Fu Du has got that "sick" and "dope" factor in the looks department. It's an artistic triumph, a visual symphony that plays the minimalist card like a pro. But, here's the scoop – when it comes to tactile impressions, the premium essence might be a tad elusive.

COMFORT:​

When it comes to comfort, the Fu Du is the equivalent of sinking into a cloud-soft pillow. No caveats, no complaints – it's a win on all fronts.

Slipping these gems on is like sliding into your favorite pair of jeans – effortless and snug. Now, I know the curves and contours might not be giving your ears a bear hug, but the magic lies in their weightlessness. It's like they've mastered the art of invisibility once they're in place. You might as well forget you're wearing them – it's that kind of comfort.

And here's a bonus – the seal and fit game is a walk in the park. No acrobatics needed, no need to wrestle with ear tips like they're your arch-nemesis. Just pop 'em in and let the music take the lead. I've lost count of the hours I've spent wearing these bad boys – they're that easy on the ears. In fact, if comfort had a medal, these would be wearing it.

SOUND IMPRESSIONS:​

Kudos for making it this far! We're now diving into the heart and soul of this review – the sound itself.

The Fu Du finds itself paired with my trusty Fiio M11 plus LTD dap, complemented by Divinus tips and the stock cable. Keep in mind, I'll be sure to keep you in the loop if I stumble upon more revelations with different pairings across my array of sources. But for the time being, my steadfast companion remains the Fiio M11 plus LTD, offering up its 4.4mm balanced output.

Let's talk sound stage. It's not the widest I've encountered, nor the narrowest. The Fu Du serves up a sound stage that's in line with the expectations of an IEM – no surprises here, just a straightforward 2D affair. Think of it as a reliable canvas for the musical masterpiece. However, the plot thickens with certain well-mastered tracks, where a faint sense of depth creeps in, lending that subtle touch of holography to the presentation.

As for imaging, it's a strong suit, boasting precise instrument placement. Though I must confess, there's no radical shift in where my favorite instruments appear on the canvas.

Now, let's talk timbre – and oh boy, it's a shining star. The Fu Du presents an organic, true-to-life quality that's nothing short of impressive. No artificial notes sneak into the mix, just the authentic sound of instruments in their natural habitat.

Speed? The Fu Du's got it in spades. It's nimble, it's agile, and it tackles complex tracks with a grace that rivals a ballet dancer. Whether it's the swift attack or the rapid decay, this set delivers a level of note definition that's the envy of the town.

But let's pause and give credit where it's due – the real MVPs here are the layering and separation. This is where the Fu Du flexes its technical muscles, impressing with its ability to dissect the sonic landscape. Without any hint of exaggeration, I'm convinced that these little marvels can hold their ground even against sets twice their price. Each instrument gets its own spotlight, and you can practically see every musician's role in the track. It's like the ultimate front row seat to a musical extravaganza.

BASS:​

This pair slightly tilts towards the bassier side, nudging away from the realm of perfect balance. And when the sub bass takes the stage, it doesn't hold back – there's a delicious extension that can summon a satisfying rumble from the depths.

Now, let's talk about the fun factor – the bass is like a tightly coiled spring, ready to unleash its punchy prowess at a moment's notice. A prime example? Let's take a groove-filled jaunt with "Last Summer Whisper" by... well, I can assure you, it's a city pop Japanese track that's got all the right vibes. The bass guitar and drum kicks? They're the true stars, showcased in a presentation that's tighter than a well-practiced drumroll. The texture and details are nothing short of impressive, and the bass's attack? It's stepping into the limelight, but never veering into a struggle for dominance.

Now, let's tackle quantity – it's a little south of neutral, making it clear that this pair has a sweet spot for bass enthusiasts. For those who aren't on a bass-centric quest, the quantity might feel like a bit much. But fear not, the quality is where the magic happens. Even though I'm more of a neutral aficionado myself, I found myself in sync with the bass elevation. It's presented with utmost cleanliness and precision, leaving no room for muddiness or ambiguity.

In a nutshell, the Fu Du's bass realm is an exploration of tightness, punchiness, and a dash of rumble. It's like a bass-driven symphony that stays crisp, precise, and remarkably well-executed.

MIDRANGE:​

Before diving into the graph, something caught my ear – a certain forwardness in the midrange that seemed to give life to instruments like guitars, pianos, and brass. And guess what? The graph tells a story that echoes this observation, with a climb that stretches from 1kHz to 2kHz. It's like the blueprint behind the curtain, explaining the captivating drama unfolding on the midrange stage.

Graph courtesy of Paul Wasabii

I have a soft spot for forward mids. And thanks to this climb, my midrange fascination was sent into overdrive. For those who bow down to the temple of midrange, the Fu Du deserves a prime spot in your audio arsenal. Speaking of vocals, they've got their time to shine within this range, and there's no trace of that pesky recessed nature. What's in the spotlight here? Clarity, my friends. It's the keyword that defines this sonic act, unveiling details that might have remained in the shadows, lost amidst the rhythm section.

Now, let's tip our hats to Tangzu's tuning prowess. Despite the elevation, they've managed to dance on that fine line between enhancement and ear fatigue. As someone who's no stranger to wielding a musical instrument or two, I couldn't help but fall head over heels for the midrange's spotlight performance. It's like a spotlight that captures every intricate detail, casting a warm glow on every note and every timbre.

TREBLE:​

Similar to the bass, there's a commendable reach towards the upper frequencies. It's like the set's stretching its wings to embrace the heights, and depending on the musical journey you're on, it can treat you to a dose of vibrant treble. Think sparkly notes, an airy ambiance, and a shimmering presence that never wears a veil.

But hold on, what about those with ears that are slightly more sensitive to the higher frequencies? Well, I'd say a cautious audition might be in order before you take the full plunge. However, in my own experience, I found the treble to be more about revealing intricate details than piercing through. The Fu Du strikes a balance that avoids the extremes – it's not a warm embrace, nor is the treble holding back. And the best part? It doesn't veer into the realm of overly bright either.

This is where the Fu Du showcases its prowess – it's walking a tightrope between presentation and restraint, and it's doing so with finesse. It's a testament to the set's control that the treble never feels like it's running wild. Interestingly, that substantial bass elevation we discussed earlier plays a part here too. It's like a musical seesaw, with the bass and treble taking turns to keep the equilibrium just right.

COMPARISONS:​

Hold onto your ear cushions, because we're about to dive into the ultimate IEM showdown! Picture this: I've got a dynamic duo in my collection that I consider the gold standard in the $100 realm. Get ready to witness the clash of the titans as we pit the Fu Du against the Simgot EA500 and the Dunu Titan S. Now, before you cry foul about the single dynamic driver setup of my opponents, let's toss fairness out the window and dive into the sonic brawl anyway.

versus Simgot EA500​

Straight out of the gate, let's talk EA500 – and boy, does it come in blazing like a firecracker. This set leans towards the brighter side of the spectrum, a territory that comes with its own caveat: the potential for listening fatigue. Now, prepare for a plot twist, because once the Fu Du steps into the arena, it's like slipping into a cozy sweater. I've got Al Green's crooning classic, "Let's Stay Together," queued up for this showdown.

The bass on the EA500 brings its A-game – it's got more heft and density, like it's flexing its musical muscles. As for the midrange, it's got that fiery punch that's hard to ignore, and the treble? Well, let's just say it's bringing some serious heat to the party. Now, cue the Fu Du, our sonic knight in shining armor. It waltzes in with a sense of control that extends across the entire frequency range, making it a prime pick for those with ears that demand sensitivity.

When it comes to technical prowess, the two contenders square off on level ground. And would you believe it? The EA500, with its single dynamic driver setup, manages to hold its own and then some. It's like the underdog that's packing a punch that even hybrid setups might envy. Treble enthusiasts, this one's for you – the EA500 is still waving its flag high, beckoning you to take the plunge into its treble-rich realm.

The technical finesse of the EA500, despite its single dynamic driver, continues to baffle my audiophile sensibilities. It's like finding a hidden treasure trove of sonic wizardry in an unexpected package.

versus Dunu Titan S​

Let's set the stage with a mesmerizing city pop track titled "Bay/Sky Provincetown 1977." As the music envelopes my senses, it's time to unravel the sonic tale of the Titan S.

Brace yourselves, because the Titan S isn't just warm – it's warming things up to a whole new level. It's like a cozy blanket on a chilly evening, the warmest of the trio, perhaps even donning the crown as the darkest of them all. But let's talk technical flair, where the Fu Du strides forward like a maestro at a grand symphony, meticulously etching each note and transient with remarkable precision.

As for the Titan S's sonic symphony, the bass takes on a gentle demeanor, while the midrange wraps you in a blanket of warmth. The treble, on the other hand, maintains a sense of restraint, like a seasoned orator pausing for emphasis. Now, if your ears are ultra-sensitive, the Titan S might just be the one to sweep you off your feet. But here's the kicker – the Titan S flaunts its secret weapon in the form of an expansive sound stage. Picture a spacious hall where the music unfurls, and every instrument finds its own distinct voice. The sense of direction is palpable, like a musical GPS guiding you through the sonic landscape.

The Titan S, with its solo dynamic driver prowess, touts a natural timbre that's hard to ignore, with a mere 5% edge. Now, don't let that overshadow the Fu Du's own natural and organic allure, despite its hybrid DNA. It's like a harmonious dance of sound, with the Titan S showcasing a different spin on natural timbre, while the Fu Du follows closely, holding its own with a touch of hybrid magic.

TEST TRACKS:​

Here are some tracks I usually listen to when reviewing:

That’s the way of the World by EWF
Africa by TOTO
The Girl in the Other Room by Diana Kral
Balmorhea album All is wild, All is Silent
Sila by Sud
Smooth Escape by D’Sound
Never too Much by Luther Vandross
P.Y.T by Michael Jackson
Ain’t no Sunshine by Eva Cassidy
Shoot to Thrill by AC/DC
Another one bites the Dust by Queen
Good times bad times by Edie Brickell
Alice in Wonderland by Bill Evans
Ain’t it Fun by Paramore
Redefine by Incubus
Far Away by Nickelback
Lovesong by Adele
Lingus by Snarky Puppy
Harvest for the World by Vanessa Williams
Love Bites by Def Leppard
No Such Thing by John Mayer
As by Stevie Wonder
Whip Appeal by Babyface
Ain’t Nobody by Chaka Khan
Futures by Prep
Landslide by Fleetwood Mac
Every Summertime by NIKI
SADE tracks
AC/DC tracks
Queen tracks


And many more… I always listen to High resolution format, being the least quality 16bit/44khz FLACS be it offline or online.

VERDICT:​

In the ever-evolving landscape of audio technology, hybrid IEMs with affordable price tags are emerging as the latest contenders in the arena. And let me tell you, the Fu Du has turned the spotlight onto itself in a manner that I couldn't resist – it's as if it tapped me on the shoulder, rousing me from my auditory slumber and compelling me to put words to paper. As anticipated, the Fu Du delivers an impressive showcase of technical prowess, staying true to the expectations set by hybrid IEMs.

But let's talk about what really sets the Fu Du apart – that spotlight on the midrange, a realm of sound that tugs at my heartstrings. With a modest price tag in consideration, pinpointing flaws in the Fu Du becomes a task akin to finding a needle in a haystack. This isn't just an IEM; it's a sonic canvas that warmly welcomes audio enthusiasts into the fold, offering a taste of what the hybrid world has to offer.

From the moment it graces your ears, the Fu Du leaves no stone unturned – from the feather-light comfort it offers during extended listening sessions to the bass that packs a punch, a midrange that shines like a gem, and a treble that's held in perfect equilibrium. It's like a musical equation that's been carefully balanced. So here's the scoop – the Fu Du is more than just an IEM; it's a harbinger of what's possible in the hybrid domain. If you're just stepping into the enchanting realm of audio, consider the Fu Du your golden ticket to the world of hybrids.

And mark my words, this might just be the benchmark that future contenders aspire to meet in the $100 hybrid category. As for the future, the name "verse 1" hints at sequels, and I, for one, am eagerly anticipating the musical journeys they hold.

My heartfelt appreciation extends to Tangzu for granting me the opportunity to experience this auditory marvel, and my fellow co-reviewers, whose generosity has left an indelible mark on my audio exploration. Their support is cherished beyond words.

INTRODUCTION:​

Hey there, fellow audiophiles! It's time to dive into another Letshuoer creation – the EJ07M. If you remember, I had my ears on the S12 OG not too long ago, and it left quite an impression. But now, it's the EJ07M's turn to shine under the audiophile microscope.

Big shoutout to my buddy @Zerstorer_GOhren for letting me borrow his EJ07M for a spin. He's been raving about it, so I just had to get my hands on this midrange marvel. Priced at $650, it's not your run-of-the-mill audio gear – this is where the serious hobbyists start to play. So, the million-dollar question: can the EJ07M deliver that flagship experience without the wallet-crippling price tag? Let's jump right in and find out together!

FOREWORD:​

• The gear on hand has undergone at least 10-15 hours of use before it was assessed.
• No EQ is ever applied in my reviews.
• For the sake of convenience, I try my best to use a stock setup. Not everyone has access to personal ear tips or cables. If personal ear tips, cables, or accessories are used, you will be notified.
• As I try to be objective, my claims inevitably will be subjective and biased to my personal preference. I cannot stress more that you should take this with a grain of salt for we have different perceptions to sound and what we hear.

SPECIFICATIONS:​

Brand: Letshuoer
Model: EJ07M
Impedance: 19 ohms
Sensitivity: 107db
Frequency response: 20hz-30khz
Pin type: 2 pin, 0.78mm connectors
Termination: 3.5mm single ended
Driver configuration: 4 x Sonion EST65QB02 electrostatic drivers, 2 x Sonion 2389 balanced armature mid woofer drivers, 1 x dynamic driver

PACKAGING:​

The EJ07M arrives in a medium-sized box that oddly resembles a cereal box – talk about breakfast for your ears! This unassuming packaging, decked out in a clean white hue, proudly showcases a front-and-center snapshot of the EJ07M itself. Instantly, a sense of professionalism radiates from the box – it's almost like it's saying, "Hey, musician, I've got your back!"

But hold on, let's not gloss over the goodies within just yet. Oh no, my friend, these inclusions deserve a moment in the spotlight, and I'm here to make sure they get it. So, buckle up as we dive into what's in the treasure trove!

Protective case​

Ah, the case – the trusty guardian of our precious auditory gems. This one's a screw-type affair, locking your beloved IEMs away in a fortress of safety and sound. Dressed in sleek black, it exudes a minimalistic charm that's oh-so-elegant, but I couldn't help but wonder if it might be a magnet for those pesky scratches. Careful handling was the name of the game – I couldn't bear to upset my buddy Eiji with any unsightly blemishes.

Now, let's talk space. The case isn't playing any cramped games – there's room to spare in there. The EJ07Ms get to stretch their legs (figuratively speaking, of course), and there's even some padding in there to ensure no metal-on-metal shenanigans with your precious cargo. A minimalistic design, just the way I like it. But, brace yourself, my friend – the screw-type mechanism does demand a bit more of your time to open and close. A small sacrifice, perhaps, in exchange for the fortress-like protection it offers.

Eartips:​

Ah, the ear tip adventure – a crucial quest for that perfect auditory embrace. In Letshuoer's corner, we're met with a dynamic duo of ear tip options. First, a narrow bore contender – firm and unyielding, seemingly primed for bolstering those bass frequencies. Then comes the grayish knight, wielding a softness that's almost legendary. Its wide bore stance hints at a vocal-centric strategy.

Now, here's where the plot takes a twist. Yours truly, the curious audiophile, opted to venture off the beaten path. The stock tips didn't quite tickle my sonic fancy, you see. Early spoiler alert: my heart belonged to my trusty Dunu SnS tips. You see, the narrow bore was a little too gung-ho on the bass boost for my liking. On the flip side, the wide bore was all about the details, but at the cost of a softened bass impact.

So, what's a discerning listener to do? I embarked on a quest to find that sweet spot – a tip that danced harmoniously between these two worlds. And lo and behold, the stars aligned, and I found my ideal match in those aforementioned personal tips. The moral of the story? Sometimes, the quest for auditory nirvana is all about striking that delicate balance.

Ah, almost slipped my mind! For those who find their groove with foam tips, Letshuoer's got you covered too. Now, I must confess, I'm a dyed-in-the-wool silicone eartip enthusiast. Foam's allure may be lost on me, but credit where it's due – Letshuoer's inclusion of foam tips is a nod to the diverse tapestry of preferences out there. So, kudos to them for embracing the foam aficionados among us. Your auditory journey, your rules – whether you're Team Silicone or Team Foam, Letshuoer has thoughtfully laid the groundwork for your sonic escapades.

Cable​

Let's dive right into it – the cable caught my eye with its sleek and slender profile. Now, don't get me wrong, this isn't necessarily a bad thing. In fact, it comes with some nifty perks. It's like a feather, easy to tote around, won't drag your ears down, and has the flexibility to keep up with your every move. The cable's slim demeanor didn't exactly keep me up at night, though I must confess, I might be a tad biased here. It's all about preference, right? The cable's quality is seriously top-tier, and that bronze hue? It practically screams sophistication.

But wait, there's more! The pin connectors and termination – they've got this cool transparent design that lets you peer into the inner workings, adding a bit of visual flair. The build is solid, sturdy, and up for whatever you throw its way. And let's not forget about the material – it's rocking high-purity OCC copper, which, for the cable connoisseurs out there, brings a dash of warmth to the table. A match made in cable heaven with the EJ07M's overall sound, which we'll chat about soon.

All in all, the cable is quite the looker, easy to carry around, and, if I'm nitpicking, just a smidge on the thin side. But hey, that's just me – I've got a thing for cables that pack a little extra girth. Your mileage may vary!

The pre-determined ear hooks though, has this stiff feel to it, and can invoke a sense of uncomfortability at times. But I’ll be able to live with it. Just another nitpick of mine.

Appearance​

Alright, let's talk design – the EJ07M's got a touch of déjà vu, reminding me of its cousin, the S12. It's got that metallic vibe going on, but don't let that fool you into thinking it's a heavyweight. Nope, these babies sport curves that not only look good but play nice with your ears' comfort.

Now, let's address the faceplate – and oh boy, it's a carnival of colors. Imagine red, blue, white, and orange having a party, and you're invited. The design dances on the edge of being a swirl without totally committing, which adds a refreshing twist. Plus, major props for skipping the traditional resin look – they've gone rogue in the best way possible.

But hang on, we're not done. The base keeps it simple, rocking a clean silver look without any bells and whistles. Those little vent holes? Yeah, they're there to keep ear pressure in check, so your listening sessions stay comfy.

Now, I gotta level with you – the design didn't exactly make me do a double take with a resounding "wow." But hey, that's just me and my style preference – maybe I'm secretly pining for a bit more flex. You know how it is!

COMFORT:​

Alright, let's get real – when it comes to comfort, the EJ07M gives it a fair shot, but it's not exactly my ears' soulmate. Surprisingly, it's not the weight that's the issue – I can handle that just fine. Even the curves play nice with my ears, no problem there. But you know who's the troublemaker? Those ear hooks. They've got a beef with my marathon listening sessions, and I'm not loving it.

Don't get me wrong, the fit is pretty good overall, but here's the catch – finding that sweet spot for a perfect seal is a bit like trying to solve a Rubik's Cube in the dark. Now, let me be clear, this is just my personal take, not an engraved-in-stone truth. We all know ears come in all shapes and sizes, and this is just how the cookie crumbled for me.

But hey, don't let my ear-drama discourage you. Maybe these babies will snuggle up just right with your ears and become the ultimate comfy companions. Fingers crossed!

SOUND IMPRESSIONS:​

Hats off to you for making it here! Now let's dive into the juicier bits – the sound.

The EJ07M joined forces primarily with my trusty Fiio M11 plus LTD dap, and I put it through its paces with my go-to dongles: the Centrance Dacport HD and the Ovidius B1. Not stopping there, I teamed them up with my powerhouse amp, the Fiio K9. While I stuck with the stock cable, I waved goodbye to the stock tips and opted for my own Dunu SnS tips for that extra oomph. Time to groove into the auditory adventure!

Let's unravel the soundstage magic! Brace yourself, it's not that bold, upfront stage that's going to smack you in the ears. But fear not, there's enough breathing space in there – it's not cramped quarters. Picture this: it's like a well-proportioned room, but not the grand ballroom type. We're talking depth and height here, but the holographic flair, the 3D fireworks – those are slightly reserved.

Now, let's face it – we're in IEM territory, not the sprawling expanse of speakers or headphones. So, yes, we're in a bit of a 2D realm. Yet, here's the twist: it doesn't get claustrophobic, not even a hint of it. The EJ07M strikes an artful balance between cozy and wide, pulling you into its sonic universe with just the right dose of intimacy and room to stretch.

Hold on tight, because we're diving into the world of sonic imagery, and boy, is it a showstopper. Imagine this: elements darting around, each with its unique spot on the stage. You might just catch yourself raising an eyebrow – "Wait, where did that instrument sneak in from?" Yep, it's a bit like a musical game of hide and seek.

Now, picture this: synths and guitars with those mesmerizing arpeggios, taking their graceful bows at different corners of the stage. It's like watching a carefully choreographed dance of sound. And when the instruments decide to play musical chairs and swap positions, it's not a puzzle, it's a joyride.

Here's the kicker – it's not a mere coincidence. This level of precision is a nod to the big league, the TOTL club. So, buckle up, because the EJ07M is rolling out the red carpet of imaging sophistication, giving you a front-row seat to a symphony of sonic placement that's nothing short of remarkable.

Timbre, is walking a fine line here – teetering between decent and downright delightful. Now, don't get me wrong, it's not winning any "Most Organic" awards, but it's still got its charms. We're talking about a performance that's 95% pure natural goodness, with just a touch of the artificial sprinkled in for variety. It's like having a conversation with a friend who's 95% insightful and 5% pulling your leg – you're still hanging on their every word. So, while it might not be the ultimate timbre guru, it's certainly making the timbral journey a fascinating and mostly authentic ride.

We've got some speed here that's as sly as a fox but not so fast it leaves your ears spinning. This is a Goldilocks situation – not too slow, not too speedy, just the right amount of oomph to keep those musical notes dancing with authenticity. And when it comes to note definition, we're walking the line between "Where's Waldo" and "In Your Face." It's like a perfectly executed tightrope act, striking that balance between edge and smoothness, and leaving your auditory senses both thrilled and soothed.

Hold your audiophile magnifying glass, because we're diving into a treasure trove of details that'll make your musical journey an enchanting adventure. The EJ07M has a knack for picking up those minuscule sonic gems – the kind that usually hide behind the curtains – and bringing them to the forefront of your auditory stage. You'll be tapping your foot and nodding your head in musical ecstasy as those micro nuances step into the spotlight, adding that sprinkle of magic that audio aficionados can truly appreciate. It's like finding those hidden Easter eggs in your favorite movie – not too obvious, but oh-so-satisfying when you discover them.

The EJ07M wields separation skills that could make a conductor jealous, ensuring that every note, every instrument, and every nuance holds its distinct place in the musical masterpiece. It's like having a front-row seat at a live concert, where each musician has their spotlight moment, contributing their unique flavor to the harmonious blend. And guess what? No instrument gets lost in the crowd – that's right, at least 90% of the time.

BASS​

The EJ07M introduces a sound profile that's as flat as a calm lake, embracing neutrality with open arms. While some might consider this a touch clinical, for me, it's a necessary canvas for my musical endeavors – a palette where every brushstroke of sound remains faithful to its true hue. And let's not forget, it's a haven for those who seek respite from the colors of audio extravagance.

What's truly captivating here is the bass's modesty. It graciously steps back to let other elements shine, unveiling a treasure trove of intricate details that might have otherwise remained hidden. The micro nuances of an acoustic bass are woven seamlessly, displaying a mastery that doesn't waver even when faced with the most demanding tracks. But before you mark it off as too reserved, know this – the bass's punchy and tight nature ensures that it's no shrinking violet.

Yet, if you're on the hunt for bass that shakes your very core, EJ07M might encourage you to explore elsewhere. This isn't a set for the bass-hungry, and that's a deliberate choice. Bass guitar and drum kicks are harmonious dance partners, each taking their turn gracefully without stepping on each other's toes. And while the bass's precision and grip might be commendable, it doesn't chase after the adrenaline of pure enjoyment.

Now, here's the twist – grand orchestral renditions, where bass swells in all its glory, might be a bit of a stretch for EJ07M. In the grand orchestra of sound, it's the details and the surgeon's precision that this IEM leans into, perhaps leaving a few decibels of the fun factor at the door. But remember, every IEM has its strengths and preferences, and for the EJ07M, that preference leans towards the analytical embrace of clarity.

MIDRANGE:​

Let's delve into the heart of sound, where details, definition, and texture intertwine to create the mesmerizing midrange of the EJ07M. This isn't a midrange that shouts from the rooftops, but rather a subtle whisper that draws you into its intricate tapestry. If you're accustomed to a more flamboyant sonic palette, you might initially find the midrange a tad thin. Yet, for those who crave neutrality, this is a sanctuary of sonic purity.

In this realm, pianos may lose a touch of their lushness, yet what they relinquish in warmth, they gain in precision. The midrange's positioning waltzes with the track's requirements, seldom retreating to the shadows. Vocals adopt a leaner posture, allowing details to steal the limelight once again. And here's the twist – the EJ07M shares a secret affinity with guitars. Strumming along with John Mayer, it crafts an ethereal aura, while the crunchy, gritty riffs of Rage Against the Machine are etched with striking clarity. It's no surprise that rock genres find a cozy home here.

If I were to paint my sonic dream, I'd infuse a tad more body and density into this midrange. But alas, preferences are as unique as fingerprints. And for those who seek the unrivaled embrace of details and crave an analytical companionship, the EJ07M has your name written all over it.

TREBLE:​

Snappiness, crispness, and a dash of bite create a harmonious symphony in the EJ07M. Cymbals dance with an infectious liveliness, infusing each note with boundless energy. Yet, it's the brass section that truly steals the spotlight, a personal delight for me, being a saxophonist myself. When Tower of Power and Earth, Wind, and Fire took the stage, their performances brimmed with vibrant vitality.

But here's the enchantment – the treble's magic never tips into the treacherous land of sibilance. It maintains its poised balance, always toeing the line without stepping over. Although, a word of caution to those with ears more sensitive – this energy might border on excessive for your taste.

A nod to the 4 electrostatic drivers seamlessly woven into this soundscape. They reveal a tapestry of details that will make any detail aficionado's heart sing. If you're one who thrives on discovering every nuance, every whisper of sound, then EJ07M's treble is a playground of auditory delight awaiting your exploration.

COMPARISONS:
**Versus Softears Studio 4**

Alright, let’s roll up our sleeves and dive into some comparisons. First up, let’s chat about the showdown between the EJ07M and the Softears Studio 4.

In terms of tonality, Studio 4 strides in with a lush and rich sound that just wraps around you like a warm embrace. But here’s the twist - where Studio 4 takes a backseat, nursing a bit of a treble slump, EJ07M unfurls its treble magic thanks to those EST drivers. The EJ07M also flexes its muscles in the bass department, delivering a tasteful dose of tactility that Studio 4 might envy a bit. When it comes to vocals, Studio 4 sways you with its engaging, soulful croons, while EJ07M prefers to strut its stuff with a precision dance.

Ultimately, both of these champs lean toward a neutral tuning, but Studio 4’s like your kind-hearted friend, offering a gentler take, while EJ07M stands tall as the ruler of precision and definition.

**Versus Dunu SA6 Mk2**

Remember when we chatted about the SA6 Mk2? Well, turns out that SA6 and Studio 4 could be cousins. So, putting EJ07M under the spotlight for comparison feels a bit like déjà vu. But hey, let’s do it anyway!

Now, SA6 takes the midrange crown in its own kingdom, flaunting a tonality that’s dense and sumptuously bodied. This makes EJ07M sound kinda svelte in comparison. On the flip side, EJ07M isn't pulling any punches. It steps up to the plate with separation, imaging, details, speed, and resolution that’d make any audiophile weak in the knees. It’s like the nimble-footed boxer taking on the heavyweight - EJ07M dances around SA6, impressing with its lightning-quick punches.

**Versus Hidizs MS5**

MS5 steps up to the challenge with its holographic prowess, projecting an image that might just make you question reality. But wait, EJ07M doesn't flinch. It might not be holographic, but it's got a 2D stage that you can still run wild in. Now, where EJ07M sweeps the floor is in the tonality and timbre department. It's like serving a gourmet meal compared to MS5’s fast-food frenzy. The details, separation, speed, resolution - EJ07M nails them all with precision. And that's not even the end of the story. The MS5 has a spicy kick in the treble department, and sometimes it’s a bit too fiery
for its own good.

TEST TRACKS:​

Here are some tracks I usually listen to when reviewing:

That’s the way of the World by EWF
Africa by TOTO
The Girl in the Other Room by Diana Kral
Balmorhea album All is wild, All is Silent
Sila by Sud
Smooth Escape by D’Sound
Never too Much by Luther Vandross
P.Y.T by Michael Jackson
Ain’t no Sunshine by Eva Cassidy
Shoot to Thrill by AC/DC
Another one bites the Dust by Queen
Good times bad times by Edie Brickell
Alice in Wonderland by Bill Evans
Ain’t it Fun by Paramore
Redefine by Incubus
Far Away by Nickelback
Lovesong by Adele
Lingus by Snarky Puppy
Harvest for the World by Vanessa Williams
Love Bites by Def Leppard
No Such Thing by John Mayer
As by Stevie Wonder
Whip Appeal by Babyface
Ain’t Nobody by Chaka Khan
Futures by Prep
Landslide by Fleetwood Mac
Every Summertime by NIKI
SADE tracks
AC/DC tracks
Queen tracks


And many more… I always listen to High resolution format, being the least quality 16bit/44khz FLACS be it offline or online.

VERDICT:​

The EJ07M, a name that might sound like it belongs in the futuristic world of Star Wars androids, but in reality, it's a mature and sophisticated IEM that places its bets on details, texture, imaging, resolution, and separation rather than opting for the lush, rich, and dense tonality. If you're one who savors an analytical sound profile, consider your sonic cravings met – the EJ07M has your name etched on it. Its drivers are orchestrated with such finesse that coherence reigns supreme.

As we ascend the ladder into the realm of TOTL (Top of the Line) audio, a recurring theme emerges – a penchant for this kind of sound profile. Now, don't get me wrong, TOTL doesn't exclusively lean towards technical prowess; some wear the crown of bass-heavy marvels. Yet, for the EJ07M, the spotlight is undoubtedly on the technical marvels. Think of it as the go-to companion for mixing engineers, a trusty stage monitor for musicians, and a loyal partner for vocalists who demand precision and spot-on execution of their craft.

Sure, the EJ07M possesses heart and soul, but it's wired more like a genius than a dreamer. Personal preferences sometimes whisper for a thicker, richer sound, yet the symphony of technicalities orchestrated here compensates gracefully. And when the final notes settle, it's tempting to bestow upon the EJ07M a clandestine title – a TOTL in disguise, cloaked in a price tag below a grand.

A heartfelt nod of appreciation to Eiji and Letshuoer for their graciousness in letting me tango with this marvel, even if for a fleeting moment.

Thank you for embarking on this sonic journey with me. Until our next musical escapade, cheers!

INTRODUCTION:​

Dunu is a brand that has captured my attention since the beginning of this year. Let me provide you with a brief introduction. Dunu strives to innovate for music lovers, aiming to be at the forefront of audio technology by creating premium, high-resolution audio products for discerning audio enthusiasts. With a rich history dating back to 1994, Dunu initially specialized in ODM/OEM services for prominent audio and telecommunication companies. However, in 2006, they took a leap forward and established their own brand.

Among their impressive lineup, the SA6 series is a model that has always been on my radar. Specifically, I will be focusing on the SA6 MK2 model for this review. It's worth mentioning that I haven't had prior experience with the OG or Ultra models, providing a fresh perspective for this evaluation. So, did the SA6 MK2 live up to my expectations and fulfill my long-held dream? Without further delay, let's dive into the details and find out.

FOREWORD:​

• The gear on hand has undergone at least 10-15 hours of use before it was assessed.
• No EQ is ever applied in my reviews.
• For the sake of convenience, I try my best to use a stock setup. Not everyone has access to personal ear tips or cables. If personal ear tips, cables, or accessories are used, you will be notified.
• As I try to be objective, my claims inevitably will be subjective and biased to my personal preference. I cannot stress more that you should take this with a grain of salt for we have different perceptions to sound and what we hear.

SPECIFICATIONS:​

Brand: Dunu
Model: SA6 MK2
Weight: 5.3g per earpiece (without tips)
FR Response: 5hz - 40khz
Impedance: 24 ohms @ 1khz
Sensitivity: 114db
Driver Configuration:

• Bass - 2 Sonion AcuPass Vented dual woofer
• Midrange - 2 Knowles custom midrange driver
• Treble - 2 Knowles custom dual tweeter

PACKAGING:​

The outer packaging of the SA6 MK2 boasts a striking orange color, catching the eye right from the start.

Sliding open the packaging reveals a sleek black box, which instantly piques curiosity. With a simple pop-up mechanism, the box unveils the contents inside. Let me provide you with a detailed list of what's included:

• 1 pair of Dunu SA6 MK2
• 1 carrying/protective case
• 1 Hulk pro mini cable with Q-lock plus modular cable system
• 4.4mm and 3.5mm plugs
• 3.5mm female to 6.5mm male adapter
• 1 cleaning brush
• 4 pairs of SnS tips (S,M,ML,L)
• 1 pair of foam tips
• 3 pairs of narrow bore eartips (S,M,L)
• 4 pairs of medium bore eartips (S,M,ML,L)

Let’s explore the inclusion a little deeper as some of these are worth noting.

CARRYING CASE:​

The SA6 MK2 comes with an eye-catching case that features a striking color combination. The border showcases a vibrant mustard color, complemented by an overall dark green presentation.

The Dunu logo is tastefully embedded on the case, adding to its aesthetic appeal. However, the thickness of the case deviates from the conventional design, making it a bit bulky and inconvenient to fit into smaller bags or sling bags that I typically use for light travel. On the inside, the case is lined with a soft cloth material that provides excellent protection against scratches, ensuring the safety of your cherished IEMs. One minor concern I have is that the case doesn't feature a magnetic closure, relying solely on clamping force. Over time, I worry that the clamping force may weaken, potentially leading to accidental opening of the case. It would be unfortunate if the case were to open unexpectedly, jeopardizing the security of the IEMs inside. Despite this concern, the material used for the case is of exceptional quality, exuding a premium look and feel.

CABLE:​

Dunu has gone the extra mile by including their latest cable, the Hulk Pro Mini, as the official cable for the SA6 MK2. This cable can also be purchased separately for $200. The cable is crafted using highly refined Furukawa single-crystal copper, boasting a 26 AWG thickness. Rather than delving into its intricate details, I'll let you explore the clickable link provided above to discover more about its impressive specifications. I must emphasize that the cable feels and looks premium. It strikes the right balance in terms of thickness, and its soft and non-stiff nature adds to the overall comfort. This is a refreshing change compared to the stiff cable I encountered with my recent review of the UM Mest MK2, which required significant adjustment.

Now, let's talk about its modularity. Yes, you heard it right! The SA6 MK2's cable is modular, offering both a 3.5mm and 4.4mm termination (unfortunately, no 2.5mm option here) to cater to your single-ended and balanced connection needs. This versatility suits my requirements perfectly. The plug system utilized is Dunu's acclaimed and patented Q-lock Plus interchangeable design. Inside the packaging, you'll find a piece of paper providing instructions on how to change the plugs, but rest assured, the process is straightforward.

Just make sure to align the white dots, and you're ready to go. The L-shaped plug adds convenience for phone gamers, ensuring a comfortable fit that doesn't obstruct your hands. The plug sits securely without any wobbly feeling, although it's always wise to handle it with care to prolong its lifespan.

EARTIPS:​

The SA6 MK2 doesn't skimp on the variety of tips provided, as you'll find a total of four different kinds in the package. It's worth noting that Dunu opted not to include third-party tips and instead included their own premium offerings: the S&S tips and Candy tips. The S&S tips, which I believe stands for "stage and studio," were originally included with the Dunu Talos, while the Candy tips were included with the Dunu Kima. On the other hand, the gray tips were included with the Titan S, although personally, I didn't find them to be to my liking. For the duration of this review, I opted for the S&S tips, which proved to be my preferred choice. As for the foam tips, they seem rather generic, but it's still commendable that Dunu included a pair, showing their thoughtfulness towards the users' preferences and comfort.

SA6 MK2’s APPEARANCE:​

The SA6 MK2 boasts an undeniably pleasing and eye-catching design. Its faceplate is crafted from high-grade stabilized wood, exuding a sense of elegance and sophistication.

The shell, on the other hand, is meticulously hand-poured using German nice-fit UV acrylic resin. Each SA6 MK2 is a unique piece of art, as no two units are exactly alike. The transparent base plate allows a glimpse into the internal components, showcasing Dunu's transparency and commitment to delivering quality products.

Unlike some other brands that conceal their internals, Dunu takes pride in revealing the inner workings of the SA6 MK2. With the aid of a lamp or direct light, one can even discern the presence of the three-way crossover.

Additionally, the SA6 MK2 features a single tuning switch, which personally aligns with my preference. Unlike the trend of multiple tuning switches found in some IEMs, I find this approach more focused and purposeful, ensuring a well-tuned sound signature without unnecessary complexity.

COMFORT:​

The SA6 MK2 stands as a strong contender for the title of the most comfortable IEM I have encountered in my extensive review and testing journey. Its comfort level is on par with other highly regarded models such as the Hisenior T2 Classic, TinHiFi T3 Plus, and even the Mest MK3.

Despite the medium-sized shells, the SA6 MK2's lightweight construction ensures a near-invisible presence when worn. Even individuals with smaller ears shouldn't face any discomfort issues. Achieving an optimal seal with the SA6 MK2 is relatively straightforward, although the choice of ear tips plays a crucial role in this regard. Additionally, the nozzle angle is neither unconventional nor obtrusive, further contributing to a comfortable listening experience.

INTERNALS:​

The SA6 MK2 adopts a pure BA (balanced armature) configuration, which traditionally tends to exhibit what is commonly referred to as BA timbre, characterized by a thin and somewhat unnatural sound. However, to my pleasant surprise, the SA6 MK2 demonstrates an impressive ability to minimize BA timbre, with its presence being almost non-existent, amounting to a mere 2%. This is undoubtedly a positive indication of its sound quality. The bass response is handled by two Sonion Acupass vented dual woofer BA drivers, while the midrange is expertly managed by two custom Knowles drivers. Additionally, the treble is skillfully delivered by two Knowles custom dual tweeters. To ensure seamless integration and coherence across the frequency spectrum, the SA6 MK2 incorporates a three-way crossover system.

SOUND IMPRESSIONS:​

The SA6 MK2 was meticulously paired with a range of top-notch audio equipment, including the Hiby RS2 dap, Centrance DacportHD, Ovidius B1, and Fiio K9. To ensure consistency, I used the stock S&S tips and the Hulk Mini Pro cable throughout the testing process. My listening sessions encompassed a variety of sources, including offline FLAC files, Apple Music, and Qobuz studio subscription.

Now, let's delve into the captivating technical aspects of the SA6 MK2!

One aspect that didn't astound me but still impressed me nonetheless was the soundstage. While not as expansive as the Mest MK3, which has spoiled me with its exceptional width and holographic presentation, the SA6 MK2 still offers a commendable sense of space and dimension. The height and depth of the stage create a satisfactory listening experience that draws you into the music.

The imaging capabilities of the SA6 MK2 are absolutely outstanding. It flawlessly positions each instrument and sound element within the soundstage, allowing for a highly accurate and immersive representation. Whether it's the drums rolling around your head, the trumpet of Miles Davis emanating from the far right, or the guitars lurking in the background, the SA6 MK2 effortlessly recreates the spatial intricacies of the music, making the listening experience truly captivating.

When it comes to speed, the SA6 MK2 holds its own. While there are certainly other IEMs with more lightning-fast and agile drivers, the SA6 MK2 strikes a delicate balance. It confidently handles complex and dynamic tracks, effortlessly capturing the bombastic drum solos or intricate instrumentals without any signs of strain or muddiness. The SA6 MK2 prioritizes realism and accuracy, offering a faithful representation of the attack and decay of each note. The result is a highly engaging and lifelike musical experience.

What sets the SA6 MK2 apart is its ability to present music as a cohesive and unified whole. Rather than focusing on individual separation, the SA6 MK2 shines in creating a harmonious blend of all the sonic elements. While some listeners may prefer a more analytical and dissected sound signature, the SA6 MK2's strength lies in its ability to convey the musicality and emotion of a composition, allowing you to truly immerse yourself in the artistry.

The level of detail retrieval exhibited by the SA6 MK2 is commendable. It excels in capturing both micro nuances and macro details, bringing subtle textures and intricacies to the forefront of the soundstage. While the presentation may not be as overtly emphasized or hyper-detailed, it strikes a balance between capturing the essence of the music and being analytical. The SA6 MK2's smooth and refined approach to detailing makes it an excellent choice for extended listening sessions without sacrificing the overall musicality.

One of the most impressive aspects of the SA6 MK2 is its impeccable timbre. Each instrument and sound is rendered with astonishing realism, closely resembling the rich and organic characteristics of a dynamic driver (DD) setup. The SA6 MK2 achieves this feat by nearly eliminating BA timbre, ensuring that every note and tone feels incredibly natural and true to life. It surpasses even some of my beloved pure BA sets, such as the Audiosense DT300 and Seeaudio Bravery Red edition, in terms of authenticity and accuracy.

In terms of source pairings, the SA6 MK2 showcases remarkable versatility. It delivers stellar performance with various chipsets, ranging from ESS for a touch of sparkle and energy to R2R setups like my Hiby RS2 for a smoother and more refined sound. However, the SA6 MK2 truly shines when paired with AKM chipsets, striking an exquisite balance between detail retrieval, treble sparkle, and a natural sound signature. This synergy creates a captivating listening experience that caters to a wide range of musical genres and preferences.

Overall, the SA6 MK2 impresses with its intricate technicalities, captivating soundstage, accurate imaging, commendable speed, balanced detailing, and lifelike timbre. It is a versatile performer that excels in presenting music as a cohesive and enjoyable whole, enveloping you in its captivating sonic landscape.

BASS:​

The bass performance of the SA6 MK2 is reminiscent of the remarkable bass of the Mest MK3, a true flagship in its own right. It exhibits a natural attack and a slightly more gentle approach to note definition, prioritizing realism and authenticity over sheer resolution. It's important to note that the bass of the SA6 MK2 should not be mistaken for being overly soft or muddy; it maintains a commendable level of punch and tightness. The sub bass is rendered with great clarity, though it doesn't reach the level of seismic impact. It dissipates quickly, ensuring a clean and controlled reproduction. On the other hand, the mid bass takes center stage, delivering a forward and textured performance that will satisfy fans of bass guitars and drum kicks.

What's impressive about the bass of the SA6 MK2 is its versatility. When listening to EDM, it provides an engaging and well-controlled bass that never oversteps its boundaries and disrupts other frequencies. Even tracks with less pronounced bass mixing, such as those from Bobby Caldwell, Stevie Wonder, and Alan Parsons Project, maintain a close-to-neutral presentation that avoids sounding sterile or uninteresting. Ultimately, the bass of the SA6 MK2 strikes a harmonious balance, appealing to listeners across the spectrum, whether they prefer a neutral sound, crave deep bass impact, or simply seek a pleasing audio experience.

Graph courtesy and credit to Timmy of Gizaudio

As a bonus feature, the SA6 MK2 includes a switch that allows for bass boosts. Referred to by Dunu as "atmospheric immersion," it's essentially a bass boost function. For the bassheads among us, this feature provides an opportunity to satisfy your cravings and enhance the low-end impact according to your preferences.

MIDRANGE:​

The true essence of the SA6 MK2 lies within its exceptional midrange performance. Without a doubt, it caters to the preferences of midrange enthusiasts and fulfills their dreams of an outstanding set. The magic it works on orchestral tracks, whether it's the compositions of Vivaldi or the masterpieces of Joe Hisaishi, is truly remarkable. If classical music holds a special place in your heart, the SA6 MK2 is a must-have. Personally, I find myself constantly gravitating towards my favorite orchestral pieces whenever I have these IEMs in my ears.

Moreover, the SA6 MK2 does justice to jazz tracks by legendary artists like Miles Davis, John Coltrane, David Sanborn, Lee Ritenour, and Bill Evans. The timbre of pianos, which happens to be my primary instrument, sounds sublime and ethereal through these IEMs. The same can be said for guitars, electric EPs, marimbas, kalimbas, organs, and various other instruments. It's worth noting that the SA6 MK2 has finally replaced my previous go-to set, the Bqeyz KC2, in terms of its exceptional midrange performance.

When it comes to vocals, they deserve their fair share of praise and enjoyment alongside the instruments. The low-end vocal ranges, from the deep and velvety tones of Barry White to the soaring falsettos of Earth, Wind, and Fire, are executed with finesse and precision. The contralto and soprano ranges are equally delightful, although this discussion touches upon the trebles, which we'll address shortly. For now, I must emphasize the ultimate praise I have for the contraltos in female vocals.

If you've read my review of the UM Mest MK3, you may recall my nitpicks regarding its midrange performance. The SA6 MK2, on the other hand, delivers a midrange that is to die for, at least according to my subjective perception. Its midrange prowess has exceeded my expectations and solidifies its position as an extraordinary set.

TREBLE:​

Sensitive individuals will find solace in the SA6 MK2's treble performance. It maintains a safe distance from sibilant territory while still delivering commendable details and clarity. Even in my favorite sibilance test track, "A Long Way to the Top" by AC/DC”, the bagpipes solo sounded smooth and devoid of any harshness. Although cymbals and hi-hats may appear slightly subdued, overall treble reproduction remains pleasing. It's worth noting that if you have a preference for EST drivers and brighter tunings, you may find the treble presentation of the SA6 MK2 to be too restrained.

Non-musical nuances like the breaths of a cellist or the subtle lip smacks of vocalists before starting a line are still preserved, albeit slightly less pronounced. Treble enthusiasts may desire more edge and bite, but on the upside, listening to the SA6 MK2 allows for extended sessions without experiencing ear fatigue. Achieving additional sparkle is possible with neutral-bright sources, typically found in ESS chipsets. The essential characteristic of the SA6 MK2's treble lies in its balanced approach, striking a harmonious blend of relaxation and smoothness without compromising on details and clarity.

It's worth mentioning that soprano vocals that venture into the treble territory may feel slightly laid-back, lacking a touch of openness. If your playlist predominantly consists of such vocal ranges, I wouldn't discourage you from exploring the SA6 MK2. Instead, I suggest approaching it with an open mindset. Some instruments that left a lasting impression on me in terms of treble performance were the brass sections and cymbal strikes. As someone who can be sensitive to treble, I find the treble presentation of the SA6 MK2 to be perfect when I'm in the groove for guilty listening pleasure rather than being critical or analytical. The treble is also perfect when I want to boost that volume a few notches.

COMPARISONS:​

versus Hidizs MS5:​

The MS5 showcases a wider soundstage and offers a slight advantage in note definition and attack compared to the SA6 MK2. It presents a more aggressive and energetic sound signature. However, where the MS5 falls short is in its timbre, particularly in the upper mids, which can be fatiguing to the ears. On the other hand, the SA6 MK2 excels in delivering accurate and natural timbre, which sets it apart.

In terms of imaging, the MS5 outshines the SA6 MK2, even offering a holographic presentation that adds a sense of depth and dimensionality. This is an area where the SA6 MK2 lags behind slightly.

To summarize, while the MS5 may have a slight technical advantage in certain aspects, such as soundstage and imaging, the SA6 MK2 takes the lead with its superior timbre accuracy and natural sound reproduction. Although I appreciate technical prowess, my personal preference leans towards a tuning that prioritizes realism. Therefore, if you read between the lines, it's clear which one I would choose between these two.

versus Softears Studio 4:​

These two IEMs are in a close competition, offering similar price, performance, and timbre characteristics. I must admit that choosing one over the other would be a difficult decision for me, as they both have their own unique strengths.

Both the Studio 4 and SA6 MK2 exhibit warm-balanced tonal signatures, with the Studio 4 leaning slightly warmer. They both showcase a relaxed attack and note definition, but the Studio 4 has an added depth in soundstage that the SA6 MK2 lacks. In terms of meeting my needs as a musician, both IEMs have performed exceptionally well. However, the SA6 MK2 offers a more colored and engaging sound profile, making it a standout choice for versatility in both professional usage and casual music appreciation.

From a musician's standpoint, the Studio 4 may seem like the logical choice due to its closer proximity to neutrality. However, when considering overall versatility, the SA6 MK2 emerges as the superior all-rounder. Both IEMs exhibit comparable technical prowess, and their prices are closely aligned. They are the only pure BA configured IEMs I have tried that deliver astonishingly natural, musical, and organic sound reproduction.

To be honest, either of these two IEMs would make me a happy camper and fulfill my midrange benchmark requirements for a long time to come.

​

VERDICT:​

After eagerly awaiting the chance to experience the SA6 lineup, the SA6 MK2 has fulfilled my expectations, albeit with some minor reservations. While its technical performance falls just short of greatness, it still surpasses other IEMs in the $200-$300 range. However, the true allure of the SA6 MK2 lies in its extraordinary midrange. Its lush, rich, and captivating presentation makes it a standout choice for vocal and instrumental enthusiasts, particularly those who appreciate classical music and jazz. Although it may not excel in all technical aspects, it remains a versatile all-rounder that can handle any genre admirably. As a musician and amateur audiophile, I am convinced that the SA6 MK2 deserves a place in my collection.

I would like to express my gratitude to Hifigo and @koyawmohabal aka Practiphile for their generosity in providing me with the opportunity to audition and review the SA6 MK2. Their patience and support are greatly appreciated.

WHERE TO BUY:
Amazon
HiFiGO

INTRODUCTION:
Unique Melody, commonly known as UM, is a distinguished brand under Zhuhai Acoustics Co., Ltd, based in Zhuhai, China. With a focus on creating distinctive and individualistic products, UM is dedicated to enhancing the listening experience for music enthusiasts and audiophiles alike. Since its establishment in 2006, UM has garnered a strong presence in the audio industry, accumulating a remarkable 17 years of experience. Notably, UM has received numerous accolades and has gained a dedicated following within the audio community. Among their renowned releases, the Mest Series, including the Mest OG and Mest MKII, along with the Mext, MavenPro, and Fu Sang, have consistently garnered attention and acclaim within the audio community.

Guess what? The audio gods must have heard my wishes because I've got something truly special from UM. We're about to embark on an exciting journey as we delve into the the newly released Mest MKIII! In this review, we'll explore its capabilities, sound quality, and highlight both the pros and cons. But let me tell you, my friends, this is more than just a review. From this moment on, my whole perspective on music has been completely transformed. Buckle up, because things are about to get interesting! And LONNNGGGGGG!! Let's dive right in!

Oh before we move along, here are the sites of UM. It is quite not easy to find and you need a page translation somehow.

Site in Chinese:
https://www.uniquemelody.co/sy

In English:
https://www.uniquemelody.org/

The Mkiii is now available at Musicteck!! Should you be interested in purchasing, click the link below!

Purchase link

FOREWORD:​

• The gear on hand has undergone at least 25 hours of use before it was assessed.
• No EQ is ever applied in my reviews.
• For the sake of convenience, I try my best to use a stock setup. Not everyone has access to personal ear tips or cables. If personal ear tips, cables, or accessories are used, you will be notified.
• As I try to be objective, my claims will inevitably be subjective and biased to my preference. I cannot stress more that you should take this with a grain of salt for we have different perceptions to sound and what we hear.

SPECIFICATIONS:​

Company: Unique Melody
Model: Mest MKIII CF
Driver count: 10 drivers in each earpiece
Socket: 0.78 2-pin
Impedance: 14 ohms
Sensitivity: strangely, no info yet on this
Frequency response: 20hz to 70khz
Crossover: 5-way crossover
Configuration: 1 Dynamic bass driver, 2 BA midrange drivers, 2 BA treble drivers, 4 EST ultra high drivers, 1 UM patent silver-palladium alloy piezoelectric bone conduction driver

PACKAGING:​

The packaging for the Mest MKIII at its price point is straightforward and no-nonsense. The box features a blue and black accent, with a medium-sized design adorned with geometric triangles and zebra-like stripes. The contents of the package include:

- A pair of Mest MKIII CF earphones
- A cobalt blue custom cable
- An emerald leather case
- A warranty card
- A cleaning pad/cloth
- Open tips and Petal tips in small, medium, and large sizes
- A double pocket sandwich net bag

Although the packaging may seem basic, I have come across IEMs in lower price ranges that offer more elaborate packaging. While unboxing and packaging contribute to the overall experience, let us shift our focus to what truly matters: performance and sound. But before we delve into that, let's discuss each of the inclusions in detail.

CABLE:​

The cable of the MkIII is undeniably stunning. If you opt for the red variant, the cable colorway complements the overall motif. Personally, I went with the blue variant of the MkIII, which comes with a captivating cobalt blue cable. The melon red colorway is reserved for the red variant. The source plug is notably massive and chunky, giving off a robust and durable feel. The cable starts with a sleeved section that exhibits considerable thickness. Its stiffness is evident, and it doesn't readily conform to your movements, which can be somewhat inconvenient. I often find myself having to adjust to its rigidity, which can be a bit tricky.

Midway through the cable, it splits and continues all the way to the MkIII earphones. Interestingly, the stiffness becomes more tolerable from this point onward, allowing for freer movement while on the go. The termination of the cable is a 0.78mm pin, which provides a secure connection.

One major drawback for me, however, is the lack of modularity. I can't help but wonder why UM didn't offer a modular option. As a musician, I frequently rely on 3.5mm and 6.5mm plugs. My intention was to use this impressive cable with the MkIII, but I found myself frustrated by the limitation of the 4.4mm termination. Don't get me wrong, I do appreciate the benefits of a 4.4mm balanced connection when enjoying my music. However, some of my favorite sources, such as the Centrance DACport HD and Ovidius B1, only feature a 3.5mm output. Furthermore, most of my instruments offer either a 3.5mm or 6.5mm output. Consequently, I'm constantly forced to swap cables. I've expressed this frustration in various audio groups on Facebook, and the suggested solutions were either to purchase a cable that suits my needs or to resort to using an adapter. It would have been ideal if the cable were modular, allowing for greater versatility. Whatever UM's reasons may be, I kindly urge them to take this matter into consideration in future releases.

EAR TIPS:​

We are presented with two types of ear tips in the package, and allow me to share my experience with each of them. At first glance, I assumed they were Azla ear tips, which are known for their quality. However, I soon discovered that these were actually UM's own ear tips. According to UM, they are made from a food-grade silicone material, which is a first in their lineup. I must say, these ear tips are exceptionally comfortable, offering a pleasant softness and elasticity. I was able to achieve an optimal seal using the petal tips and decided to stick with them throughout this review.

On the other hand, I wasn't able to achieve a proper seal with the open tips. UM claims that these tips provide an open back effect, akin to earbuds. However, the tube length of these tips is quite short, making it a bit challenging to securely fit them onto the Mkiii. Nevertheless, I believe these tips could work well with other IEMs in my collection, and I'm curious to explore their performance in that context.

It's worth noting that the package does not include any foam tips, which might disappoint users who prefer that material. Unfortunately, if you are a foam tips enthusiast, you won't find them included with the Mkiii.

LEATHER CASE:​

The protective case included with the Mkiii takes a different approach compared to the usual zipper design. Instead, it features a convenient pop-up opening mechanism. The top and bottom parts of the case offer a good grip, ensuring that it won't accidentally open even if it's dropped. However, I must admit that the thickness of the case is a bit excessive for my liking. It makes it challenging to fit into a small bag when I'm traveling light. On the bright side, the emerald colorway adds a touch of visual appeal.

In addition to the case, the Mkiii also comes with a double pocket sandwich net pouch, which I found to be a more preferable option when I'm traveling light. This pouch provides separate compartments to protect each unit, resembling socks. It's a practical solution that allows me to safely carry the Mkiii inside my sling bag without worrying about scratches or damage. I genuinely appreciate the convenience and protection it offers.

MKIII’s APPEARANCE:​

Prior to the arrival of the Mkiii at my doorstep, I spent considerable time exploring UM's website, examining their design philosophy. Interestingly, I noticed a resemblance to one of my favorite IEM designers, Kinera. While comparing the Mkiii to its predecessor, I discovered that it treads a slightly different path. Well, not entirely different, as it bears a striking resemblance to UM's Indigo, which happens to be a limited edition release. Initially, the design didn't immediately captivate me, but over time, its mature beauty grew on me, and I began to appreciate its unique aesthetic.

The Mkiii features a colorway with shiny gold accents along the outer lining. Upon closer inspection, the faceplate reveals noticeable black accents that catch the light when viewed under a lamp. The base portion of the IEM is semi-transparent, revealing an intricate web-like design within. Although I tried to discern the specific configuration, the web-like patterns proved to be an obstacle. On the gold lining, the right unit showcases a serial number, while the left unit proudly displays the embedded text "MEST MKIII." The overall shape resembles a tear drop, and a vent hole is strategically positioned to prevent driver flex during prolonged use.

Lastly, it's worth mentioning that the Mkiii is constructed with carbon fiber material instead of the more common resin counterparts, providing enhanced rigidity and sturdiness. While I have been cautious in handling the Mkiii, I cannot personally vouch for its durability in the event of a drop. I refrained from conducting a drop test, as I didn't want to risk any potential damage to this remarkable IEM.

COMFORT:​

The comfort of wearing the Mkiii is akin to a custom fit, at least in my experience. I found that I could wear them for extended periods without experiencing any fatigue. In fact, I was able to wear them for hours on end and even managed to take a nap with them on. Despite the medium-sized shells, which may appear slightly bulky, they never caused any discomfort for me. Additionally, the lightweight nature of the Mkiii made it easy to forget that I was wearing them. Achieving a proper seal and fit was a breeze, thanks to the ear tips, requiring minimal adjustment. It reminded me of the exceptional comfort I experienced with the TinHiFi T3 Plus, which I consider to be one of the most comfortable IEMs I've worn.

INTERNALS:​

Fear not, my friend, for after this detailed exploration, we shall delve into the sonic realm of the Mkiii. Please bear with me as I strive to provide a comprehensive analysis. Haha!

The Mkiii boasts an impressive configuration of 10 drivers in each unit, encompassing four distinct types. To break it down, we have a dynamic driver dedicated to handling the low frequencies, two balanced armature (BA) drivers for the midrange, an additional pair of BAs for the treble, four electrostatic (EST) drivers responsible for the ultra-high frequencies, and a silver-palladium alloy piezoelectric bone conduction unit that ensures precise frequency compensation. Let's dive deeper into the specifications:

- The dynamic driver and BA drivers cover the frequency range of 20Hz to 20kHz.
- The EST drivers come into play from 10kHz to an astonishing 70kHz.
- The bone conduction unit operates in the frequency range of 500Hz to 16kHz.

It's worth noting that the bone conduction unit takes an innovative approach by bypassing the traditional nozzle pathway, instead employing vibrations that resonate through the skull to produce sound. As a musician, I find this technology truly mesmerizing.

Alright, my friend! The moment you've eagerly awaited has arrived! Let us now venture straight into the sonic realm of the Mkiii. Finally, eh?

SOUND IMPRESSIONS:​

The Mest MKIII was put through its paces with various audio sources and equipment. I tested it with several dongles, namely the Centrance DACport HD, Ovidius B1, and Abigail Pro using both the 3.5mm and 4.4mm connections. Additionally, I explored its performance with the Fiio K9 in my desktop setup. Lastly, I paired the MKIII with my trusty portable audio player, the Hiby RS2. To ensure a fair assessment of its sound, I utilized the stock cable and ear tips provided, avoiding any potential impact from third-party accessories.

Alright, my friend! I hope you're still with me because we've finally reached the most exciting part of this review. After exploring various aspects of the Mest MKIII, it's time to dive into the nitty-gritty details—the technicalities.

When it comes to soundstage, describing and elaborating on it can be quite tricky, especially for IEMs where stage performance is typically not their main focus. However, I must say that the Mest MKIII surprises me with its spacious and wide soundstage, offering ample room for every element to breathe. The depth is discernable, going beyond the usual two-dimensional presentation. For the first time, I've found an IEM that dethrones my beloved Bqeyz Autumn in terms of soundstage. The MkIII beautifully interprets the reverb from orchestral tracks, creating a hall-like sound that enhances the listening experience. Live albums sound more immersive, providing a closer-to-life sensation with the MkIII's expansive stage. With this captivating stage, let's move on to our next topic.

Imaging is a facet where the MkIII truly excels. The presentation of elements in my music comes from various directions, creating a mind-blowing experience. The depth is highly discernable, and instrument panning becomes enjoyable and desirable. Vertical imaging is also present, particularly evident in orchestral tracks like Vivaldi's Presto. Even with a full orchestra of 44 instruments, I can easily pinpoint individual instruments, their placement, and the depth both horizontally and vertically. Instead of using the word "accurate" for imaging, I must admit that the MkIII has challenged my preconceived notions, as I found myself hearing familiar tracks with instruments placed in new, unexpected locations. It's truly an eye-opener for me.

The separation capabilities of the MkIII are immaculate. Every element in the music has ample space to breathe, even in complex ensembles like a brass section. Spending time with the MkIII, dissecting chords and harmonies for my band, has become effortless. I can study five songs in a row without breaking a sweat. I didn't expect the MkIII to be such a valuable tool for musicians, but I'm delighted to conclude that it has significantly sped up my workflow. I spend less time deciphering chordal harmonies and inversions played by artists, making my daily music-related duties more enjoyable and less frustrating. The four different types of drivers (DD, BA, EST, and BC) handle frequencies beautifully, resulting in an accurate distribution that enhances layering, making it more defined and polished.

The MkIII showcases impressive speed and coherency, as there's a seamless synchronization among the drivers. No element feels out of pace or out of sync. UM's claim of significant improvement in this aspect over the MkIII's predecessors is indeed justified.

In terms of timbre, the MkIII delivers a realistic and natural sound. However, I do have a minor caveat as the midrange can sometimes lean towards the thinner side on certain tracks. Now, whether you believe in burn-in or not, I must mention that after almost two weeks of continuous listening, I feel that either my brain or the gear has adapted to the MkIII's tuning. For BA drivers handling the midrange and treble, the MkIII manages to minimize any prominent BA timbre, ensuring a more enjoyable listening experience.

Driving the MkIII is relatively easy, and even with a basic setup like using a phone with the Abigail pro dongle and Apple Music, I've found it sufficient for an enjoyable listen. With an impedance of 14 ohms, the MkIII can be driven by virtually any source without any issues. However, scaling it with a proper amplifier like the Centrance Dacport HD dongle does bring additional benefits, as it provides more power to make the MkIII shine even brighter.

BASS:​

The MkIII may not boast the punchiest or tightest bass I've ever encountered, but there's something truly special about its presentation. The bass frequencies are primarily handled by the bone conduction driver, which adds an extra layer of engagement and immersion to the low-end response. If you focus and pay close attention, you'll notice subtle vibrations from the bone conduction driver, bypassing the traditional nozzle pathway and creating sound that can be felt on your skin and skull. This unique approach extends beyond the bass and permeates throughout the entire frequency spectrum, as we'll discuss shortly.

The MkIII excels in reproducing lows around the 60Hz range, where the combination of instruments and the bone conduction driver truly shines. When an instrument hits this sweet spot, the collaboration between the bass and the bone conduction driver delivers an overload of bass awesomeness. However, it's important to note that the quantity of bass here is not overwhelming, nor does it meet the standards of a basshead's benchmark. Instead, the bass is refined and exhibits the perfect amount of weight to evoke a sense of fun without going overboard. Instruments such as drum kicks, dhols, floor toms, timpanis, acoustic bass, and various ethnic instruments like the tanggu from China left a lasting impression on me. The MkIII captures the reverberation of these instruments with remarkable efficiency, allowing the bone conduction driver to shine while maintaining a balanced quantity that doesn't overpower the surrounding frequencies. I couldn't ask for a better portrayal of bass in this regard.

MIDRANGE:​

The midrange of the MkIII may not be the most forward I've encountered, but it is accurately placed within the soundstage. As I listen to an orchestral track, the choir is positioned behind and airy, occupying its rightful place across the stage platform. As someone who appreciates a mid-centric sound, it took me some time to adjust, as I personally prefer more forward mids. One notable aspect of the MkIII's midrange is its timbre, which leans slightly towards a thin character. From a neutral perspective, this won't be an issue, as it feels natural and balanced. However, coming from IEMs like my Bqeyz Winter with lush midrange, the thinness becomes more noticeable. It's important to mention that this is not a dealbreaker and can be something one can get used to. It can be attributed to the characteristic BA timbre. Overall, most instruments, including acoustic guitars, string sections, rhodes, warm upright pianos, organs, and a wide variety of genres in my playlist, sound right with the MkIII. However, there are times when brightly mixed tracks exhibit some thinness, but this is merely a nitpick on my part and not a cause for complaint.

Surprisingly, the vocals on the MkIII are forward, which is somewhat unusual since vocals fall within the midrange. Looking at the graph, we can observe a slight elevation of a few dBs around 600Hz to 1kHz, which enhances male vocals. Artists like Luther Vandross, Frank Sinatra, and Barry White shine with the MkIII's lower midrange emphasis. As for the upper midrange, there's a slight downward slope around 1kHz-3kHz, which still maintains a justified presence for female vocals. Fleetwood Mac is an artist that the MkIII favors, and contralto singers find a great match in its tuning. Audiophiles often enjoy testing their gear with the voice of Diana Krall, whose vocals sound blissful with the MkIII. Despite these minor nitpicks, the MkIII remains a viable and much-appreciated IEM for its performance in the midrange. Worth noting too, is the BC driver is still at play here and there are times when a vocal hits a certain frequency that the BC is greatly triggered especially if the mastering portrays a forward vocal presentation.

TREBLE:​

The treble performance of the MkIII is on par with its impressive bass, delivering a clean and highly resolving sound. What sets the treble apart is the combination of the balanced armature (BA) driver and the electrostatic (EST) drivers, which introduce a whole new world of details and nuances that I haven't experienced before. As this is my first IEM with EST drivers, it took some time for me to adjust and fully appreciate their presentation, as occasional brightness can be heard. However, it's important to note that the MkIII exhibits impressive control over the treble, as even tracks with extreme sibilance failed to elicit any discomfort or negative reactions from me.

An example of the MkIII's treble control can be heard in AC/DC's "A Long Way to the Top," where the bagpipes can be quite shouty and piercing with gear that isn't carefully tuned in the treble range. However, the MkIII handles them with finesse, showcasing sparkle and air in the treble region. The addition of the EST drivers brings a different color to the overall sound profile, and UM has done an excellent job of tuning, striking a balance between avoiding sibilance and unveiling a wealth of fine details.

There are several nuances in the treble that left a lasting impression on me. I could hear Diana Krall's subtle lip smacking in between her breaths, the sound of a cellist breathing while playing, the overtones of drum snares, and the delicate ride bells that became more pronounced compared to my other IEMs. This level of detail retrieval is a unique achievement, demonstrating UM's expertise and their 17 years of experience in designing IEMs with this driver configuration. The treble of the MkIII stands as a testament to their knowledge and skill in crafting a captivating and nuanced sound signature.

COMPARISONS:​

To provide a more comprehensive comparison, I've chosen to focus on a specific IEM that I currently have in my possession: the Letshuoer Cadenza 12. A detailed review of the Cadenza 12 will follow shortly. Now, let's delve into the comparison.

PACKAGING:​

Undoubtedly, the Cadenza 12 provides a more luxurious and fitting unboxing experience within its price range. It offers a greater number of accessories, inclusions, and an overall well-presented package. To truly appreciate the extent of its packaging, I believe that visuals would be more effective. Allow me to share some pictures showcasing the Cadenza 12's packaging. You can click down below for Cadenza's thread

Letshuoer Cadenza 12 thread

While I don't want to delve too extensively into other aspects as this is primarily a review for the Mkiii, I do want to touch upon one aspect that I feel Unique Melody could have taken into consideration when designing the Mkiii.

CABLE:​

Oh, the cable! It's definitely a disappointment for me with the Mkiii not because of its quality but its inability to be non-modular. In contrast, the Cadenza 12 offers a modular cable that comes in 2.5mm, 3.5mm, and 4.4mm options. This level of versatility is truly commendable, especially considering the price range. While the stiffness issue I mentioned earlier still persists with the Cadenza's cable, it is more manageable. However, I must admit that despite the stiffness, the configuration, appearance, and quality of the Mkiii's cable are superior in my opinion. Apart from the stiffness factor, I personally prefer the Mkiii's cable over the Cadenza's cable.

SOUND:​

Okay let’s get it on in which really matters. How do these two differ in terms of how they sound considering they are around on the same price bracket. Mkiii is around $1,919 for the blue variant and $2,359 for the red one. Cadenza is at $2,299.

The soundstage of the Cadenza is undoubtedly narrower compared to the Mkiii. The Mkiii provides a more immersive experience, while the Cadenza's sound presentation can be perceived as 2D. Both IEMs offer accurate and on-par imaging, but the Mkiii takes it a step further by delivering a more holographic experience, which is undeniably more enjoyable and captivating. In terms of timbre, both exhibit a subtle BA timbre, which is natural and difficult to completely eliminate. We'll explore this in more detail shortly. As for speed, both IEMs perform admirably, and driving them is relatively easy, even with modest equipment like the Abigail dongle or an Apple dongle. In conclusion, both IEMs excel in details and technicalities, but the Mkiii sets itself apart with its holographic and immersive sound reproduction, offering a truly unique listening experience compared to the Cadenza.

BASS:​

The Cadenza offers a significantly punchier and tighter bass response compared to the Mkiii. The drum kicks have a satisfying impact that I'm accustomed to. However, it's important not to overlook the Mkiii's bass, as it presents a more natural and "live" feel. In contrast, the Cadenza's bass is cleaner and gives the impression of listening in a recording studio. The sub-bass presence is less pronounced with the Cadenza, while the mid-bass takes a more prominent role, resulting in a more neutral tuning overall. On the other hand, the Mkiii delivers a balanced reproduction of both sub-bass and mid-bass frequencies.

MIDRANGE:​

The quality of the midrange on both IEMs is quite similar, but upon closer examination, the Cadenza exhibits a more virtuosic and lush reproduction with a subtle touch of warmth. If the Mkiii had a midrange similar to the Cadenza, it could have been deemed perfection. However, I don't want to discount the midrange of the Mkiii. After spending two weeks with it, I've come to understand and appreciate its tuning, although it didn't immediately captivate me upon first listen. Both IEMs have BA drivers handling the midrange, which can result in a slightly thin timbre. Nevertheless, they manage to remain within the boundaries of realism and naturalness, even though I wouldn't describe their midrange performance as "organic."

TREBLE:​

I found the treble of the Cadenza to be the least appealing aspect. It imparted a sense of unnaturalness, and the BA timbre was quite noticeable. While it did possess some grit and bite, I personally found the presentation to be thinner than what I prefer. It could be that I have a bias towards warmer sound signatures. I must admit that prolonged listening to the Cadenza can be fatiguing, whereas the Mkiii excels in this regard by a noticeable margin. The Mkiii's implementation of EST drivers also plays a significant role, unveiling a plethora of details and nuances that the Cadenza fails to reproduce. In summary, the Cadenza's treble is a letdown compared to the Mkiii's impressive control and the rich world of nuances offered by the EST drivers.

In conclusion, I would choose the Mkiii over the Cadenza due to its unique, immersive, and holographic presentation. The utilization of the BC (bone conduction) driver in the Mkiii adds an extra dimension to the sound, creating a tactile experience that goes beyond mere auditory perception. Furthermore, the inclusion of EST drivers in the Mkiii enables exceptional handling of ultra-high frequencies, a feat that the Cadenza falls short of. It is worth noting that the Cadenza's treble, which I find to be somewhat risky and aggressive, can lead to fatigue during prolonged listening sessions, making it a less desirable option for those who are sensitive to such treble characteristics.

VERDICT:​

A TOTL (top-of-the-line) experience is a rarity that my team of reviewers here in the Philippines doesn't encounter frequently. While my $200 sets may not be far off in terms of sound and performance, TOTLs possess a unique quality that is simply astonishing, captivating, and leaves an indelible impression. However, not all TOTLs succeed in delivering on their promises, and the phrase "your mileage may vary" becomes a significant gamble for consumers. The differences between $200, $500, $800, and $1000+ can seem marginal, around 5-10%. Yet, in the realm of audio, these small nuances can have a profound impact on our emotions and the way music resonates within us. Some individuals find these subtle improvements worthy of their hard-earned money.

Fortunately, I can confidently state, based on my subjective opinion, that the Mkiii offers a unique and captivating way of experiencing music, placing it among the ranks of the big boys. With 17 years of expertise in crafting custom IEMs and integrating not just two or three, but four distinct drivers with exceptional coherency and tuning, Unique Melody deserves high regard, recognition, and merit as a company.

If you seek something distinctive, immersive, holographic, and skillfully balanced between fun and analytical tuning, the Mest Mkiii should undoubtedly be on your radar. Its peculiarity sets it apart, and its ability to transport you into the heart of the music is truly remarkable.

I extend my deepest gratitude to Unique Melody (UM) for granting me and our team in the beautiful Philippines this incredible opportunity. We consider it a milestone and a trophy in our never-ending audio journey. As the first in line, I eagerly await the rotation of my dear babies among our circle. Although I know they will return to me in a month or so, they have already become an essential part of my music listening experience, both in leisure and as a professional musician.

Until our paths cross again, cheers!

INTRODUCTION:​

Hiby, a company founded in 2011, has gained considerable respect in the audio community for their Digital Audio Players (DAPs). I happen to own one of their DAPs, the RS2, which incorporates R2R technology. Surprisingly, I haven't shared my review of it yet, even though I've had it for a couple of months now. Besides their expertise in DAPs, Hiby is also expanding their product range to include In-Ear Monitors (IEMs), such as the Crystal 6 II and Zeta, which I will be reviewing. Noteworthy offerings from Hiby also include DAC/Amps like the FC6, FC1, FC3, and FC4, which you can explore further on their website.

One aspect where Hiby shines is their music app, highly regarded within the audio community. The Hiby music app stands out as an impressive solution that bypasses Android's audio sample limitation, enabling the use of external DAC/AMP for bit-perfect and unaltered audio output. The best part? It's absolutely free! Besides my preferred DAP, the RS2, I often rely on this app as my go-to music player on my Android phone.

Now that we've covered the introduction, I invite you to join me on a personal journey as I share my thoughts and impressions on this remarkable piece of equipment, the R6 Pro II!

FOREWORD:​

• No EQ is ever applied in my reviews. In this case a DAP, no MSEB or post sound alteration have been applied.
• For the sake of convenience, I try my best to use a stock setup. Not everyone has access to personal ear tips or cables. If personal ear tips, cables, or accessories are used, you will be notified.
• As I try to be objective, my claims inevitably will be subjective and biased to my personal preference. I cannot stress more that you should take this with a grain of salt for we have different perceptions to sound and what we hear.

SPECIFICATIONS:​

Now, let's dive into the technical details, although I must admit, it's not my favorite part. Nevertheless, for the sake of providing comprehensive information, let me present the specifications for those who are interested in the nitty-gritty details.

• Form: DAP (digital audio player)
• DAC Chip: Dual AK4499EX + AK4191EQ
• Amp: Class A/AB switchable dual amplification circuit
• Processor: Qualcomm Snapdragon 665 SoC (8-core, 1.8GHz Kryo 260), Android 12 OS
• External Memory Slot: 1 x microSD card, supports up to 2TB
• Battery Capacity: 5000mAh
• Battery Life: 3.5mm (single-ended) PO (Class AB): 8 hours, 4.4mm (balanced) (Class AB): 7 hours, 3.5mm PO (Class A): 6 hours, 4.4mm (Class A): 5 hours
• Charging Time: <2 hours
• RAM: 4GB
• Internal Storage: 64GB
• Source Jack: PO 3.5mm (single-ended), PO 4.4mm (balanced), USB DAC, coaxial digital out, line-out (3.5mm and 4.4mm)
• Output: 3.5mm: 125mW (2Vrms), 4.4mm: 383mW (3.5Vrms)
• THD+N: 3.5mm: 0.0009 – 0.0015% (depending on A/AB amplification), 4.4mm: 0.0009 – 0.0015% (depending on A/AB amplification)
• Dynamic range: 3.5mm: 118dB, 4.4mm: 119dB
• Signal-to-noise ratio: 3.5mm: 117dB, 4.4mm: 119dB
• Frequency Response (Hz): 20Hz – 90kHz
• Decoding Format: PCM (32bit/1536kHz), DSD 1024, 16x MQA
• WIFI support: 2.4GHz and 5GHz; compatible with Airplay/DLNA/HiByLink
• Bluetooth: two-way 5.0
• Bluetooth Codec Support: UAT/LDAC/aptX/aptX HD/AAC/SBC
• Dimensions: 147.45mm x 75.2mm x 15mm
• Weight: 285g

PACKAGING:​

Before I start expressing the unboxing experience let me lay down the inclusions:
Hiby R6 Pro II DAP

• R6 Pro II leather case
• Type C to type C cable
• Type C to USB A adapter
• User manual (In Chinese and English)
• Certificate
• Warranty card
• 2 x Screen protector

The unboxing process of the R6 Pro II is straightforward and efficient. It comes in a medium-sized box with an appealing purple and white color combination. As you slide the box upwards, the DAP itself is the first thing that catches your eye. Removing it from the tight foam grip requires a bit of effort, but thankfully, there are indents on the sides that allow your fingers to have some space for pulling it out. However, I must admit that it can be a bit inconvenient since it's almost inevitable to accidentally press the power button located on the side, unintentionally turning on the device and diverting your attention from the unboxing experience.

Moving on to the second layer of the packaging, you'll find the sleek gray leather case, which perfectly complements the R6 Pro II, reminiscent of the delightful experience I had with my RS2. The charging and file transfer cable is conveniently placed on the side. Beneath the leather case, you'll discover the supporting documents. And that concludes the unboxing experience. It's a straightforward and no-nonsense approach, showcasing a professional presentation without any unnecessary frills or distractions.

PHYSICAL ATTRIBUTES:​

The R6 Pro II exudes a premium aesthetic with its elegant and sophisticated design. It boasts admirable curves that are ergonomically pleasing and don't hinder anyone's grip. The device has a substantial size and weight, providing a satisfying heft when held. The grills on the back panel add a touch of industrial appeal. In terms of the screen, it is impressively spacious, rivaling the size of current smartphones in the market. However, it's worth noting that the thickness of the R6 Pro II is almost double that of smartphones. While the trend for smartphones leans towards slimness, Hiby has taken a different approach. Personally, this aspect didn't bother me in the slightest.

The R6 Pro II is offered in two color options: black and purple. While my co-reviewers leaned towards the purple variant, I personally voted in favor of the black unit. Ultimately, we prioritized expediting the review process rather than waiting for the release of the purple variant. Hence, we all agreed to receive the black version.

Moving to the bottom of the device, we find the ports, which are conveniently positioned for tabletop usage. However, it can be a bit cumbersome if you intend to put the R6 Pro II in your pocket while having an IEM, earbud, or headphones connected. That is, of course, if you can even fit it in your pocket. I must admit that it is quite large, and as someone with smaller Asian hands, I find it slightly overwhelming.

BUTTONS:​

On the left side of the R6 Pro II, we find the previous and next track buttons, along with the play/pause button. Additionally, the micro SD slot is located on this side. The placement of these buttons is somewhat unconventional. Typically, the play button is separate from the previous and next track buttons. However, in this case, the previous button is separated, and the play/pause button is combined with the next track button. It caught me off guard initially, but I quickly adapted to it.

Moving to the right side, we have the power/lock button and the volume rockers. There is also a small LED indicator that displays the sample rate playback of your files. As for the volume rockers, personally, I would have preferred a volume wheel instead. However, that is simply a matter of personal preference. It's worth mentioning that there is a slight misconception regarding the LED lights, but I will address that in the user experience section of this review.

PORTS:​

The R6 Pro II boasts four outputs, which is a noteworthy feature. The terminals are adorned with shiny gold plating and provide a secure and stable connection. The charging port utilizes a Type-C connection, which has become the standard for most devices, excluding Apple. In terms of output options, there are two line-out connections available for connecting to speakers, both in 4.4mm balanced and 3.5mm single-ended configurations. The same applies to the headphone output, offering both balanced and single-ended options.

PERFORMANCE/USER EXPERIENCE:​

Now, let's delve deeper into the real-life performance of the R6 Pro II and move beyond its specifications. I will share my subjective experience, shaped by my usage and personal requirements from a digital audio player (DAP). As this is my initial encounter with an Android-based DAP, I must say that the experience has been nothing short of enlightening.

BATTERY:​

Prior to acquiring the R6 Pro II, I had come across several reviews that highlighted the battery performance (rated at 5000 mAh) as a potential weakness. While I can acknowledge those concerns, I must emphasize that, based on my personal usage, the battery performance did not disappoint me. Let me elaborate on this further.

As a busy individual, my daily routine involves constant movement within my home, attending to various tasks, and taking care of my pregnant wife, among other responsibilities. It's safe to say that I rarely have the luxury of sitting down and indulging in uninterrupted music listening for extended periods. I'm sure many of you can relate, especially when it comes to giving our undivided attention and love to our significant others—after all, I'm an asset, not a liability, right? (Laughs.)

Returning to the battery performance, the R6 Pro II's battery is sufficient to last me throughout the day. However, it's important to note that if I were to compare it with the RS2, which lacks Wi-Fi and Bluetooth capabilities and doesn't have additional apps running in the background, coupled with its smaller screen size, it's natural to expect the RS2 to outlast the R6 Pro II in terms of battery life. To summarize, the battery meets my requirements, but I understand that individuals who have more leisure time to devote to continuous music listening may find the battery somewhat lacking.

The charging speed of the R6 Pro II is relatively slower compared to high-end dedicated audio players. It takes approximately 2-2.5 hours to fully charge the device from 10% to 100%. While it is recommended to use a PD charger for optimal charging performance, I personally used a regular smartphone charger with a moderate amperage, and I have not encountered any issues or concerns with it.

U.I (User Interface)​

The R6 Pro II operates on Android 12, which marks a promising start. However, if you're accustomed to using music apps and other features on your smartphone, you may notice a slightly slower pace. While the DAP itself feels snappy and responsive, smartphones generally offer better and faster responses.

Although the R6 Pro II is relatively self-explanatory, particularly for Android users, I did encounter a few issues that I promptly reported to Hiby. I have full confidence that these hiccups will be resolved in upcoming firmware updates. Here are the specific issues I experienced:

1. The play/pause, next, and previous track buttons occasionally became unresponsive.
2. The screen sometimes required a double tap to detect my touch.
3. I faced some difficulty logging into my Google Play Store account.

Rest assured, Hiby is actively working on addressing these concerns in a timely manner.

Certain features, such as gain modes and amplification, hold significant importance in my usage. Thankfully, they are easily accessible by swiping down from the top of the screen and tapping on the respective options to adjust preferences.

Customizing the R6 Pro II is a straightforward process and it functions akin to a fully-fledged smartphone. However, accessing the "Settings" menu can be somewhat cumbersome, as I haven't found a way to include it on the dashboard. This is a minor inconvenience that could be addressed in future updates, in my opinion.

The gesture controls are highly responsive, with right swiping serving as the back functionality, upward swiping bringing up the home/dashboard and recent apps, and downward swiping providing access to the notification center and widgets.

Another notable feature is the ability to secure the device with a passcode or pattern lock, which adds a layer of convenience to the DAP experience.

Overall, the user interface (U.I.) of the R6 Pro II is highly intuitive and successfully bridges the gap between a dedicated DAP and a smartphone. It was an enjoyable and novel experience for me. Although there are still some minor hiccups, I firmly believe that the R6 Pro II will be fortified with updates in the coming months.

CONNECTIVITY:​

While I haven't fully explored all the connectivity options of the R6 Pro II, I can confidently say that the Wi-Fi functionality works flawlessly. Connecting to a Wi-Fi network is a straightforward process without any issues.

On the other hand, Bluetooth... Well, I haven't had the chance to test it yet. Just give me a moment here... ... ... ... There you have it! I successfully paired my Bose headphones with the device. The pairing process was effortless, but I must admit that I rarely use Bluetooth for my audio listening pleasure. Interestingly, I noticed that I had to turn up the volume to around 95% to achieve my desired listening level. Hmmmm... For those of you who prioritize Bluetooth connections, I'll leave this aspect in your capable hands. At least we can confirm that it functions properly. LOL

The R6 pro II is capable of two bluetooth connections. In and out… again, to bluetooth enthusiast, I leave this matter to your hands.

MOBILITY:​

The R6 Pro II is undeniably large and thick, making it quite challenging to envision fitting it into a pocket. Unless you prefer to travel light and always have a free hand available to hold it, then it might work for you. Alternatively, placing it in a shoulder bag should be a viable option. However, for those who prefer to keep their DAPs in their pockets, I'm afraid the R6 Pro II may not be the most suitable choice. It lacks the mobility I anticipated, unlike my RS2, which fits comfortably in a loose pocket. So, there you have it—ultimate mobility is not one of its strong suits.

DRIVING POWER:​

I won't dwell too much on the technical specifications, as they have already been discussed earlier in this review. However, based on my experience with various DAPs, I must say that the R6 Pro II is exceptionally capable when it comes to driving power. All of my IEMs performed impressively and exhibited no signs of being underpowered or restricted in any way. On the other hand, when using headphones, particularly with my Audeze Sine, I noticed some struggles and the introduction of distortions when reaching around 80% of the volume level. Therefore, I find that sticking with IEMs is a more preferable option when using the R6 Pro II.

LED LIGHTS:​

The LED status light on the R6 Pro II is a useful feature for those who are particular about the quality of their audio files. Overall, I find the LEDs to be quite accurate in indicating the file quality, except for the MQA playback indicator. According to the specifications, it should display a green light, but in my experience, it tends to be somewhere between green and yellow. This discrepancy can be easily addressed with a firmware update, and it does not affect the accuracy of other color indications for different file qualities.

The handy user manual has this segment in detail. Don't be a lazy chap, and take out that manual. Lol.

SOUND IMPRESSIONS:​

Throughout this review, I extensively utilized my own collection of FLAC files as well as Apple Music, an online streaming service, to assess the performance of the R6 Pro II. Additionally, there were instances when I turned to YouTube videos for audio playback while my personal phone was charging. I made sure to rotate and pair different sets of IEMs with the R6 Pro II to ensure comprehensive testing. The following observations represent the consistent findings that were perceptible to my discerning ears. However, it's important to note that your own experience may differ.

Let’s start off with some facets of technicalities…

The soundstage of the R6 Pro II is notably spacious and expansive. However, in comparison to my portable DAC/AMP, the Centrance Dacport HD, the latter still reigns supreme in terms of providing an even greater sense of stage. Nevertheless, the R6 Pro II offers a commendable level of openness and avoids any feelings of claustrophobia in the audio presentation. It places a decent emphasis on staging, which particularly benefits IEMs with a more intimate soundstage, further enhancing their performance.

The imaging capabilities of the R6 Pro II left a strong impression on me with its remarkable accuracy and precision. Each element of the music is properly positioned and distinctly discernible, contributing to an enhanced listening experience. This aspect of the device proves particularly beneficial for IEMs, as it showcases their technical capabilities with adequacy and proficiency.

One of the standout features of the R6 Pro II, in terms of technical prowess, is its exceptional instrument separation and micro-detailing. Each musical element retains its individuality without overlapping, creating a spacious environment where every component finds its rightful place. Even the most subtle nuances and background elements remain audible and distinct, avoiding being overshadowed by more prominent instruments. The R6 Pro II masterfully preserves the integrity of the musical arrangement, leaving nothing omitted or marginalized. As a musician myself, I find this level of precision and attention to detail to be immensely constructive and truly impressive.

BASS:​

The R6 Pro II takes a neutral approach combined with tightness and a clean presentation, delivering a faithful and accurate reproduction of both quantity and quality. My ears detected no elevation or boost, affirming the neutrality of its sound signature. This characteristic is particularly beneficial for mixing engineers who rely on accurate references, as it faithfully portrays recordings as they were intended. The texture of the music is vividly portrayed, allowing bass guitars and drum kicks to exhibit an unprecedented level of detail and cleanliness. In my experience with various DAPs, the R6 Pro II stands out in its ability to showcase such remarkable texture and clarity.

MIDRANGE:​

Undoubtedly, the star of the show is the midrange! As we all know, a significant amount of energy and musical elements reside in this frequency range. I am thrilled to share some great news: the R6 Pro II faithfully presents vocals and instruments without any exaggerated emphasis. The midrange remains accurate and precise, catering to more mature and discerning listeners who appreciate an authentic representation. There is no excessive richness or lushness added to the midrange, but it possesses a sense of forwardness and priority. Those who favor mid-centric sound profiles will undoubtedly embrace the R6 Pro II's presentation.

From a musician's perspective, the R6 Pro II once again captivated me with its constructive approach. As someone responsible for almost all elements while learning songs for my band (except for guitars and drums), having a forward presentation of every aspect within the arrangement made my life easier. Moreover, I noticed that the R6 Pro II has a special affinity for guitars, whether it's acoustic, distorted, overdriven, or clean tones. Guitar-oriented tracks sounded exceptionally captivating and left me hooked, despite being a pianist with guitars not being my primary focus. Consequently, the R6 Pro II allowed me to rock and roll with my head banging to some of my favorite rock tracks from Queen, RATM, Incubus, and AC/DC.

TREBLE:​

While the bass and midrange maintain a neutral and faithful presentation, the treble takes a different approach. It exhibits noticeable emphasis, leading to a bright-neutral sound profile in the R6 Pro II. On the positive side, this emphasis brings good energy to the treble region, allowing micro details to shine. However, I must mention that, in some instances, the upper frequencies can exhibit a slightly "glassy" presentation on certain tracks. It's important to note that this observation is quite specific and subjective.

Nevertheless, I'm pleased to report that the R6 Pro II manages to avoid pushing my IEMs into sibilant territory, even with my bright-sounding pairs like the Kinera Idun and Simgot EA500. It's worth mentioning that individuals sensitive to treble might prefer pairing the R6 Pro II with warmer-sounding gear. On the other hand, those who appreciate an emphasis on treble will find no limitations with the device. Hihats, cymbals, bells, and extended female vocal ranges are well executed, offering enhanced airiness and sparkle to your chosen transducers.

COMPARISONS:​

Versus Hidizs AP80 pro:​

Upon initial evaluation, it becomes apparent that the driving power of the R6 Pro II takes the lead. The AP80 Pro falls short in terms of output, leaving some of my IEMs unable to reach their full potential. Particularly, the Tangzu Heyday requires a stronger push to truly shine. Furthermore, the AP80 Pro exhibits a drier and colder sound profile, with slightly inferior technical capabilities. However, it must be acknowledged that the AP80 Pro offers enhanced portability, easily fitting into a pocket. It's worth noting that the AP80 Pro lacks Wi-Fi connectivity, limiting its ability to stream music. Bluetooth connections are available, though, enabling both input and output. Additionally, the AP80 Pro features a 2.5mm balanced output, providing an extra boost, albeit at the expense of increased battery usage. While the AP80 Pro charges quickly, its battery life is relatively short. Both devices lean towards a bright-neutral sound signature, yet the R6 Pro II manages to retain a touch more naturalness in the midrange and bass frequencies.

Versus Hiby RS2:​

When it comes to driving power, the R6 Pro II takes the lead without hesitation. As much as I adore my RS2, I must confess that it sometimes struggles to fully drive my Tangzu Heyday or Kinera Idun to their utmost potential. However, this can be remedied by utilizing the 4.4mm balanced output. One drawback of the RS2 is its lack of Wi-Fi and Bluetooth connectivity, making it solely a music player without any wireless connections to the outside world. On the other hand, the RS2 boasts remarkable musicality and an analog-like sound signature. The treble is delicately smoothed out while maintaining an impressive level of detail. In terms of portability, the RS2 is easily accommodated in a loose pocket. It offers a subtle bass bump, adding warmth and a more moist sound, so to speak. Although the RS2's technical prowess is slightly underwhelming, with around a 5% difference compared to the R6 Pro II that excels in instrument separation and detail retrieval. Listening at comparable levels, the R6 Pro II allows for comfortable enjoyment with the 4.4mm balanced output set at 40/100, while the RS2 requires a higher volume at 50/100. Furthermore, the R6 Pro II's user interface is noticeably quicker, thanks to its Android 12 operating system and a larger smartphone-sized screen that displays all the necessary information, unlike the RS2's compact screen.

Versus Questyle QP2R:​

Now, let's introduce one of the heavyweights: Questyle. Despite being a classic released approximately five years ago, I find it somewhat outdated, as I mentioned in my QP2R review, and that sentiment remains unchanged. When it comes to convenience, user interface, and connectivity, the R6 Pro II surpasses the QP2R by a wide margin. But what about the sound, you ask? Well, let's delve into it. In all honesty, to my highly subjective ears, both devices sound remarkably close and similar. The emphasis lies in the midrange, with neutral and tight bass, while the R6 Pro II offers a touch more sparkle and sheen in the treble, imparting a "glassy" quality. In terms of technical prowess, the R6 Pro II maintains a slight edge in terms of separation, albeit by a negligible margin. Both devices are sizable, raising concerns about mobility, as neither can easily fit into a pocket. However, when it comes to driving power, I must apologize to Questyle, as Hiby has discovered a more efficient way to drive my IEMs. Additionally, the QP2R's 2.5mm balanced output should have been a 4.4mm, not that it makes a significant difference, but given the current trend favoring 4.4mm balanced connections, the 2.5mm format is gradually becoming less prevalent. In conclusion, both devices are highly capable and offer similar sound profiles, with minor variations in technicalities. However, the crucial factor to consider is the user experience, where the R6 Pro II triumphs with its tech-savvy and trendy features, making it the preferred choice for many.

VERDICT:​

Without hesitation, I firmly believe that the R6 Pro II is a must-have for any devoted DAP enthusiast. It possesses an exceptional sound that elevates the performance of your transducers, particularly IEMs, although it may not have the same impact on headphones. If you favor a bright-neutral sound signature, crave impeccable details, rely on streaming services like Tidal, Qobuz, Deezer, Spotify, or Apple Music, and refuse to let go of the convenience of the Android interface, then the decision is clear—this device is tailor-made for you. And at a competitive price point of approximately $750, it stands as one of the most remarkable releases in the DAP realm for 2023. However, it's worth noting that if you find yourself listening for extended periods, roughly 5-6 hours a day, battery usage is a factor that should be carefully considered before taking the leap. The R6 Pro II's technical capabilities are as impressive as they come, and the convenience it offers is a testament to Hiby's dedication. If only it fell within my budget, I would gladly welcome it into my lineup.

From a musician's perspective, I highly recommend the R6 Pro II to mixing engineers seeking a reliable reference tool and to musicians who meticulously dissect songs for harmonies, subtle nuances, covers, and even to vocalists in need of deciphering vocal harmonies.

I would like to express my sincere gratitude to Hiby and Sir Joseph Yeung, also known as Joebloggs, for selecting me to be a part of this world tour. The Filipino community is immensely thankful for your generosity in allowing us to experience a device of this caliber. Until the next review, this is RemedyMusic signing off!

PRICE: $750​

INTRODUCTION:​

QoA, also known as Queen of Audio, is a subsidiary of Kinera, and according to information I gathered, both companies are headed by siblings. The design and craftsmanship of both companies share similarities and exude a feminine touch. While Kinera is recognized as the “jeweler” of IEMs, QoA's designs lean towards the female market. Their website showcases 8 IEM models, which you can access through the following link. QoA In-ear-monitors

This marks my debut review of QoA, as I have had more exposure to and experience with Kinera. Right off the bat, I must assert that Gimlet proved to be a pleasant surprise, and did not fail to meet my expectations. Without further ado, let us delve into its strengths and weaknesses, and identify what it is suited for and what it is not.

FOREWORD:​

• The gear on hand has undergone at least 10-15 hours of use before it was assessed.
• No EQ is ever applied in my reviews.
• For the sake of convenience, I try my best to use a stock setup. Not everyone has access to personal ear tips or cables. If personal ear tips, cables, or accessories are used, you will be notified.
• As I try to be objective, my claims inevitably will be subjective and biased to my personal preference. I cannot stress more that you should take this with a grain of salt for we have different perceptions to sound and what we hear.

SPECIFICATIONS:​

Configuration: 1 x 10mm LCP diaphragm DD
Impedance: 32ohms
Sensitivity: 108db
Freq response: 20hz - 20khz

PACKAGING:​

The box has an elegant design with a captivating dark green color that resembles the precious "Jade" stone. The packaging style is reminiscent of Kinera's design, and while the inclusions are basic, all the necessary items are present. Kinera usually has a backstory that explains the name of their IEMs, often related to Norse mythology, but QoA's Gimlet lacks this feature, which I somewhat miss.

In the box:​

• a pair of Gimlet IEMs
• detachable cable
• carrying case
• 6 pairs of ear tips

The Gimlet boasts a sleek and understated appearance, with a heft that remains comfortable even after hours of use. My unit is the white variant, which has a smooth and glossy finish. Positioned at the center of each faceplate is the QoA logo, rendered in white font against a golden backdrop. These IEMs would likely appeal to women who favor luxury brands like Louis Vuitton, Hermes, or Prada and are looking to make a bold fashion statement.

The cable is well-matched with the Gimlet's design, with a color and thickness that will appeal to women. The plugs and pins have a gold accent that blends nicely with the IEMs. A plus is that the cable doesn't produce any bothersome microphonics, which is great for uninterrupted listening sessions.

The carrying case for Gimlet has a luxurious feel to it with a leather texture that will surely appeal to those with a taste for high-end bags. The QoA logo is present but barely visible which will favor minimalism. Despite this, the pouch provides ample room for Gimlet to fit comfortably, unlike the case for my favorite IEM, Idun from Kinera, which tends to cramp the earpieces, leaving me with doubts about its safety.

Two types of soft and wide-bored ear tips are included, each available in small, medium, and large sizes. The ear tips come in two different colors - blue and white. The blue variant is shorter in height while the white one is olive-shaped and a bit taller.

COMFORT and WEAR:​

Without a doubt, Gimlet is an incredibly comfortable IEM that won't cause any physical strain, despite its added weight. While the insertion may not be the deepest, it still securely grips my ears and doesn't budge even while I'm on the move. The size of the shell falls in the small to medium range, making it the perfect fit for, as you might have guessed, the lovely ladies out there. Achieving a good seal and fit is a breeze, which is a great advantage for those like me who have a busy schedule and need to take their IEMs on and off frequently throughout the day.

SOUND IMPRESSIONS:​

The Gimlet was used with the Ovidius B1, Centrance Dacport HD, Abilgail pro paired up with Oppo A94 with either Hiby music app or UAPP. My Hiby RS2 dap was also used. Music playback used are Qobuz studio and Apple music subscription and my own FLAC files. The stock cable and ear tips were used. I opted for the blue ear tip variant, wide bore, soft, and shorter. No third party accessories were equipped as to avoid aftermarket sound impact.

I take Gimlet as a bit underwhelming but adequate in technicalities. It will get you from point A to B. But… Well, let's get right into it.

The sound stage of Gimlet is not exceptional but still satisfactory. It varies depending on the track being played, and doesn't feel too enclosed and not claustrophobic. The width of tracks from City of the Sun is good and I sensed adequate wideness. However, there is no noteworthy depth or height to mention. Hence, more like a 2d experience and not holographic.

The imaging on the Gimlet is quite clear, but it's not the most accurate compared to other IEMs. The elements in the music tend to be placed at the center, resulting in a fixed and stable presentation with little room for playfulness. Although some may find this boring, personally, I find it not at all disappointing.

The dynamic driver's speed on Gimlet is relaxed and laid-back, resulting in a soft and natural portrayal of notes that aren't overly defined. The attack is relatively gentle, and the decay has a good natural quality with note tail ends that are well-presented.

The tonality and timbre of Gimlet are highly captivating, especially for individuals who prefer a smooth sound presentation. The sound quality is incredibly musical, organic, and natural, evoking a sense of liveliness in the listener's ears.

Gimlet's weakest point in terms of technical performance is its separation. I find that different elements in my music blend together instead of being precisely separated, which is a downside for me since I need to dissect individual elements for my daily work. However, my wife, who is a vocalist, really enjoys using this set as she mainly focuses on the main melody of a song. Nonetheless, if she were to analyze vocal harmonies, it might be a bit challenging for her.

BASS:​

The bass of the Gimlet presents a decent note weight with just enough elevation to provide that engaging factor. It may not be the most agile, as the bass tends to be soft, gentle, and pillowy most of the time. The sub-bass rumble is present when needed, and tracks from Billie Eilish are still enjoyable. While the mid-bass is prominent, it does not take center stage, and there is no slam or punch in Gimlet's presentation, making it less desirable for those who prefer a well-defined bass. Despite this, the bass reproduction remains clean, although muddiness may occasionally arise.

MIDRANGE:​

The warm sound signature of Gimlet gives the midrange a lush and rich quality that I find commendable, despite its slightly recessed character which usually turns me away. Even though there is a significant dip in the lower midrange according to the graph, it does not sound pushed back. Meanwhile, the upper midrange is emphasized but still tuned smoothly, producing no sibilance or hotness. I enjoy listening to female vocals and brass instruments like sax, trumpet, trombones and horns, which all have good presence without causing fatigue. Overall, everything sounds smooth and pleasing to the ear.

TREBLE:​

To begin with, Gimlet has a significant warm sound profile. It presents a laid-back and relaxed vibe, which is primarily due to its treble. Although this may be pleasing for sensitive listeners, I noticed that many nuances and details seem to be lacking. Don't get me wrong; the details are present, but what's missing is the texture of the instruments. The smoothness is excellent, but I believe QoA intentionally designed Gimlet this way to provide a more calming listening experience rather than an analytical one. While I can still distinguish 90% of the instruments, the micro details are less prominent and, at times, not audible at all. However, with this warmth, the treble doesn't sound overly thin and produces good weight. This is unlike more neutral sets that can sometimes be dull to listen to. Cymbals and hi-hats are my favorite elements to monitor when it comes to treble, and with Gimlet, there's no danger of it sounding fatiguing, piercing, or sibilant. But there is a downside: nuances, micro details, and much of that energy on top are somewhat compromised.

COMPARISONS:​

Let's move on to a quicker comparison between single dynamic driver candidates at this price point. I will present my comparisons in bullet points to make it easier to follow. I'll be focusing on two of my preferred single dynamic driver in-ear monitors, both of which are priced under $100 and are therefore comparable to Gimlet.

versus Dunu Titan S​

• Both are warmish in overall sound but Titan S is a shy bit brighter.
• Sound stage goes to Titan S.
• Technicalities are better with Titan S.
• Separation goes to Titan S.
• Titan S is closer to neutrality.
• Gimlet gives a more engaging sound profile.
• Gimlet is much safer for long listening sessions.
• Titan S has a higher detail retrieval.

To sum up, it can be said that Titan S outperforms Gimlet in nearly every aspect, but Gimlet may have more appeal to the general consumer due to its versatility. Gimlet delivers a smooth U-shaped sound, whereas Titan S leans more towards a neutral sound reproduction.

versus Simgot EA500​

• EA500 is without a doubt, the brighter set.
• EA500 can be fatiguing to some listeners, Gimlet will never be fatiguing.
• EA500 wins in technical aspects.
• EA500 has better details.
• Gimlet sounds more organic and natural in timbre.
• EA500 can get sibilant at times.
• EA500 has better agility and speed.

The EA500 outperforms Gimlet in technical aspects; however, Gimlet has an advantage in terms of timbre. The EA500 is crafted to be more analytical, while Gimlet prioritizes the pure enjoyment of music.

SOURCES USED:​

• Hiby RS2
• Ovidius B1
• Centrance Dacport HD
• Abigail pro 3.5mm
• Qobuz Studio
• Apple Music
• Hiby music app
• UAPP

TEST TRACKS:​

Here are some tracks I usually listen to when reviewing:

That’s the way of the World by EWF
Africa by TOTO
The Girl in the Other Room by Diana Kral
Balmorhea album All is wild, All is Silent
Sila by Sud
Smooth Escape by D’Sound
Never too Much by Luther Vandross
P.Y.T by Michael Jackson
Ain’t no Sunshine by Eva Cassidy
Shoot to Thrill by AC/DC
Another one bites the Dust by Queen
Good times bad times by Edie Brickell
Alice in Wonderland by Bill Evans
Ain’t it Fun by Paramore
Redefine by Incubus
Far Away by Nickelback
Lovesong by Adele
Lingus by Snarky Puppy
Harvest for the World by Vanessa Williams
Love Bites by Def Leppard
No Such Thing by John Mayer
As by Stevie Wonder
Whip Appeal by Babyface
Ain’t Nobody by Chaka Khan
Futures by Prep
Landslide by Fleetwood Mac
Every Summertime by NIKI
SADE tracks
AC/DC tracks
Queen tracks


And many more… I always listen to High resolution format, being the least quality 16bit/44khz FLACS be it offline or online.

VERDICT:​

To begin with, I believe that Gimlet is a unique IEM that caters to a specific market. In my opinion, it is most suited to female listeners. As audiophiles, many of us men are preoccupied with details, nuances, and analytical listening. Women, on the other hand, tend to enjoy music for the pure pleasure it brings. Gimlet's smooth and relaxed sound signature aligns well with this listening style.

From a musician's perspective, I found Gimlet lacking in certain technical aspects. While it is enjoyable to listen to, it does not prioritize the textures and micro-details that are important to me. This is a significant drawback, and I cannot see myself purchasing the IEM for my personal use.

Despite this, I must commend Gimlet for taking a different approach than many of the other releases in the Chifi market. It is refreshing to see an IEM designed for music enjoyment rather than technical analysis. While I may not buy Gimlet for myself, I believe it would make a great gift for a female friend or even for my wife.

Lastly, I would like to express my gratitude to Martin Esguerra for facilitating this tour, and to QoA for the opportunity to experience QoA for the first time. Thank you, and I look forward to the next review.

INTRODUCTION:​

Softears is an audio company that primarily caters to musicians, singers, and sound engineers. However, their products have also garnered popularity among audiophiles. Despite being a relatively new company, having started in 2014, Softears has made significant strides in the industry. They established their studio in Shenzhen's Silicon Valley in 2017, and in 2019, they opened their independent research and development lab and factory in Chengdu.

Softears places a strong emphasis on technology, high-quality research and development, and innovation. Their primary objective is to provide an experience of softness, comfort, balance, and durability for their users when it comes to listening to music.



Hey, guess what I got here? The Studio 4! And let me tell you, I'm pretty smitten with these earphones. Admittedly, I wasn't blown away on my first listen. In fact, I found them quite dull and lifeless at first. However, as I spent more time with them, I realized their true purpose and versatility. So, I'm going to give you two different perspectives on them - one from a musician's point of view, and one from a sort of audiophile perspective. Let's dive in!

Oh before we start, you might want to check this link for more info on Studio 4.
Softears Studio 4 official link

FOREWORD:​

• The gear on hand has undergone at least 20 hours of use before it was assessed.
• No EQ is ever applied in my reviews.
• For the sake of convenience, I try my best to use a stock setup. Not everyone has access to personal ear tips or cables. If personal ear tips, cables, or accessories are used, you will be notified.
• As I try to be objective, my claims inevitably will be subjective and biased to my personal preference. I cannot stress more that you should take this with a grain of salt for we have different perceptions to sound and what we hear.

SPECIFICATIONS:​

Configuration: 4 x Balanced armature
Impedance: 12ohms
Sensitivity: 123db
Freq response: 20hz - 20khz
Connector: 0.78mm 2 pin
Plug: 3.5mm

PACKAGING:​

Initially, it can be observed that the Studio 4's packaging is simple and straightforward, which is well-suited for musicians. It is presented in a small white box with no flashy designs or unnecessary frills. Those who enjoy the novelty of unboxing might find the Studio 4's presentation to be underwhelming.

In the Box:​

• Pair of Studio 4 IEM (with their own mini bags for protection)
• 1 sturdy waterproof pelican case
• 1 cable
• 1 extension cable (musicians need this)
• 1 3.5mm female to 6.5mm male (another for musician’s needs)
• 3 pairs of ear tips in SML
• 1 cleaning tool
• 1 cleaning cloth
• 1 wrist band

The inclusions provided with the Studio 4 are tailored specifically for musicians. They are of exceptional quality and do not feel flimsy or poorly made. In fact, they can compete with other top brands such as Shure, Audio Technica, and ADV. While the number of inclusions may not be abundant, everything necessary is included to get the job done.

SOUND IMPRESSIONS:​

For the entirety of this review, the Ovidius B1 was primarily used as it offered the most blissful pairing. The Abigail pro 3.5 comes next, and then Hiby RS2. Stock cable and ear tips were used to avoid aftermarket sound impact. Music tracks are my own FLAC files and Qobuz Studio subscription.

Okay let’s get down with it. As usual, technicalities first.

The sound stage of Studio 4 is not exceptionally wide, but it is not overly intrusive. As a musician myself, I find that a broad sound stage is not necessarily advantageous. As a member of a cover band, our aim is to perform tracks as close to the original recording as possible. As the primary keyboardist/pianist, it is my responsibility to perceive and interpret various musical elements such as string sections, brass, woodwinds, synths, and bass (since we have no bass player). The sound stage of Studio 4 is tailored to meet the needs of musicians like me, with its intimate and narrow stage that makes it easier to comprehend the intricacies of the music. The stage isn't a concert hall, but rather a small jazz club that places you in close proximity to the musicians. You will be seated in the front row of the stage, according to how the stage is arranged.

The timbre of the set is accurate, with no artificial or unnatural sound. The tuning is organic, musical, and highly satisfying, resembling the sound of real-life instruments. It is a pure balanced armature (BA) set that I have tried and did not have any issues with BA timbre or any fake thinness.

The speed and performance of the drivers in the Studio 4 are of top-notch quality. The drivers exhibit a realistic attack and decay, resulting in a highly satisfying sound quality. Even complex and densely layered tracks are executed with ease, without any sluggishness or slow-downs. This is a testament to the exceptional performance and efficiency of the Studio 4's drivers.

Now we come to the crowning glory of Studio 4's technical capabilities: its separation and layering. The audio output is crystal-clear and transparent, with every element presented in impressive detail and clarity. Instruments and vocals are distinct and don't blend together into a muddy mess. This trait is particularly useful for sound engineers and artists who need to dissect, analyze, and work on audio in a studio setting.

Finally, the imaging and placement of instruments are precise and effortless to track. The constantly shifting positioning of elements is clearly distinguishable and offers a 2D experience that emphasizes width rather than depth.

BASS:​

According to the graph, there is a noticeable bump in the sub-bass region. This results in a satisfying rumble in those frequencies, but it doesn't linger, giving us a clean and precise sound. As a result, I was able to experience a full-bodied acoustic bass when listening to my favorite jazz tracks. Electronic tracks, such as those from Daft Punk, Shawn Mendes, and The Weekend, exhibit good punchiness. Mid-bass sounds are well-balanced and have a good presence, while bass from artists like Stevie Wonder, Bobby Caldwell, Marvin Gaye, and Queen possesses impressive texture and thump. Overall, the quantity of bass might not be enough for bass enthusiasts, but it is just right for mature and discerning listeners who prefer clean and precise sound. Studio 4’s bass leans to be almost flat neutral that prioritizes quality than quantity.

MIDRANGE:​

In terms of the midrange, there isn't much of a dip, and it remains true to the graph. However, moving away from the graph, I can confidently say that the midrange has good weight and a warm tone. The vocals, both male and female, are engaging, but there is a noticeable preference for female voices. The upper mids are not hot or fatiguing to listen to. As a musician, I find that my favorite instruments, such as pianos, saxophones, organs, Rhodes, and orchestral instruments, sound lush and rich with just the right amount of presence. The midrange is not pushed back, but rather slightly forward, making it appealing to mid-centric listeners like me. Moreover, from a musician's perspective, relevant instruments that are crucial for my band's weekly repertoire are easily discernible, making my life easier.

TREBLE:​

The treble of Studio 4 inherits the genes of the midrange, exhibiting a smooth sound reproduction that does not cause fatigue or piercing. This type of tuning often results in the compromise of details and nuances, but that is not the case with Studio 4. However, some listeners may find the extension to be lacking, especially those who are treble enthusiasts. The upside to this smoothness is that people with sensitive ears will appreciate Studio 4's unoffensive treble. Personally, I sometimes find myself wanting more on tracks that are not brightly mixed and mastered. Cymbals and hihats can be dull and lack energy. When using Studio 4 for stage performances, we enter a different world. Instead of listening to final mastered tracks, we focus on how the tech person behind the mixing console balances and mixes the sound. Aggressiveness may sometimes come with the territory, for instance, a guitarist's preference for a bright guitar may lead to fatigue. Studio 4 had this in mind, and as a result, they tuned Studio 4 in a smooth and balanced manner to avoid such cases. Nonetheless, the detail retrieval is impressive, although the priority is not on shimmer and sparkle.

COMPARISONS:​

versus Hidizs MS5​

I had just reviewed the MS5 and seeing they are at the same price point, comparing these two will somehow be fair.

The MS5 has a brighter sound signature that can result in ear fatigue after prolonged usage due to some sibilance. Unlike the Studio 4, the MS5 has a more colored sound with a more prominent bass, richer midrange with added weight, and treble with grit and bite. Additionally, the MS5 has a special feature of sounding holographic compared to the simpler and more plain sound of the Studio 4. However, for musicians who prioritize critical listening and analysis, a simple and clean sound is preferred. In terms of technical aspects, both IEMs are on par with each other. The MS5 occasionally exhibits BA timbre, while the Studio 4 has a more natural and safe sound due to its smooth treble presentation. Individuals who are sensitive to treble should consider the Studio 4, while those who enjoy bright treble would appreciate the MS5's sound.

versus Kinera Idun Golden​

While Idun is a third of Studio 4’s asking price, I can’t help myself but compare these two as they are both exceptional and commendable for stage monitoring.

Both IEMs offer a nearly flat, neutral sound reproduction, with Idun being the brighter and colder one, while Studio 4 has a pleasing warmth in comparison. Idun boasts impressive treble extension, and hihats and cymbals offer great texture with excellent clarity and presence in vocals. The soundstage is slightly wider with Idun, but Studio 4 provides clearer sound analysis and better technicalities, albeit by a small margin. If you want to experience an effective stage monitoring setup, Idun is a great starting point with its lower price point. However, if you wish to invest more and upgrade, Studio 4 will undoubtedly deliver better and exceptional performance.

FIT & ISOLATION:​

Studio 4 is an incredibly lightweight IEM that is designed for comfort during prolonged use. The use of resin in its construction imparts sturdiness that enables it to withstand occasional drops, though additional care is always recommended. The ergonomic design is intended to cater to live performances and provides a reasonable level of noise isolation. I had the opportunity to test them on stage and despite my band playing at a loud volume, the Studio 4 effectively blocked out most of the ambient noise. Achieving a secure fit was easy, and the nozzle's angle was pleasantly comfortable, making it one of the most comfortable IEMs I have ever worn. Performers need not worry about the IEMs falling off or affecting their movements during performances, allowing them to focus solely on their craft.

SOURCES USED:​

• Ovidius B1
• Abigail pro 3.5mm
• Hiby RS2
• Qobuz Studio subscription
• Offline FLACs
• Oppo A94
• Hiby music app
• UAPP

TEST TRACKS:​

Here are some tracks I usually listen to when reviewing:

That’s the way of the World by EWF
Africa by TOTO
The Girl in the Other Room by Diana Kral
Balmorhea album All is wild, All is Silent
Sila by Sud
Smooth Escape by D’Sound
Never too Much by Luther Vandross
P.Y.T by Michael Jackson
Ain’t no Sunshine by Eva Cassidy
Shoot to Thrill by AC/DC
Another one bites the Dust by Queen
Good times bad times by Edie Brickell
Alice in Wonderland by Bill Evans
Ain’t it Fun by Paramore
Redefine by Incubus
Far Away by Nickelback
Lovesong by Adele
Lingus by Snarky Puppy
Harvest for the World by Vanessa Williams
Love Bites by Def Leppard
No Such Thing by John Mayer
As by Stevie Wonder
Whip Appeal by Babyface
Ain’t Nobody by Chaka Khan
Futures by Prep
Landslide by Fleetwood Mac
Every Summertime by NIKI
SADE tracks
AC/DC tracks
Queen tracks


And many more… I always listen to High resolution format, being the least quality 16bit/44khz FLACS be it offline or online.

VERDICT:​

After spending a considerable amount of time with Studio 4, I can confidently say that this IEM is not limited to musicians, artists, and sound engineers but also to audiophiles who value intricate details and do not mind a near-flat sound profile. Though it can sometimes sound dry and unexciting, especially for those accustomed to much-coloured sound, the precision, clarity, cleanliness, and transparency of Studio 4 can certainly impress discerning and critical listeners.

Despite the steep price point, Studio 4's performance, build quality, and barebones inclusions are justifiable for a gigging musician, touring artist, or producer. For anyone considering this investment, I can attest that it is worth every penny.

It's important to note that Studio 4's sound profile may not be everyone's cup of tea, and auditioning is highly recommended before making a purchase. Those who prefer a warm, natural timbre, speedy drivers, clean sound reproduction, and intricate details will find Studio 4 a delight. It's a great tool for music analysis and deconstructing parts for cover bands and artists. Even audiophiles who enjoys engagement and connection to their music will appreciate the sound of Studio 4.

I would like to thank Neil Nino Clark for facilitating this tour and to HiFiGo for being generous to me and my co-reviewers.

INTRODUCTION:
Established in 2009, Hidizs has been a prominent player in the audio industry for a considerable period of time, having released highly-regarded earphones, digital audio players, and USB DACs that have garnered the attention of the audio community. Tamson, the founder and CEO, is a passionate audiophile and was once a frontman for an underground rock band during his college years. His vision is to deliver music in its purest form, as intended by the creators. In summary, for a concise overview of Hidizs' history, you can follow this link.

About Hidizs

While my interaction with Hidizs is limited, I do own one of their products, the AP80 Pro, and can vouch for its quality. As my first digital audio player, it still holds a special place in my collection, even though my wife uses it more often now. I still use it as a reference when reviewing audio gear. For those in the market for their first DAP, I highly recommend the AP80 Pro as it provides exceptional value for its price point.

Initially, I held a low opinion of Hidizs' earphones and in-ear monitors. However, I had the chance to try and evaluate their product, and this is the first time I've listened to them. It's worth noting that this is not an entry-level IEM, but rather a midrange one. Let's delve into it, shall we?

FOREWORD:​

• The gear on hand has undergone at least 20+ hours of use before it was assessed.
• No EQ is ever applied in my reviews.
• For the sake of convenience, I try my best to use a stock setup. Not everyone has access to personal ear tips or cables. If personal ear tips, cables, or accessories are used, you will be notified.
• As I try to be objective, my claims inevitably will be subjective and biased to my personal preference. I cannot stress more that you should take this with a grain of salt for we have different perceptions to sound and what we hear.

SPECIFICATIONS:​

Hidizs Mermaid Series
Model: MS5
Configuration: 4BA + 1DD Hybrid
BA Drivers: Denmark Sonion (High frequency E50DT composite unit, Mid-high frequency unit 2389, Low frequency unit 17A003)
Dynamic Driver: 10mm Liquid silicone (Hidizs custom dynamic driver with Kevlar fiber and liquid silicone technology)
Frequency response: 20hz-40khz
Sensitivity: 104db
Impedance: 5.3 ohms
Cable: High purity 6N single crystal copper silver-plated wire
Connector: 0.78mm 2-pin
Plug: 3.5mm gold plated plug

PACKAGING:​

The MS5's packaging comes in a medium-sized box, which displays a print of the product on the front. In my opinion, this classic approach is refreshing, as many IEMs today lack the upfront appearance of the product. Seeing a preview of what you're buying is reminiscent of a nostalgic feeling.

The back of the box contains the necessary information for blind buyers, including three frequency graphs that correspond to the tuning nozzles.

Upon lifting the outer box, the MS5 IEMs immediately greet you, accompanied by a palette of ear tips in S, M, and L sizes with three different kinds available: Vocal, Balanced, and Bass. The palette also includes the Treble (silver), Bass (red), and pre-installed Balanced (bronze) tuning nozzles, which are easily swapped by screening them on and off. It's important to remember the color coding of the filters since the palette can only hold two kinds at a time. The package also includes a carry case that looks authentic and has added weight and sturdiness, but may be prone to smudging and getting dirty over time. Inside the case is the thickest cable ever made for a set of earphones, and at the bottom, you'll find some paperwork and a user manual. If you're new to tuning filters, the documentation provided will come in handy.

SOUND IMPRESSIONS:​

Throughout the entirety of this review, the MS5 was primarily used with the Hidizs XO dongle that came with it on this tour. I also used the Hiby RS2 dap and Centrance Dacport HD. I opted for the stock wide-bore vocal tips and stock cable. I used my offline FLACS and Qobuz subscription for referencing.

Let’s get started then. First off with facets of technicalities.

The sound stage of the MS5 is average and lacks extra space or headroom, even for an IEM. Despite not being cramped or narrow, the elements are not in-your-face type, but rather intimately desirable. However, with proper amplification or more power, such as my Centrance Dacport that feeds it 750mw on each channel, the sound stage tends to extend a bit, proving good scalability.

The drivers' speed is exceptionally quick and doesn't sound cushioned or muted, resulting in an extremely accurate note definition that isn't overdone like planar drivers. Furthermore, the tail ends of instruments and vocals are highly authentic and true to life, showcasing impressive natural decays.

The MS5 delivers an impressive level of detail, making it possibly the most resolving earphone in its price range. The only other earphone that comes close is the Seeaudio Bravery Red edition, which we will compare to the MS5 later on.

The layering and separation in the MS5 are remarkable, as each element has its own distinct space on the stage, despite the average size of the sound stage. The IEMs handle complex and densely mixed tracks with ease, without any signs of congestion, muddiness, or smearing. Everything is cleanly separated and exhibits high-fidelity precision.

The MS5's imaging capability is the ultimate aspect of technicality that it can boast. I have experienced this level of imaging on top-of-the-line (TOTL) IEMs, specifically the ADV M5 6D. Despite having an intimate sound stage, the MS5 delivers accurate depth of imaging that presents each element in a holographic manner. This remarkable feat is even more emphasized on live albums, making it the most appealing trait of the MS5.

BASS​

The MS5's bass offers excellent transparency and leans towards neutrality. While there is a slight boost in the bass, it does not bleed into neighboring frequencies and maintains a tight, punchy character with a natural decay. The sub-bass has a quick roll-off, and while some may desire more, it was not a priority for me. However, if your playlist consists of bass-heavy tracks, the MS5 may not be the best fit. Personally, I prefer the prominent mid-bass presence over the sub-bass region. For those who desire more bass, don't worry, the MS5 comes with tuning nozzles. However, there is a catch, which we will discuss later.

MIDRANGE​

Mid-centric listeners will be delighted with the MS5's exceptional midrange performance. Female vocals, in particular, are captivatingly presented. The midrange is slightly emphasized, and as I listened to various tracks, I noticed a sense of forwardness. The mids are rich and thick, which enhances the overall sound quality. The orchestral tracks are particularly delightful, as the strings and brass sections are incredibly realistic and engaging. Additionally, MS5's natural-sounding hybrid configuration does not exhibit any BA timbre or thinness, making it one of the most natural-sounding hybrid IEMs I've come across. Although we have elevation here at 3Khz as per the graph, the upper midrange still did not come across hot or piercing to my ears but might be fatiguing to sensitive folks.

TREBLE​

The upper frequencies on the MS5 are full of life and energy, with a sharpness and roughness that is satisfying to the ears of treble heads. The sound of bells, triangles, cymbals, and hi-hats are particularly enjoyable. Treble enthusiasts will surely be pleased with what the MS5 has to offer. However, as per the frequency response graph, there are noticeable peaks around 5-6khz and an elevation at 8khz, which can be a bit too much for some listeners. Personally, I sometimes find the treble a bit overwhelming and have to lower my volume to avoid fatigue. It is important to consider this before making a purchase. Using foam tips or a warmer source may help alleviate this issue. It is also worth noting that the MS5 paired with the Hidizs XO is more prone to sibilance compared to the Hiby RS2 and Centrance Dacport. It is recommended to experiment with different setups to find the best synergy for your personal preferences.

(Graph courtesy of @baskingshark) ​

​

TUNING NOZZLES​

We have now come to another trend in the audio industry, which is the ability to tune our in-ear monitors according to our preferences. While some may view this as a nuisance, it's something that the MS5 has embraced by offering customizable tuning nozzles.

In my personal opinion, the tuning nozzles are not as impactful as some might think. While some reviewers with a keen sense of hearing might be able to discern the differences between the nozzles, I personally did not notice a significant change in sound. The MS5 comes with three nozzles - gold for a balanced sound profile, silver for emphasizing treble, and red for more bass.

While the tuning nozzles provide an option for customization, in my experience, the differences were not significant enough to warrant much attention. I found that the silver nozzle slightly increased the treble, while the gold nozzle provided a more balanced sound. However, the red nozzle's impact was hard for me to discern, and it seemed to push the midrange back in favor of the bass. Overall, I didn't find myself using the tuning nozzles much during my time with the MS5.

In summary, instead of relying on the tuning nozzles, I would suggest experimenting with different ear tips or finding audio sources that can provide the desired sound signature for a better listening experience.

FIT & ISOLATION:​

The MS5 has a medium-sized form factor, but don't let that fool you. They're surprisingly comfortable and getting a good seal is a breeze. However, after a marathon 2-hour listening session, things can start to get a little uncomfortable. And the culprit? The cable, of course. That darn thick and hefty cable can start to weigh on you after a while. It's not too bad, but it's definitely noticeable. One thing to keep in mind is that the MS5 does stick out a bit from your ears, so if you like to nap with your IEMs, be careful not to lay on your side and squish them.

COMPARISONS:​

vs Seeaudio Bravery Red edition​

Before we get started, let it be known that I don’t have this unit with me anymore, but fret not, I have spent an ample amount of time with it so I still have it in my memory. Take this with a grain of salt though.

Bravery offers a brighter and leaner sound profile, with more emphasis on BA timbre, which can sound thin and unnatural at times. While the technicalities are comparable to the MS5, the imaging falls behind, with the MS5 offering superior performance in this aspect. In terms of soundstage, Bravery is narrower and lacks the "holographic" quality that MS5 possesses. Despite being similarly priced, MS5 is a more captivating and enjoyable set, offering better note weight and a greater sense of fun.

vs Simgot EA500​

While there is a significant price difference between EA500 and MS5, it is worth mentioning that both have tunable nozzles. However, the tuning nozzles on EA500 have a more noticeable impact on the sound compared to MS5, rendering the latter's tuning nozzles gimmicky in comparison.

In terms of sound, both the MS5 and EA500 offer a bright and neutral sound signature, with some hotness in the upper frequencies. However, the EA500 is a bit more tolerable in this aspect, making it a better choice for those with sensitivity concerns. While the technical abilities of the EA500 are not as advanced as the MS5, they are still competitive. However, the MS5 has an edge in timbre, note definition, and vocal presentation. The EA500 has a stronger sub-bass presence that adds a unique flavor to its sound, whereas the MS5 has more transparent lows and a significant sub-bass roll-off.

vs Bqeyz Autumn​

Moving on, we have another contender in the tuning game, and this time it comes with magnetic filters. The magnetic filters on the Autumn are much easier to swap than the nozzles on the MS5, which is a point in its favor. Additionally, the effect on sound when switching between profiles is much more pronounced on the Autumn, which outshines the MS5's tuning nozzles.

I can't emphasize enough how much I adore Autumn's expansive sound stage. It surpasses that of any other IEMs I own. But I do have to admit that its note definition and attack are not as sharp as MS5. While Autumn prides itself on its sound stage, MS5 boasts exceptional imaging and detail. MS5 offers a cleaner and more refined sound overall. Nevertheless, Autumn still has a slight edge in timbre and maybe a more suitable option for those with sensitive ears. Autumn also has a stronger sub-bass presence, whereas MS5 exhibits an evident roll-off in the lows for a more polished and mature presentation. In terms of technicalities alone, MS5 emerges as the clear winner, but both IEMs provide an equally engaging and musical experience.

SOURCES USED:​

• Hiby RS2 DAP
• Hidizs XO dongle
• LG V30 quad dac with Centrance Dacport via Hiby music app
• Oppo A94 with Hidizs XO via Hiby music app
• Macbook pro 2011 with Hidizs XO via Foobar
• Qobuz Studio

TEST TRACKS:​

Here are some tracks I usually listen to when reviewing:

That’s the way of the World by EWF
Africa by TOTO
The Girl in the Other Room by Diana Kral
Balmorhea album All is wild, All is Silent
Sila by Sud
Smooth Escape by D’Sound
Never too Much by Luther Vandross
P.Y.T by Michael Jackson
Ain’t no Sunshine by Eva Cassidy
Shoot to Thrill by AC/DC
Another one bites the Dust by Queen
Good times bad times by Edie Brickell
Alice in Wonderland by Bill Evans
Ain’t it Fun by Paramore
Redefine by Incubus
Far Away by Nickelback
Lovesong by Adele
Lingus by Snarky Puppy
Harvest for the World by Vanessa Williams
Love Bites by Def Leppard
No Such Thing by John Mayer
As by Stevie Wonder
Whip Appeal by Babyface
Ain’t Nobody by Chaka Khan
Futures by Prep
Landslide by Fleetwood Mac
Every Summertime by NIKI
SADE tracks
AC/DC tracks
Queen tracks


And many more… I always listen to High resolution format, being the least quality 16bit/44khz FLACS be it offline or online.

VERDICT:​

Initially, I wasn't too convinced when MS5 arrived at my doorstep. The tuning wasn't particularly unique or new to my ears. However, as I spent more time listening to it, MS5 slowly but surely began to grow on me.

To avoid repeating myself, let me reiterate that the tuning nozzles on the MS5 are not particularly effective and have little influence on the sound. However, despite this shortcoming, the MS5 is still a remarkable and noteworthy IEM. Instead of frequently swapping between nozzles, I suggest experimenting with different tips and source pairings to find the best sound. Perhaps Hidizs should consider this when designing future IEMs with tuning capabilities. That being said, it remains to be seen if this trend will persist in the future. Allow me to add, the MS5 is already excellent on its own right without the tuning nozzles and I found my preferred sound signature with the balance nozzle.

The most impressive and irresistible feature of the MS5 is undoubtedly its natural timbre, especially for a hybrid setup. The imaging and detail retrieval are superb, making for a fantastic balance of tonality and technicalities. The tuning leans towards neutrality without any artificial thinness that often accompanies other neutral sets. Additionally, the holographic sound presentation is a delightful bonus, providing a lifelike experience akin to listening to live performances or speakers. Overall, the MS5's combination of natural timbre, superb imaging and detail retrieval, and holographic sound presentation make it an exceptional choice for audiophiles and even musicians. The MS5 offers impressive performance for its price, making it a worthwhile investment for your hard-earned money. If I were to have this in my collection, I would be investing a lot of time enjoying it.

I would like to thank @Zerstorer_GOhren for facilitating this tour and Zoie for being generous to me and to my co-reviewers.

INTRODUCTION:​

Until recently, I was unfamiliar with Simgot (兴戈), but when I heard the name mentioned in passing, and later read AndyEF's review of the EM2 Roltion, my interest in their products was piqued. Despite not having heard of them before, I was intrigued by their offerings.

Simgot, founded in 2015 with the slogan "大兴干戈" which implies their commitment to delivering ultimate products and perfect service, is a company that believes in the fusion of old and new technologies. Their philosophy revolves around the accumulation of knowledge and expertise from the past, and the innovative strides made in the present.

During my conversation with Simgot's representative, I was given a summary of their progress and product releases, which felt like a history class. LOL. Here's what I learned:

In 2016, the Tongque(铜雀) series was launched, and the first product made the brand famous.

In 2017, the Luoshen(洛神) series was launched, establishing the domestic HiFi brand market position.

In August 2017, the Tongque series EN700 PRO with red and blue color version was launched, leading the trend of color matching.

In December 2017, the Luoshen series was launched, and the EM1 was positioning it as a benchmark for earphones.

In 2018, the headphone ET1000 and Luoshen EM2 were launched.

In 2019, the EK series was launched, officially entering the earphone customization market.

In 2021, our first audio decoding line - DEW1 (type c interface) was launched. EN1000 King Wonder and Luoshen's new product EM2 Roltion were launched.

On June 9, 2022, EA2000 will be launched, code-named Boson, called the ecstasy of [dynamic driver enthusiasts].

On October 28, 2022, EA500 was launched. Returning to the concept of lowering the threshold for enjoying good sound, and creating a dynamic earphone with an entry price and an acoustic level, which is known as the TOP1 product in the market.


Obviously, we are reviewing the EA500 today, and without further delay, lend me your ears and hearken!!

FOREWORD:​

• The gear on hand has undergone at least 50 hours of use before it was assessed.
• No EQ is ever applied in my reviews.
• For the sake of convenience, I try my best to use a stock setup. Not everyone has access to personal ear tips or cables. If personal ear tips, cables, or accessories are used, you will be notified.
• As I try to be objective, my claims inevitably will be subjective and biased to my personal preference. I cannot stress more that you should take this with a grain of salt for we have different perceptions to sound and what we hear.

SPECIFICATIONS:​

Brand: Simgot
Model: EA500
Transducer: 10mm Dynamic driver with dual-magnetic-circuit & dual cavity structure
Diaphragm: 4th generation DLC composite diaphragm
Impedance: 16 ohms
Sensitivity: Red nozzle = 123db; Black nozzle = 124db
Frequency response: 20hz-20khz
Cable: high purity silver plated OFC
Connector: 0.78 2 pin

PACKAGING:​

Packaging can be an important aspect of the overall purchasing experience, and Simgot doesn't disappoint in this regard. The Simgot EA500 comes in a sleek and minimalist black box with an image reminiscent of an aurora landscape at the center. At the back are some useful information consisting of 2 frequency graphs for the 2 tuning nozzles. More of this later on as we dive deeper. Naturally, the EA500's specifications are indicated here, as well as a brief explanation of the earphones' features.

The box inside can only slide in one direction, specifically to the left. Upon doing so, you will encounter a wise adage from Blaise Pascal: "Don't try to add more years to your life. Better add more life to your years." If you were to flip over this piece of cardboard paper, awaiting you like pieces of shiny treasure, the EA500 themselves.

So, you know how the EA500 comes with a box of goodies, right? Well, inside that box labeled “Accessories”, you'll find the cable and a basic carrying case, along with some tuning nozzles and extra rings in black and red. But get this, the box labeled "ear tips" only has three pairs of tips - small, medium, and large - and they're all the same type! I mean, I get that they probably had to cut some costs somewhere but come on...I was hoping for a bit more variety in the tips department, you know?
Nevertheless, the packaging is pretty simple yet classy and I really like it for something that costs less than $100.

SOUND IMPRESSIONS:​

Let me begin by informing you about the setup that I've utilized for most of this review, before diving into the exciting details. You're probably familiar with the EA500's two tuning options, and after careful consideration, I chose to go with my personal preference - the "black" nozzles. To enhance my experience further, I opted for third-party ear tips, the JVC Spiral Dots. Later on in this write-up, we'll delve deeper into a condensed comparison between these "black" nozzles versus their "red" counterparts.

The technical capabilities of EA500 exceed what one would expect for its price. The sound stage is average, with enough room to accommodate the natural spacing of an IEM. However, the added depth is a standout feature that even high-caliber IEMs rarely possess. It's worth noting that elements from my tracks are more noticeable than usual and linger at the back of my head. As a result, listening to these feels like a semi-holographic experience and provides immense auditory pleasure.

To delve into more intriguing details, the imaging of EA500 is impeccable, making it effortless to distinguish different components in your music. I put a track by TOOL called "Chocolate Chip Trip" to the test and was impressed with how smoothly and accurately each instrument's panning across the stage was rendered without any muddiness or awkward transitions. The entire soundstage flowed seamlessly with precision.

The EA500 boasts exceptional precision and separation, creating a harmonious layering of instruments. With my band constantly adding to our repertoire, I have put the EA500 through its paces. Dissecting songs has never been easier - subtle nuances in the background are effortlessly revealed. Even amidst complex and rapid passages, micro and macro details remain crystal clear.

The DLC drivers of the 4th generation are incredibly fast and efficient, offering seamless transitions with minimal distortion - an impressive feat considering their affordable price range. The speed is so exceptional that it could be mistaken for balanced armature drivers, which gives rise to a sharp and clear sound profile while minimizing any muddiness or smudging in audio quality.

Lastly, the EA500 maintains a natural and true-to-life tonality and timbre. Instruments are easily distinguishable, even between similar tones such as a banjo and mandolin, or a flute and piccolo. While the overall presentation leans towards the brighter side and has some added sizzle, the EA500 still manages to stay within the bounds of realism.

On to the breakdown of frequencies…

BASS​

Upon initial usage, the EA500 earphones exhibited an overpowering bass that was not to my preference. However, after subjecting them to a week of daily use, the bass gradually subdued, resulting in a sub-bass that exhibits a quick roll-off, which may not be appealing to bass enthusiasts. The fourth-generation DLC drivers employed in the EA500 are highly efficient, producing a sound that is both rigid and precise. This accuracy ensures that neighboring frequencies are not disrupted. The mid-bass is commendable, exhibiting a desirable tightness and punch, with a slightly elevated quantity that is under good control and enjoyable across a broad range of genres.

MIDRANGE​

The midrange of EA500 leans towards the brighter side, lacking in lushness and richness that might appeal to some listeners. Though the vocals may seem less engaging due to its slight thinness, they maintain their fidelity. The midrange is balanced, neither too forward nor recessed, but sometimes takes a backseat depending on the track. However, instrumental tracks shine through due to the added depth in the soundstage, resulting in a presentation that is not overly in-your-face. The upper mids are crisp and well-defined, delivering a lot of details to be heard, but can be fatiguing to sensitive individuals, particularly around the 2-3k kHz range. In essence, the midrange of EA500 prioritizes clarity and precision over warmth and richness.

TREBLE​

Initially, the treble can be a bit too sharp and piercing, but with some experimentation and swapping out the ear tips, I was able to get the sound just right for my taste. The midrange is clean and lively, and the overall sound signature is very crisp with some added sparkle. Looking at the frequency graph, we see that there's a boost around 6k, 10k, and 18k hertz, which makes the EA500 a brighter set of earphones. If you're sensitive to high frequencies, you might need to play around with the tips or consider using foam ones to soften the sound a bit. On the flip side, the EA500 is fantastic at reproducing details and nuances in music. Bells, cymbals, hihats, and vocals all sound very airy and spacious. Just make sure to do your research and know your frequency sensitivities before diving in for a blind purchase.

TUNING NOZZLES:​

Allow me to provide a brief comparison between the two nozzles provided with EA500, although it is advisable for individuals to experiment and discover their personal preference. It is worth noting that EA500 is customizable in various ways, and the audio community has shared impressions and recommendations regarding preferred nozzles, including those not originally designed for use with EA500, such as Moondrop Kato's.

At first, I favored the red nozzles when I first received the EA500 and gave the black nozzle a try shortly after. However, to my dismay, the black nozzle produced unpleasant sibilance. Nonetheless, after a significant amount of burn-in time, I was pleasantly surprised to find that I actually preferred the black nozzles. Now, let's move on to the comparison.

The red nozzle follows the Harman target (H-2016) and the black nozzle represents Simgot’s house sound signature. The red nozzle's sound profile has a moderate U-shape that did not appeal to my taste. It has a decent amount of bass (although it's clean and fast), a slightly recessed midrange, and a tamer treble. This sound signature leans towards casual listening, but as a musician who values details and wants to discern every element in my tracks, I ended up preferring the black nozzle. The black nozzle is more suitable for analytical listening, which suits my needs. It has leaner bass, a more forward midrange, and a borderline-sibilant treble that I think sensitive listeners should avoid.

COMPARISONS:​

Vs Dunu Titan S​

The Titan S offers a mild and warmer sound profile, with smoother note definition and less impactful bass, and a slightly broader sound stage. However, the treble is less transparent and airy compared to the EA500. Both IEMs have similar neutrality and balance throughout the frequency range, but the separation and layering are slightly less pronounced in the Titan S. In contrast, the EA500 delivers a more dynamic and energetic sound profile, with a more aggressive presentation than the Titan S. The midrange is almost identical in quality and quantity for both IEMs, but the timbre is more natural on the Titan S.

In the end, choosing the Titan S will provide a milder option and a safer choice for those who are sensitive to sound, while the EA500 offers more agility and vibrant high frequencies, albeit with a tendency towards occasional hotness in the upper midrange to treble.

Vs Bqeyz Autumn (normal magnetic filters)​

In case you are not aware, Autumn offers 3 tunings to suit your preference making it a worthy comparison to EA500 but with a $120 price difference.

Clearly, Autumn provides a wider sound stage, which has always been my preferred in-ear monitor for its extra stage. Compared to EA500, Autumn's treble is more reserved. The vocals on Autumn are more engaging and immersive. The mid bass on Autumn is more emphasized and shares the same punchiness as EA500. The midrange on Autumn is slightly more forward and has more weight and body.

Once more, EA500 proves to be the brighter option with its energetic upper frequencies. Nevertheless, Autumn still prevails in timbre, providing a touch of warmth and lushness, mainly in the midrange. However, EA500 surpasses in detail, particularly in the high frequencies, and slightly edges out in terms of separation and layering.

FIT & ISOLATION:​

The EA500 IEMs feature a small to medium-sized shell that is slightly heavier than resin-based IEMs, making them noticeable but still comfortable to wear for extended periods. Despite the large nozzles, they do not penetrate too deeply into the ear canal, but they still provide a snug fit. Wearing them for extended periods did not cause any physical discomfort to my ears. While isolation is average, they require a slightly higher volume level for outdoor listening to achieve a more immersive listening experience.

SOURCES USED:​

• Hiby RS2
• Ovidius B1
• Questyle QP2R
• LG V30 quad dac with Centrance Dacport via Hiby music app
• Oppo A94 with Centrance Dacport via Hiby music app
• Oppo A94 with Ifi Hipdac v2 via Hiby music app
• Macbook pro 2011 with Centrance Dacport via Foobar
• Macbook pro 2011 with Ifi Hipdac v2 via Foobar
• Tidal Masters
• Qobuz Studio
• Apple Music

TEST TRACKS:​

Here are some tracks I usually listen to when reviewing:

That’s the way of the World by EWF
Africa by TOTO
The Girl in the Other Room by Diana Kral
Balmorhea album All is wild, All is Silent
Sila by Sud
Smooth Escape by D’Sound
Never too Much by Luther Vandross
P.Y.T by Michael Jackson
Ain’t no Sunshine by Eva Cassidy
Shoot to Thrill by AC/DC
Another one bites the Dust by Queen
Good times bad times by Edie Brickell
Alice in Wonderland by Bill Evans
Ain’t it Fun by Paramore
Redefine by Incubus
Far Away by Nickelback
Lovesong by Adele
Lingus by Snarky Puppy
Harvest for the World by Vanessa Williams
Love Bites by Def Leppard
No Such Thing by John Mayer
As by Stevie Wonder
Whip Appeal by Babyface
Ain’t Nobody by Chaka Khan
Futures by Prep
Landslide by Fleetwood Mac
Every Summertime by NIKI
SADE tracks
AC/DC tracks
Queen tracks


And many more… I always listen to High resolution format, being the least quality 16bit/44khz FLACS be it offline or online.

VERDICT:​

To be honest, I cannot help but confidently recommend the EA500 to those looking to spend under $100 for exceptional sound quality. Without a doubt, the EA500 sets a new standard for what IEMs in this price range should deliver, and I can personally vouch for it.

Of course, the competition is fierce, with the Dunu Titan S nipping at the heels of the EA500's capabilities. However, if you are someone who delights in technicalities and prefers a neutral-bright sound, you can hardly go wrong with the EA500.

I do advise those who are sensitive to audition the IEMs first before making a purchase. And if you do end up buying them impulsively, make sure to burn them in seriously for the best results.

On the plus side, the EA500 offers two sound profiles – the RED nozzle for a more colorful, U-shaped sound and the BLACK nozzle for a more analytical sound tailored to discerning listeners.

Additionally, I have heard from consumers that the nozzles of the Moondrop KATO or the recently-released Hidizs MS5 can also be used with the EA500. As you can see, there are plenty of options available for modifying the EA500, and tuning options seem to be becoming increasingly popular now that the "planar wars" have come to an end.

Regarding the title of this review, Simgot took a considerable risk with the EA500, particularly with regards to the hotness and sibilance in these bright and vivid-sounding IEMs. However, the gamble paid off, and it was worth it.

Lastly, I would like to extend my gratitude to Fia from Simgot for providing me with the opportunity to review the EA500.

PRICE: $80​

INTRODUCTION:
Alright, this is going to be my third review of Tangzu, formerly known as Tforce, and I must admit, I'm struggling to come up with a fresh introduction for the company. It's starting to feel like déjà vu.

I began my Tangzu journey with their IEM, the Tforce Yuan li, which laid the groundwork for the company. It quickly became a fan favorite, a hit with the crowd. Next up was Shimin Li, a budget offering which, to be honest, didn't quite tickle my fancy in the long run. I even took a beating for hyping it up, and during that time, the market was flooded with low-cost audio gear. The community wasn't yet ready for the likes of $50 gears that sound fantastic, but that's just the way it goes. Following that, Waner arrived, and by now, people were getting used to entry-level gear that narrowed the gap with mid-levels. Finally, Tangzu jumped into the planar wars with the OG Zetian Wu, which I reviewed. I have to be frank - I still wasn't convinced that planars could be effectively implemented on IEMs at this time.

Another day, another collaboration - this time between Tangzu and the Hawaiian Bad Boy, HBB. But wait, haven't we had enough of these collabs already? Anyway, back to the topic at hand. The OG Zetian Wu didn't quite hit the spot for me, as I found it to be a bit too bass-heavy for my taste. So, when the Heyday edition was released, I wasn't particularly intrigued. But, did Tangzu manage to prove me wrong? Only one way to find out, old chap - keep on reading!

FOREWORD:​

• The gear on hand has undergone at least 10-15 hours of use before it was assessed.
• No EQ is ever applied in my reviews.
• For the sake of convenience, I try my best to use a stock setup. Not everyone has access to personal ear tips or cables. If personal ear tips, cables, or accessories are used, you will be notified.
• As I try to be objective, my claims inevitably will be subjective and biased to my personal preference. I cannot stress more that you should take this with a grain of salt for we have different perceptions to sound and what we hear.
• Stock cable and ear tips were used for the entirety of this review. In particular, the tips placed in the “foams” section, which is not foam tips at all. Wide bored and stiff stem.

SPECIFICATIONS:​

Configuration: 1 x 14.5mm planar
Impedance: 16ohms
Sensitivity: 100db
Freq response: 20hz - 20khz

PACKAGING:​

The packaging of the Tangzu Heyday edition IEMs reminded me of the Yuan li. The company has kept a consistent style both inside and out, and their packaging impressed the community when they released the Yuan li. While I have no complaints, personally, I find the style a bit dated now, and it doesn't mesmerize me as it used to. Please don't take offense, though. The front of the box features the Empress, the only empress in China's history. However, I won't go into a historical lecture on this, as many other reviewers have already done so.



Well, well, well, what do we have here? A cable thick enough to choke someone (oops, did I say that out loud?)! And the color...oh, the color! Powder blue, really? At first, I was thinking, "Who in their right mind would make a cable in powder blue?" But hey, I'm not one to judge. After all, I'm no fashionista, and I'm certainly not here to start a cable color trend. Anyway, after some time, I learned to appreciate its pastel nature, and I have to say, it's growing on me. On the bright side, the cable comes with modular plugs - 4.4mm and 2.5mm balanced, and a single-ended 3.5mm. For this review, I opted for the single-ended 3.5mm plug, and it served me well - 90% of the time, at least.


The ear tips come in the usual categories of balanced, bass enhanced, and "foam" tips, which are not actually made of foam, but their actual composition is unknown. It would be helpful to know what kind of tips are included in the "foam" section. The Heyday comes with a pair of black ear tips that are wide bore and super soft. While I typically prefer these types of ear tips, I found that they produced a very lean and thin sound and even caused some borderline sibilance issues.

In the box:​

• a pair of Heyday IEMs
• cable and modular plugs
• 3 pairs of balanced ear tips in S, M, and L
• 3 pairs of bass-enhanced ear tips in S, M, and L
• parchment welcoming paper
• a pair of foam tips (whatever that is)
• a pair of black wide bore and soft ear tips

SOUND IMPRESSIONS:​

Alright, let's dive right into the most important part of this review. I'll give you a little spoiler - the Heyday blew me away that I ended up buying a pair for myself. In fact, my personal unit arrived just yesterday and I'm still grinning from ear to ear. Let’s start with the technicalities…

Describing soundstage in IEMs can be a bit tricky, as they're meant to be placed inside our ears and not necessarily deliver a spacious presentation unlike headphones and ear buds. However, I must say that the Heyday pleasantly surprised me with its discernable stage that feels almost holographic. It's ideal for gaming and movies, as it adds to the overall immersive experience. As for music, I can confidently say that Heyday checks the box in this aspect as well, with a good sense of headspace in terms of depth, height, and width.

When it comes to sound quality, resolution and texture are crucial in delivering a high fidelity experience. With the Heyday, you can expect intimate details in guitars, rich tones in bass, crisp notes in pianos and cymbals, and nuanced sounds in percussion. The orchestral instruments are also impressive and perform as expected of a planar driver.

The Heyday's imaging and separation are impressively precise, aided by its spacious sound stage. Each instrument has its own distinct place in the mix, making it a valuable tool for a musician like myself. As a member of a cover band, we strive to replicate songs as faithfully as possible, and the Heyday has consistently delivered when it comes to capturing subtle chord changes and vocal harmonies that I need to delegate to my bandmates.

After listening to several planar IEMs, I must say that the Heyday's tonality and timbre are spot on. The sound is natural and realistic, and it is one of the most commendable planar IEMs that I have come across. Although, there are still some nitpicks to discuss. For instance, drum snares can sound just a bit unnatural with that "planar sheen." I noticed this on the track "You've Lost That Loving Feeling" by Hall and Oates at the 1:57 mark. When compared to dynamic driver counterparts, the drum snares sounded more natural.

Planar drivers are known for their excellent transient response, but sometimes this strength can be overdone. The Heyday is not immune to this issue, especially when it comes to percussive instruments. For example, in David Benoit's "Take a Look Inside my Heart," the piano sounded fine, but the drum toms at the timestamp 1:12 had an "unrealistic" quality to them. The decays were too abrupt, lacking the natural tail end that supposes to make them sound more authentic. As a pianist who grew up listening to Benoit's music and has been heavily influenced by his style, this was a noticeable flaw to me.

Now, let’s break down the sound profile…

The Heyday's bass presentation is primarily focused on the mid-bass and presented almost neutrally, with some extension to the sub-bass that is not overpowering. It's evident that bass isn't the top priority for this IEM, but when a track demands it, the Heyday reproduces it with tightness and punch. This makes it a versatile choice for any genre, although rock music may not be its strong suit. Rock enthusiasts may want to consider other options unless they are neutral heads. On the other hand, if you are a bass enthusiast, you may not find the Heyday to be suitable. In such cases, the OG Zetian Wu might be a better option, although I personally found the bass boost on the OG Zetian Wu to be a drawback for my personal taste. Quality over quantity is the name of the game here.

When it comes to the midrange, the strength of this IEM lies predominantly in how it reproduces vocals. Female vocals, in particular, are favored over their male counterparts, but overall, vocals are rendered exceptionally well. To describe the experience, I would use the words "engaging" and "immersive."

The Heyday’s midrange also excels in reproducing the weight and density of instruments such as cellos, violins, flutes, pianos, and guitars, as well as any acoustic instruments. Additionally, the sound is characterized by a pleasant warmth. However, there are some tracks, particularly those featuring trumpets, that can sometimes sound borderline shouty.

The treble region of the Heyday inherits the genes of the midrange. Warm and pleasing to the ear without any hint of veil or dullness. The overtones from drums, cymbals, and hi-hats are clearly audible, but not excessively bright. The extension to ultra-high frequencies has a noticeable roll off resulting in a safe and non-fatiguing sound signature. For those who enjoy a more energetic treble, the Heyday might still deliver satisfying energy at the top. What impresses me most is how refined the tuning is, striking a balance between being safe and not being boring or uninteresting.

Heyday produces an even more pleasing sound when used in conjunction with a balanced output, which suggests that they are receptive to an increase in power. The entire sound profile has a feeling of more weight, and the sound stage is felt more. Therefore, there is no reason to hold back from utilizing those modular connections.

Driving the Heyday is relatively easy even with my not-so-powerful dap the Hiby RS2 and I reached my desired listening level at around 65-70 out of 100, depending on the track. However, compared to my other IEMs, I’ve noticed I have to add around 3-5 notches for two gears to match the same output. Pairing Heyday with my Centrance Dacport HD that sports 4vrms of power and switching to high gain gave me the most blissful listening experience.

It should be noted that Heyday is reasonably responsive to its sources. Having said that, neutral sources present the technical prowess of Heyday, whereas sources with a more organic sound depict a more balanced sound profile.

COMFORT AND FIT:​

It may come as a surprise that Heyday's medium-sized casings are pleasant to wear, but they don't simply vanish into the ears the way that some lighter IEMs do. Although the build quality remains lightweight, the cable has a timge heft to it and can occasionally cause minor discomfort due to a subtle pull. A good fit is reasonably simple to achieve, with insertion falling somewhere in the middle. Getting a good seal is easy, and you won't have to mess with the fit too much.

SOURCES USED:​

• Ovidius B1 dongle
• Hiby RS2 DAP
• Questyle QP2R
• LG V30 quad dac with Centrance Dacport via Hiby music app
• Oppo A94 with Centrance Dacport via Hiby music app
• Oppo A94 with Ifi Hipdac v2 via Hiby music app
• Macbook pro 2011 with Centrance Dacport via Foobar
• Macbook pro 2011 with Ifi Hipdac v2 via Foobar
• Tidal Masters
• Qobuz Studio
• Apple Music

COMPARISONS:​

vs Letshuoer S12​

I adored the S12 and thought it was one of the finest planar IEM releases. Despite the fact that I no longer have the S12, please consider this comparison with a grain of salt as I will be drawing it from memory as best I can.

The S12 and Heyday both have a natural sound profile. To summarize, the S12 has more low-frequency quantity, and while I'm not a fan of elevated lows, the S12 impressed me with how clean the presentation is in this domain. The S12 does, however, have a tendency for hotness in the upper midrange, which the Heyday does not have. The S12 is also lacking in note definition and has a bit less attack.

Nonetheless, choosing between the two comes down to personal preference, with the S12 offering more realistic transients and the Heyday emphasizing agility and precision.

vs Bqeyz Winter​

Now, let's compare the Heyday to the Winter, my top-ranked IEM. Despite the fact that we are comparing apples and oranges and that Winter is equipped with a different driver setup (a DD with bone conduction), please hearken.

When it comes to natural timbre and tonality, the Winter is still the clear winner. Period. However, Heyday has some tricks up their sleeves, specifically in terms of precision, note definition, attack, and overall technicality. Although the Heyday are excellent natural-sounding planar IEMs, they fall short on timbre in some instruments, most notably drum snares. The Heyday's transient response is insanely fast and occasionally emits some unrealism, particularly with percussions. Conversely, the Heyday depicting engagement nails the vocal presentation. It's worth noting that the lows on Bqeyz Winter are more pronounced, whereas Heyday has a more neutral sound profile.

As far as tonality is concerned, the Bqeyz Winter remains at the top of my ranking. The Heyday is close behind in the second position. I prefer the Winter for its musical involvement and the Heyday for its technical prowess.

TEST TRACKS:​

Here are some tracks I usually listen to when reviewing:

That’s the way of the World by EWF
Africa by TOTO
The Girl in the Other Room by Diana Kral
Balmorhea album All is wild, All is Silent
Sila by Sud
Smooth Escape by D’Sound
Never too Much by Luther Vandross
P.Y.T by Michael Jackson
Ain’t no Sunshine by Eva Cassidy
Shoot to Thrill by AC/DC
Another one bites the Dust by Queen
Good times bad times by Edie Brickell
Alice in Wonderland by Bill Evans
Ain’t it Fun by Paramore
Redefine by Incubus
Far Away by Nickelback
Lovesong by Adele
Lingus by Snarky Puppy
Harvest for the World by Vanessa Williams
Love Bites by Def Leppard
No Such Thing by John Mayer
As by Stevie Wonder
Whip Appeal by Babyface
Ain’t Nobody by Chaka Khan
Futures by Prep
Landslide by Fleetwood Mac
Every Summertime by NIKI
SADE tracks
AC/DC tracks
Queen tracks


And many more… I always listen to High resolution format, being the least quality 16bit/44khz FLACS be it offline or online.

VERDICT:​

Heyday impressed me so much that I agreed to purchase my own unit. They are extremely beneficial to my needs as a musician, breaking down chordal and vocal harmonies and capturing the subtleties that I impart to my band. And, while there are minuscule flaws in timbre and tonality, as well as unrealistic transient responses, none of them are deal breakers. The overall sound profile, which is close to neutral and aimed at more mature listeners, is right up my alley.

I would highly suggest these to those who have a lot of vocal tracks on their playlist, especially female vocals; those who appreciate details and nuances; and those who dissect songs like a musician or a vocalist. The separation of instruments is something to brag about.

The planar wars have ceased as the Heyday is worthy to inherit the throne. Bend the knee and hail to the Queen of planars!